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''Like Flies on Sherbert'' is the first solo album to be released by the American pop-rock musician Alex Chilton. He had previously recorded a collection of songs in 1969 and 1970, ultimately titled ''1970'', but this was not released until 1996. Released in 1979, ''Like Flies on Sherbert'' was recorded at two Memphis studios, Sam Phillips and Ardent Studios in 1978 and 1979. Chilton had previously been a member of the Box Tops and Big Star. The album was originally released in fall 1979 in a batch of 500 copies by Peabody Records, a label run by Memphis singer and guitarist Sid Selvidge. Aura Records, a British label, put out a version that differed slightly from the original issue. A number of CD releases followed in the 1990s and 2000s, some with added bonus tracks. Selvidge's 1998 Peabody CD reissue collects all the tracks from the previous Peabody edition and the Aura reissue and adds three tracks: "Baby Doll," "She's the One That's Got It" and "Stranded on a Dateless Night." The photograph used for the cover of the album was taken by noted American photographer William Eggleston, who had previously provided the cover for Big Star's second album ''Radio City''. ==Recording== The songs on the album were either Chilton originals or obscure cover versions of songs by artists including KC and the Sunshine Band, The Bell Notes, Ernest Tubb and the Carter Family. Critic Robert Christgau described them as a "bag of wrecked covers and discarded originals".〔(Review by Robert Christgau )〕 All were recorded with false starts and vocal and musical errors, either created by accident or on purpose. Producer Jim Dickinson later described the recording of "No More the Moon Shines on Lorena": "Sometimes there was somebody in the control room and a lot of times there was nobody there. The beginning of 'Lorena' where it's spoken, that was overdubbed because whoever started the machine didn’t start it soon enough."〔(Crawdaddy: Alex Chilton 1975–81 )〕 The musicians also sometimes used instruments that were not fully functioning, as Dickinson explained: "The Minimoog was sitting around broken at (studio ). I played it and all I did was twist knobs."〔 Chilton later said that when the recording sessions began, he began to think, "'Man these guys don't know the songs...this must sound terrible'. But when I went in the control room and heard what we’d been doing, it was just incredible sounding. Getting involved with Dickinson opened up a new world for me. Before that I'd been into careful layerings of guitars and voices and harmonies and things like that, and Dickinson showed me how to go into the studio and just create a wild mess and make it sound really crazy and anarchic. That was a growth for me."〔Robert Gordon, "It Came from Memphis", Pocket Books, 2005. ISBN 0-7434-1045-9〕 Dickinson affirmed that Chilton consciously wanted the musicianship to be sloppy. He clarified that he plays guitar on the album despite not being technically proficient: "A lot of the guitar on Sherbert is me. Alex said, 'You still play like you’re 14 years old.' I said, 'Yeah, I play bad.' That's what he wanted."〔 Years later, for Robert Gordon's book on the Memphis music scene, "It Came from Memphis", Chilton stated, "My life was on the skids, and 'Like Flies on Sherbert' was a summation of that period. I like that record a lot. It's crazy but it’s a positive statement about a period in my life that wasn’t positive."〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Like Flies on Sherbert」の詳細全文を読む スポンサード リンク
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