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Chilton cut A Man Called Destruction at his old Memphis stomping grounds, Ardent Studios, with a band made up of old studio hands and frequent collaborators, and with Alex at the helm they generate a great sense of groove, loosely tight in the great Southern manner rather than shambolic like Like Flies on Sherbert.

A Man Called Destruction. By: Alex Chilton (1995, Rock). More albums from Alex Chilton: Live In London by Alex Chilton. Ocean Club ’77 by Alex Chilton. High Priest by Alex Chilton. Like Flies On Sherbert by Alex Chilton. Loose Shoes And Tight Pussy by Alex Chilton. One Day In New York by Alex Chilton. Electricity By Candlelight NYC 2/13/97 by Alex Chilton. Live In Anvers by Alex Chilton. View all albums . A Man Called Destruction.

Clichés is the fourth solo album released by American pop rock musician Alex Chilton. It was recorded and released in 1993. Chilton recorded the album in New Orleans at Chez Flames, the studio of producer and recording engineer Keith Keller, who also wrote the song "Lies", featured on Chilton's album A Man Called Destruction

Throughout his solo career, Alex Chilton was in the unenvious position of having to compete with his work in Big Star. Despite only putting out a few albums, Big Star, even decades later, is one of the most influential power pop bands to ever come out of the . and all three of their official studio albums are undeniable classics. So, anyone having to follow that track record was bound to disappoint some. Throughout the ‘80s and ‘90s, Chilton managed to put out several decent records and a handful of great ones; A Man Called Destruction falls into the latter category. Like the Big Star and Bell re-releases, this new take on A Man Called Destruction is well worth owning. Purchase the album here. Alex Chilton John B. Moore Omnivore Recordings.

As the second Alex Chilton reissue this year along, following Take Me Home and Make Me Like It, a revisited expansion of A Man Called Destruction illustrates his success, legacy, and unique qualities as musician with greater structure and intent. The former album, an extremely unpolished set studio recordings from 1975, illustrates works-in-progress of tracks that eventually surfaced on Singer Not the Song and Bach’s Bottom and accordingly lacks the career direction of a fully produced record. When it was released in 1995, A Man Called Destruction served as a kind-of follow-up to Chilton’s 1993 solo album, Clichés. That album was the product of touring on a bill of seven other singer-songwriters in the Netherlands in 1992 and enjoyed mild success in the United States due to a licensing deal with Ardent Records.

Power Pop, 1995, Blue, OBJECTUM-SEXUALIS, OS GROUP, POTTERY WORDZ, Bilititas, RX, NICHOPOULOOZA, Alex Chilton.

The band's singer, Alex Chilton-barely old enough to vote at the time-was crashing at Dennis Wilson’s house in Pacific Palisades with a motley crew of musicians and hangers-on. Among them was Charles Manson, who was a struggling songwriter and not yet the decade’s iconic bogeyman. The morning after an unimaginably wild party, Chilton awoke groggy and confused to find Manson sprawled out on the couch next to him. It was, the young singer decided, time to go back to Tennessee. Pitchfork: As celebrity biographies go, A Man Called Destruction doesn’t have the typical narrative arc where the person struggles to succeed and then becomes famous. Instead, Chilton had fame thrust on him when he didn’t seem to want it, and when he did want success, it was incredibly elusive. HGW: He wanted it and he didn’t want it. He wanted to play music for a living, but being a cult figure didn’t pay the bills.