ALEX CHILTON : BOOGIE SHOES - LIVE ON BEALE STREET

ALEX CHILTON : BOOGIE SHOES - LIVE ON BEALE STREET

Boogie Shoes
Precious, Precious
634-5789
Kansas City
Lucille
Big Boss Man
Where Did Our Love Go
Maybelline
Hello Josephine
Trying To Live My Life Without You

Label : Omivore Records

Venue : Fredstock Music Festival, The New Daisy Theatre, Memphis, Tennessee, USA

Recording Date : October 7, 1999

Release Date : May 28, 2021

Length : 43:36

Review (Pitchfork) : You could call Boogie Shoes a homecoming of sorts. A native son of Memphis, Alex Chilton adopted New Orleans as his new home in 1982—with typically perverse logic, the Big Star leader headed to the famously decadent city to get sober, a gambit that paid off—but his connection to the birthplace of rock’n’soul remained strong. When Memphis promoter David Less summoned him in the fall of 1999 to play Fredstock, a charity show for the ailing Fred Ford, a Memphis musical fixture who co-founded the Beale Street Music Festival in 1977, Chilton heeded the call, albeit reluctantly. As Less recounts in the liner notes for Boogie Shoes, an archival release of that October 7, 1999 set at the New Daisy Theatre, Chilton needed some convincing to return to Memphis. He claimed, absurdly, that there were no musicians in town he could play with. That’s when Less played a trump card: Chilton would be backed by the Hi Rhythm Section. The house band of Memphis’ Hi Records—featuring the Hodges brothers, guitarist Mabon “Teenie,” keyboardist Charles, and bassist Leroy; drummer Howard Grimes; and keyboardist Archie “Hubie” Mitchell, aka Archie Turner—had played on era-defining hits by Al Green and Ann Peebles. The opportunity to sing a set of classic soul covers with such an illustrious outfit proved irresistible to Chilton. Twenty-two years later, his joy at sharing the stage with them is apparent on every one of Boogie Shoes’ 10 rousing tracks. Chilton was no stranger to R&B. He cut his teeth as a teenage soul singer fronting the Box Tops in the 1960s, growling with a rasp that owed no small debt to Ray Charles. He’d leave this affectation behind as he fronted the legendary power-pop outfit Big Star, eventually developing a laconic drawl that served him well whether he was slumming as a solo act in punk clubs or playing fairs with a reunited Box Tops. The Fred Ford charity show gave Chilton a chance to apply his vocal tricks to a set of R&B warhorses, their familiarity helping to draw attention to his eccentricities. Chilton avoids soul clichés. He bends melodies, making sure they’re recognizable while landing slightly off-center. He rolls the lyrics around in his mouth, delivering phrases as if they’re punchlines to in-jokes. He sings with humor but without a trace of irony; throughout Boogie Shoes, he seems as if he’s on the verge of breaking out in a grin or a smirk. Acting as the bandleader—he never rehearsed with the Hi Rhythm Section, and just called out songs onstage—Chilton sticks to material he and the audience know by heart. Occasionally, he hauls out songs associated with Memphis, chief among them “634-5789 (Soulsville, U.S.A.),” a 1966 hit for Wilson Pickett whose subtitle became the nickname for the city’s legendary Stax Records. Chilton’s Boogie Shoes setlist is notable for how many different styles of ’60s R&B he and the Hi Rhythm Section tackle. They salute Motown by covering the Supremes’ “Where Did Our Love Go,” pay tribute to New Orleans by playing Fats Domino’s rollicking “Hello Josephine,” dabble in rock’n’roll with Chuck Berry’s “Maybellene,” and even reconfigure KC & the Sunshine Band’s disco classic “Boogie Shoes” as Southern-fried soul. What ties it all together is the Hi Rhythm Section: They play each of these selections as if they emanated from the heart of Memphis, anchoring the oldies with a cool, supple groove that conveys the sound of the city. The Hi Rhythm Section were among the best musicians Memphis ever produced, reason enough for a wayward son like Chilton to come back home for a night. The chemistry between the singer and the band makes Boogie Shoes something more than a good time. No other Alex Chilton record captures the often cantankerous singer sounding so relaxed, or in such high spirits.

Review (Omivore Records) : Memphis is a city with music in its blood. When Fred Ford, co-founder of the Beale Street Music Festival, was diagnosed with cancer, David Less organized Fredstock, a fund raiser to help with his medical bills. Less contacted Memphis legend Alex Chilton (The Box Tops, Big Star), who was living in New Orleans, to ask him to participate. Alex said he didn’t have any musicians to play with in Memphis, so Less suggested the Hi Rhythm Section (the band behind classics from artists including Ann Peebles, Ike & Tina Turner, O. V. Wright, Otis Clay, and Al Green). Alex replied, “That will work.” This previously unissued live set contains versions of soul classics from The Supremes and Otis Clay, rock numbers from Chuck Berry and Little Richard, and even a cover of the KC & The Sunshine Band title track. Available on CD, Digital, and LP, Boogie Shoes: Live On Beale Street was recorded at the New Daisy Theater in Memphis in 1999, during Fredstock. Packaging contains liner notes from Producer David Less, a friend of Chilton, and author of the acclaimed Memphis Mayhem: A Story Of The Music That Shook Up The World, and features a cover from rock & roll and folk art painter, Lamar Sorrento. Get ready to discover this performance by Memphis icons—tearing it up on stage, making music, and having fun. You’ll want to put on y-y-y-y-your Boogie Shoes.

Review (Americana Highways) : Though the legendary Memphis singer Alex Chilton doesn’t possess the deep voice he graced many Box Tops 60s hits with he still has showmanship. Opening with “Boogie Shoes,” with a masterful backup band the Hi Rhythm Section (Al Green, Ann Pebbles, Ike & Tina Turner, O.V. Wright & Otis Clay), Chilton & the band with no rehearsal add expertise. Recorded live at the New Daisy Theater (Memphis), the band’s actually tight in this unissued Oct. 7th, 1999 tribute concert (for Memphis musician Fred Ford). According to notes Alex called out each song & the band obliged. By “Precious, Precious,” the Hi Rhythm Section is blaring with brass beauty. It doesn’t sound like a big audience, but the showcase should’ve motivated a studio LP. Unlike The Box Tops (though they covered great songs during their run) they seldom covered a classic soul song. They had it in their sound when they recorded songs like “I Must Be the Devil,” “Soul Deep,” & “A Whiter Shade of Pale.” But primarily it was a tight, groovy, excellent short classic original song like “The Letter.” (Before Joe Cocker). Alex Chilton & the Hi Rhythm Section – Boogie Shoes: Live on Beale Street (Omnivore – Drops May 7) is a wonderfully recorded live show. 10 cuts — energetic, fiery & soulful. Chilton should’ve done more like this. He had the ideal voice & the Hi Rhythm Section was suited to this kind of performance. Alex (guitar) is joined by Mabon “Teenie” Hodges (guitar), Charles Hodges (keyboards), Leroy Hodges (bass), Archie “Hubie” Mitchell (keyboards), Howard Grimes (drums) with the horns: Jim Spake (tenor sax), Ronald Kirk Smothers (baritone sax) & Scott Thompson (trumpet). By “Kansas City,” the sound’s exceptional. The groove laid down by all the musicians & Chilton is fun, fun, fun. Scott’s trumpet wails like a banshee. Alex Chilton The entire show covers classic rock, soul, pop, R&B. They never emulate originals but decorate them with ingenuity. Even Little Richard’s classic “Lucille,” is rendered with the fire necessary to maintain its genuine intention. Cool sax solos huff & puff along with coal-driven drum steam. A blistering guitar solo sparks & when the entire band smokes it’s locomotive stuff. I was surprised at the sound of the recordings since its near-studio quality. Chilton is authoritative on “Big Boss Man,” (a hit for Jimmy Reed & Elvis Presley). I couldn’t find one weak tune on this set. Ok, maybe The Supremes’ “Where Did Our Love Go,” didn’t have the charm & energy of the original. Chilton does try to put his own spin on it & the horns accentuate nicely. It’s a sparkling performance.