- The Ultimate Box Tops (1988)
Alex Chilton is the very definition of a cult artist. His contributions to Big
Star in the 70s are the very musical heights which most record geeks gush over.
Sure, Big Star never sold records, but that didn't stop almost every record
critic from going crazy over the ironically titled #1 Record or the glorious
power pop of Radio City.
The Box Tops seem to document Chilton's formative years in Memphis in a whole
different context. Turn on any "oldies" station and you're bound to come across
"The Letter", which is usually also included on many 60s top 40 "quickie"
compilations that you're bound to come across on tv at 3am. But as with any
icon, there was way more going on under the surface. Chilton formed The Box Tops
with the intention of hitting the big time, but the band really only ever sadly
ended in disappointment. Beyond "The Letter" and "Cry Like A Baby", the band's
attempts at commercial success misfired in a mid 60s music industry that was
only beginning to cynically fabricate new pop stars such as the Monkees.
I really believe what Chilton wanted to convey with his first band was his love
and devotion to soul music. He was a white dude growing up in a legendary soul
city, and anyone-black, white, chinese, whatever-growing up in Memphis in the
60s could not escape the towering Stax records empire. If you lived in Memphis
and loved soul music, it ran through your blood and oozed out every pore of your
skin. Perhaps the biggest mistake was to market his music at a top 40 audience.
Even bigger Stax names like Otis Redding and Sam and Dave eventually crossed
over in the top 40, having cut their teeth on the often more gritty soul and r&b
charts. You ever wonder how Big Star ended up on Stax/Ardent records? Well,
Chilton did have his connections, and the band's inclusion on that label seems
more logical the more you think about it. About as logical as Frank Zappa's
early inclusion on jazz label Verve.
The Ultimate Box Tops attempts to collect the band's most popular tracks, which
only points to one thing - prepare for some "not so good filler material".
Considering that Chilton writes only 2 of the 15 tracks here, he does a good job
handling the material in his gruff, blued-eyed soul voice. At least better than
Michael Bolton. Actually, a lot better than Michael Bolton. Tell me folks,
whatever happened to Michael Bolton?? Who cares, you say?? Well, I don't...
Because he seemed so hell bent on success, I'm not convinced that all of these
tunes were Chilton's choice. "The Letter" easily blends in with other top 40
sixties fare, although the horn section does threaten to blare out of the pop
framework even though the song is just under two minutes long. The guitars are
twangy and the drums jump, it is quite a legendary track. As is "Cry Like A
Baby", albeit more soulful. This song was just asking for a garage band to cover
it and run it into the ground. It's probably been don
e though.
"Choo Choo Train" continues mining that southern soul, but it's childish lyrics
are more suited to bubblegum. Take away Chilton's vocals and the horn section
and you've got a song tailormade for the Archies. "I Met Her In Church" is
cheesy, and a clumsy attempt at gospel, and the syrupy strings near the end of
the song are very grating. "Sweet Cream Ladies, Forward March" is equally as
grating and may have been another attempt a novelty hit. Lightning didn't strike
twice though. The lyrics are curious though, with a tongue in cheek reference to
the merits of prostitution(!).
"Soul Deep" is much better and veers toward southern rock. Lynard Skynard
could've covered this and made it a hit, although I think it WAS a hit, at least
the last single the Box Tops released that received any sort of recognition.
Actually, the song kind of reminds me of early Wilco too (say, something off
"Being There"), or the Rolling Stones country rock material (Dead Flowers?). The
cover of Dylan's "I Shall Be Released" is pleasant and equally as good as the
Band's version, but the cover of "A Whiter Shade Of Pale" doesn't come close to
topping Procol Harum's version.
So this is the different, more soulful side of Chilton's rocky career. If you're
a Big Star fan, you really need to keep an open mind to appreciate this music,
which is a far cry from 70s power pop. Repeated listens will unveil some gems
though.
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