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Third/Sister Lovers (2 albums sur 1 seul CD) Edition spéciale

4.7 étoiles sur 5 3 commentaires client

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Page Artiste Big Star


Détails sur le produit

  • CD (29 mai 2001)
  • Nombre de disques: 1
  • Format : Edition spéciale
  • Label: Ada Global, Ltd.
  • ASIN : B0000009OB
  • Autres éditions : CD  |  Cassette  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.7 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 40.312 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Kizza Me
  2. Thank You Friends
  3. Big Black Car
  4. Jesus Christ
  5. Femme Fatale
  6. O, Dana
  7. Holocaust
  8. Kangaroo
  9. Stroke It Noel
  10. For You
  11. You Can't Have Me
  12. Nightime
  13. Blue Moon
  14. Take Care
  15. Nature Boy
  16. Till The End Of The Day
  17. Dream Lover
  18. Downs
  19. Whole Lotta Shakin' Goin' On

Descriptions du produit

Descriptions du produit

THIRD/SISTER LOVERS (2 ALBUMS SUR 1 SEUL CD)

Amazon.fr

Alex Chilton a connu le succès à seize ans avec les Box Tops ("The Letter") puis a subi l'indifférence du public et des critiques avec Big Star. Amer, vieilli avant l'âge et asocial, il rentre presque seul en studio pour enregistrer le dernier album de son deuxième groupe. À l'exception du batteur, présent sur quelques morceaux, les autres sont partis. Alors, avec le producteur Jim Dickinson et quelques musiciens de studio de Memphis (dont Steve Cropper de chez Stax sur "Femme Fatale" du Velvet), il tente de concilier toutes ses lubies : les Beatles et les Byrds, les Kinks et la soul de Memphis, les Who et les classiques de la comédie musicale. Il n'a plus aucune confiance dans le show-business, qui l'a spolié, et n'en fait qu'à sa tête. Si un tube pointe derrière un morceau, il en sabote aussitôt l'enregistrement. Il va même jusqu'à intituler une chanson désespérée "Holocaust"&"160;! Personne encore n'avait osé chanter : « Tu es un holocauste  » ! Et les arrangements du disque sont au diapason : percus hésitantes, larsens rampants, pianos romantiques, violoncelles lyriques, voix frêle. Sinistre et honnête, fantomatique et baroque, unique, Sister Lovers a finalement influencé le meilleur rock des années 90, de R.E.M. à Jeff Buckley. --Hubert Deshouse


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Format: CD
Alex Chilton a connu la gloire à 16 ans, avec le succès énorme de "The Letter" avec les Box Tops, formation fabriquée de toutes pièces par des producteurs ; et puis le néant. Il se retrouve seul et pauvre. Il monte alors Big Star avec Chris Bell, autre songwriter de génie. Leur deux voix, leurs chansons sublimes font de leur premier album (#1) une merveille. Les critiques s'extasient, mais le public ne suit pas. Chris Bell quitte le groupe. Chilton, seul maître à bord, compose alors "Radio City", peut-être le meilleur album du groupe. Encore une fois, la critique crie au génie ; personne ne l'entend.
Terriblement déçu, hanté par la gloire de sa jeunesse, par l'absence de Chris Bell et la consommation de drogues diverse, Chilton rassemble ce qui lui reste de forces pour cet album bancal mais terriblement beau, pathétiquement sublime. Ironiquement, "Thank You" remercie les nombreux amis qui ont "soutenu" Big Star, et une bonne partie de l'album évolue ainsi en équilibriste, entre l'innocence des mélodies et le déséspoir dans la voix du chanteur. Mais c'est celui-ci qui s'impose sur les monumentales "Holocaust" et "Kangaroo". Ce dernier morceau vient achever une longue descente au enfer, qui ne s'ouvre sur aucun retour possible. La production de Jim Dickinson est parfaite, enrichissant au maximum l'espace sonique, guitares en feu dans un coin, cloches qui sonnent brusquement le glas... l'album se termine sur des ballades sobres, frêles, pudiques.
Sur cette rééditions, quelques reprises plutôt anecdotiques, valables uniquement pour la voix, toujours au top, de Chilton.

Attention : contrairement à ce qui est indiqué, il ne s'agit pas de deux albums sur un même disque, mais d'un album portant deux titres différents (Third et Sister Lovers, surement une histoire de pressages US/GB).
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Format: CD
Album qui faillît ne jamais voir le jour, sommet de mélancolie et de spleen, le troisème album de Big Star est tout simplement l'un des meilleurs albums pop-rock de tous les temps. De la beauté diaphane de "Big Black Car" au sombre et neurasthénique "Holocaust" en passant par un "Thank You Friends" plus lumineux mais toujours mélancolique, tout est ici d'un niveau surhumain, presque inimaginable. Si vous n'êtes pas boulversé à l'écoute de "Sister lovers", consultez au plus vite, vous avez sans doute besoin d'une greffe de coeur !
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Format: CD Achat vérifié
Ce disque est fascinant par la qualité de ses chansons, une alchimie d'idées dans la composition et l'écriture comme dans la mise en son. On y retrouve quelques rocks brillants dans le style de Big Star des précédents albums (un style qu'on retrouve d'ailleurs chez les Mods, particulièrement les Small Faces, dans cette façon d'allier la soul à la pop, Stax et les Beatles), en un peu plus déglingué, mais avec classe: "Kizza Me" dérape sans déraper, c'est magique. Les mélodies se vissent dans la tête sans problème ("Thank You Friends", "Jesus Christ", "Stroke It Noel"...). Il y a des reprises jouissives aussi ("Till The End Of The Day" des Kinks, "Whole Lotta Shakin' Goin' On" de Jerry Lee Lewis), et l'excellent Jody Stephens s'emballe comme un Keith Moon à la batterie sur "You Can't Have Me". Il signe et chante aussi une belle chanson (à forte présence de violons et violoncelles), "For You", qui rappelle beaucoup Love. Il y a aussi et surtout des ballades d'une ineffable beauté, et c'est là que THIRD se distingue des deux disques précédents, qui étaient plus légers: "Big Black Car", "Holocaust", "Nightime", "Blue Moon", "Take Care" et "Dream Lover" lui donnent une atmosphère unique, de soir désolé, de nuit blanche, voire de voyage étrange sur quelque substance illicite. Comme tout cela n'est pas sans rappeler aussi parfois le BERLIN de Lou Reed (avec des arrangements moins pompeux), Chilton reprend aussi "Femme Fatale" du Velvet, en version nébuleuse (et un choeur qui rajoute du français: "elle est une femme fatale"...).Lire la suite ›
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9985dc84) étoiles sur 5 89 commentaires
68 internautes sur 71 ont trouvé ce commentaire utile 
HASH(0x9987a6e4) étoiles sur 5 The kids just don't understand... 7 août 2002
Par Lypo Suck - Publié sur Amazon.com
Format: CD
I was first introduced to Big Star unknowingly via the gorgeous (though admittedly lugubrious) covers of "Kangaroo" and "Holocaust" done on the first This Mortal Coil album. I was 14 (the year was 1988) when I discovered that album, and being immersed in late 70s and 80s new wave and goth and all that 4ad stuff, I hadn't a clue nor a care about who the hell Alex Chilton was. All I knew was that these were beautiful covers of songs I naively presumed to be dated folk or something, and that these covers must have improved greatly upon the obscure originals.

Fast forward to college, mid-90s: a friend stumbles on a copy of the Ryko "Sister Lovers" reissue and puts "Kangaroo" on a mix tape for me. I immediately assumed it was a cover that some contemporary indie band had done recently. Interesting and oddly familiar. Then my friend tells me it's Big Star, that this was the original version, and that it was recorded in 1974. Needless to say, my jaw dropped to the floor. This song sounded NOTHING at all like anything written or recorded in 1974. The feedback, the ultra-clear, wet, reverbed-out production, the singing, etc, ... A lot of revolutionary artists were making ground-breaking records in '74, from John Cale to Roxy Music to Brian Eno to Can to Faust, but none of it really anticipated this particular sound that so many bands would ape (sometimes without realizing it) in the 80s and 90s.

I soon got a copy of "Sister Lovers" and was immediately blown away by the seminal songwriting and arrangements. It was clear that bands like the Cocteau Twins took something from mellow, gorgeous, melancholic, atmospheric tunes like "Big Black Car," "Take Care," and "Holocaust." It was also clear that "Stroke it Noel" and "For You" perfected what many call "baroque pop": pop songs centered around chamber-like, stringed arrangements, they pushed "Smile"-era Beach Boys and Love's "Forever Changes" into a whole new territory. Echo & the Bunnymen's classic "Ocean Rain" might not have been quite the same without this.

The atmosphere and overall mood, the sometimes incomplete arrangements, the desperate, sometimes bitter and sardonic vocals, suggested the sound of a band falling apart (which indeed was happening at the time). The use of space, reverb, and spare, sometimes jagged and jarring arrangements and mood swings, the sense of anger and defeat, all worked its way into so many 80s new wave/post-punk records, one couldn't begin to keep track. From Echo and The Bunnymen to the Go-Betweens, from the Replacements to Sonic Youth, few records have influenced such a wide array of artists.

What's even more fascinating about this album is how timeless it sounds. When you listen to those other "ahead of their time" records, like "Pet Sounds," "Forever Changes," "Another Green World," "VU w/ Nico," etc, it's pretty easy to tell which decades they were recorded in. But with "Sister Lovers," the sound isn't derivative of anything that was happening during its time of creation. If I knew nothing about Big Star and I simply heard "Sister Lovers" w/ out any band photos or anything lying around for contexxt, I swear I might've placed it somewhere in the 80s or 90s. That, my friend, is what I would call "timeless".

The hooks, the atmosphere, the anguish, the tension, it's all here in unrivaled glory. What's even more remarkable is how different this was from the first two Big Star releases, which were filled with tight, English-sounding, fairly conventional pop songs with straight-forward arrangements and sounds. (Those two albums, as important as they are in their own respective ways, do happen to sound a bit dated). This is an album that grows on you with repeated listens. An album where new surprises continue to reveal themselves even after you've owned it for several years. As a collection of haunting, pretty, offbeat pop, or a blueprint for countless bands and movements to come, this album cannot be overlooked.
15 internautes sur 16 ont trouvé ce commentaire utile 
Par Un client - Publié sur Amazon.com
Format: CD
I'm actually not sure if I want to recommend this album to anyone. The songs contained herein are the most powerful and tragic songs can get. Anyone who feels that their music does not do enough for them emotionally should buy this record. Big Star had two members when this album was made, and the music was essentially made by Alex Chilton and the producer Jim Dickinson. Rykodisc's release of this never-before completelyt seen album was a godsend. I know you probably think I'm crazy now, because you have probably listened to the audio tracks at Amazon and found them atonal and pathetic, but it is definitely true that one must listen to this album over and over to really get it. The album starts off happy with "Kizza Me" and "Thank You Friends" but soon enough plunges into realms of music which haven't been explored before or since. "Holocaust" is disasterously perfect, and "Blue Moon" (not a cover, an original) is the most moving song I have ever heard. The odd lyrics I can not interpret or even sometimes hear, but I wish I had written them anyway. The instruments also chime in perfectly to match the moods, from the beautiful strings in "Strike It Noel" to the chorus in "Thank You Friends" to the instrumental at the beginning of "Jesus Christ". Music for my darkest hour.
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x9987a90c) étoiles sur 5 Five Big Stars 13 juin 2006
Par Blake Maddux - Publié sur Amazon.com
Format: CD
Alex Chilton is one of rock's most fascinating mysteries wrapped in an enigma. He has been worshipped by Paul Westerberg to the point of having a song written about him. According to a man I spoke to in a bar - a highly articulate, well-informed, and obviously intelligent man - Chilton was a janitor somewhere in Tennessee not too long ago. Most recently, this New Orleans resident was reported missing in the wake of Hurricane Katrina. Fortunately, the reports of his possible demise were exaggerated. Musically, he was the teenage vocalist on the classic #1 single "The Letter", the unlikely producer for The Cramps, and a major influence on the folky, cryptic alternative rock of R.E.M., the trashier rock of The Replacements, and the more straightforward power pop of Teenage Fanclub. (And that's just to cite the ones who are keen enough to know that they were influenced by him and his band.)

Although Big Star is thought of as the quintessential American power pop band, you would never know it from their third CD, which I will hereafter refer to as Sister Lovers, because I like that title better. Granted, the disc contains "Thank You Friends", which is in the tradition of their classic "September Gurls". (Neither of which are, in my opinion, as perfect as the greatest power pop song ever, "Shake Some Action" by The Flamin' Groovies, who are also a strong candidate for the quintessential American power pop band.) Apart from that, almost all of the songs on Sister Lovers are stark affairs, ones which stick in your head not because they are catchy but because they're haunting. The range of the band's musical taste - or just Chilton's, as the case may be - is indicated nicely by the covers on the record, which include the sparse "Nature Boy" (made famous by Nat "King" Cole), an even slower (and French-flavored) version of The Velvet Underground's "Femme Fatale", and a spirited take on "Till the End of the Day" by The Kinks (which they start off with the opening riffs to The Who's "Anyway, Anyhow, Anywhere"). Chilton is clearly the star of this CD, as he wrote all but one of the original songs. But drummer Jody Stephens gives him a run for his money with his single contribution, "For You". This track speaks as much for the tone and brilliance of Sister Lovers as any of Chilton's songs do.

There are a few weaker tracks, like "Kizza Me", "You Can't Have Me", and the cover of "Whole Lotta Shakin' Going On". If nothing else, at least they lighten the mood of the record a bit. The absence of Chris Bell, whose presence was so strongly felt on their debut #1 Record, may explain the lack of higher quality soul and power pop. (Bell had left the group in 1972, and was killed in a car crash in 1978.) However, this same absence allowed Chilton to make Sister Lovers the tormenting masterpiece that it is. This may have disappointed many Big Star fans, but the band was never obligated to be a pop group, and they had very little chance of coming out of this record intact anyway. Hence, the result is a record full of frightening tales of despondency, like the horrifically unsubtle "Holocaust" - "you're a wasted face/you're a sad-eyed lie/you're a holocaust" - and loneliness, like "Nighttime" - "I hate it here, get me out of here". Other songs seek comfort and salvation in whatever may offer it, be it driving ("Big Black Car"), religion ("Jesus Christ"), or love ("Blue Moon"). And that is hardly where the great songs end. The string-laden "Kangaroo", "Strike It Noel", and "Take Care" are all amazing and probably unlike anything you'll ever hear in popular music.

Given the anguished tone of the record, one does have to wonder - as many already have - if the triumphal sounding "Thank You Friends" is sincere or bitterly ironic. In this sense, it reminds me of The Kinks' song "All of My Friends Were There". While this also sounds celebratory, the lyrics indicate otherwise: "And just when I wanted no one to be there/All of my friends were there/Not just my friends, but there best friends too/All of my friends were there/To stand and stare". Alex, meanwhile, says "without my friends I got chaos". Well, if the remainder of the record is any indication, chaos is what he's got a lot of! Is Alex in fact friendless, or were the friends he had simply not there when he needed them to be?

Whatever the case, lonely is something that Alex Chilton will never be in the world of popular music, as evinced by a couple of tribute albums and dozens of artists who admire Big Star. Sister Lovers was a departure from the snap crackle pop of their first two records, but arguably even more ambitious and fully realized than either of them. But while it may be the masterpiece of the band called Big Star, it can't really stand as their most representative opus, as #1 Record and Radio City are just as essential. Alex Chilton once said that he felt that he was joining Chris Bell's band when he became a member of Big Star, and that Bell was the biggest Anglophile in Memphis. With Bell's departure, Big Star clearly became Chilton's band. Thus, Sister Lovers might more accurately be his personal masterwork, while remaining a fascinating piece of the Big Star puzzle.
14 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9987af3c) étoiles sur 5 the most significantly personal album ever recorded 24 août 1999
Par Un client - Publié sur Amazon.com
Format: CD
third/sister lovers is a beautiful and brilliant, unforgettable record but it's so much more than that. excepting nick drake's pink moon and lennon's "primal scream" lp, no recording has ever captured the deterioration of hope and optimism and the cancer of fatalism like this one has.
on its own, sister lovers is full of haunting and lovely material like "blue moon," "dream lover," and "nighttime" but when listened in context, keeping in mind the innocence and youthfulness of #1 record and the "we won't give up" mentality that permeates radio city, only then does this record reveal its harrowing true colors.
take chilton's "car" songs as an example. #1 record gives us "in the street," a youth anthem in which the characters spend much of their time happily driving around town in someone's car. radio city sees this changing for the worse with "back of a car," in which the "music's too loud" and the fun is dissipating fast as the innocence and youth seeps away. here, on sister lovers, there's "big black car," painful in its sorrow and melancholy, talking about driving around as if it's only a memory in the mind of someone who can no longer enjoy any facet of life, not even that which used to give so much; "nothing can hurt me" he says, but we don't believe him, "driving's a gas, it aint gonna last."
in context, third/sister lovers may very well be the most incredible document of giving up since the advent of sound. equally jaw-dropping and miraculous as #1 record and radio city. everything you've heard about big star is an understatement.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x99e6ebdc) étoiles sur 5 This one takes time 3 septembre 2005
Par John Skurat - Publié sur Amazon.com
Format: CD
I have owned this CD for about 6 years. And, to be honest, I wasn't prepared for it, especially after absorbing the sheer pop brilliance of the first two albums. Immediate is not the first word that comes to mind when listening to "Third/Sister Lovers". In fact, it was only a couple of days ago that I decided to give it another shot. Only then did then record finally hit me. Sure, certain songs would catch my attention earlier, the desparation of "O, Dana", Steve Cropper achingly beautiful guitar on the cover of VU's "Femme Fatale", the crunch of "Till The End Of The Day". But, once the music settles in, the rewards are there, such as the baroque pop of Jody Stephens' "For You", which brings to mind The Left Banke, and "Thank You Friends", where its hard to tell if Chilton is extending a hand, or simply a finger. (My guess would be the latter.) "Holocaust" ranks with Japan's "Nightporter" as one of the most atmospherically depressing songs ever written. Then there's "Kangaroo", which feels like watching someone lietrally walking a tightrope. Or how about the junkie lullabye, "Take Care", where Chilton incoherent offers advice to a lover/friend/child while staggering and swaying over their bed? And, yet there are so many beautiful melodies, such as "Nighttime" and "Blue Moon" (one of the few honest moments of hope on this album.) No, this is not clean, sweet pop all packaged nicely. To get to this album, most listeners have to go through #1 Record/Radio City. Its only through the darker moments of that album do the joys this album become revealed. Somewhere, in an alternative universe, where Paul Wetserberg is granted his due as a songwriter extraordinaire, where the Raspberries are dominating the pop charts, and Pete Ham continues to write pop gems, Big Star are exactly that... big stars. Of course, we might not have this very record if that was the case.
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