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Big Star - Radio City album mp3

Big Star - Radio City album mp3
Radio City
Power Pop
FLAC album size:
1164 mb
Other formats:
4.4 ✪

Radio City is the second album by the American rock group Big Star. Released in 1974, Radio City was recorded during 1973 at Memphis' Ardent Studios. Though not a commercial success at the time, it is now recognized as a milestone album in the history of power pop music. Critically acclaimed upon its release, the record sold poorly, partly due to a lack of promotion and the distribution problems of the band's struggling record label, Ardent Records

Manufactured under license or distributed by Concord Music Group. Matrix, Runout (Runout, Side A): ADS-1501-A. Matrix, Runout (Runout, Side B): ADS-1501-B. Other Versions (5 of 26) View All. Cat.

Album Name Radio City. Released date February 1974. Labels Line Records Akarma Ardent Records.

What Radio City is, then, is a record by a band that should really be called Alex Chilton and Big Star. Chilton’s songwriting and singing are what make this record what it is. And what it is is much more rockin’, less folk-inspired and far more electric than their previous effort, Record. Radio City was a little harder and less polished. It wasn’t so much a pop record for the Top 40 as it was an odd little gem that revealed itself over repeated listens and provided a darker alternative to the first record. It’s easy to hear the difference, just based on the first song alone

RADIO CITY is the 1974 follow up to Big Star's debut, RECORD. Remastered from the analog stereo masters. Packaging includes new liner notes penned by . s Mike Mills, who cites Big Star as one of his biggest influences.

Radio City (1974) is the quintessential power-pop album, on which the Big Star fuse Beatles, Byrds and Who (September Gurls, Back Of A Car, O My Soul, Mod Lang, What's Going Ahn, You Get What You Deserve). Chilton's style is different from Bell's: Chilton's pop relies on a (rebellious) philosophy of life, on a (pessimistic) vision, on (disturbing) psychological depth, whereas Bell was all sound for the sake of sound. 1970 (Ardent, 1996) collects the recordings that Chilton prepared for his first solo album, before he joined Big Star. They are vastly inferior to both Box Tops and Big Star. Loose Shoes And Tight Pussy (Last Call, 1999), reissued as Set (Bar None, 2000), is another dreadful set of covers. Story (Rykodisc, 2003) is an anthology. Big Star returned with their first studio album in 27 years, In Space (Rykodisc, 2005).


O, My Soul 5:35
Life Is White 3:18
Way Out West 2:46
What's Goin' Ahn 2:37
You Get What You Deserve 3:05
Mod Lang 2:42
Back Of A Car 2:42
Daisy Glaze 3:49
She's A Mover 3:09
September Gurls 2:46
Morpha Too 1:28
I'm In Love With A Girl 1:45


Category Artist Title (Format) Label Category Country Year
ADS-1501 Big Star Radio City ‎(LP, Album, Mono) Ardent Records ADS-1501 US 1974
ADS-1501 Big Star Radio City ‎(LP, Album, Mono, Wes) Ardent Records ADS-1501 US 1974
ADS-1501 Big Star Radio City ‎(LP, Album, Promo) Ardent Records ADS-1501 US 1974
WIK 54 Big Star Radio City ‎(LP, Album, RE) Big Beat Records WIK 54 Europe 1986
WIK 54 Big Star Radio City ‎(LP, Album, RE) Big Beat Records WIK 54 Europe 1986
WIK 54 Big Star Radio City ‎(LP, Album, RE) Big Beat Records, Off Beat WIK 54 Europe 1986
LILP 4.00270 J, LILP 4.00270 Big Star Radio City ‎(LP, Album, RE, Whi) Line Records, Line Records LILP 4.00270 J, LILP 4.00270 Germany 1986
WIKC 54 Big Star Radio City ‎(Cass) Big Beat Records WIKC 54 UK 1987
AK 029, Stax 60125 Big Star Radio City ‎(CD, Album, RE, Dig) Akarma, Stax AK 029, Stax 60125 Italy 1998
AK 029, 60125 Big Star Radio City ‎(LP, Album, RE, RM) Akarma, Stax, Ardent Records AK 029, 60125 Italy 1998
STAX-60125 Big Star Radio City ‎(LP, RM) Ardent Records , Stax STAX-60125 Italy 1998
VICP-62292 Big Star Radio City ‎(CD, Album, RE, Min) Stax VICP-62292 Japan 2003
AK 029, STAX-60125 Big Star Radio City ‎(LP, RM, dig) Akarma, Stax AK 029, STAX-60125 Italy 2006
0888072315747 Big Star Radio City ‎(CD, Album, RE, RM) Fantasy, Universal Music Group International 0888072315747 Europe 2009
ADS 1501 Big Star Radio City ‎(LP, Album, RE) Ardent Records ADS 1501 US 2009
ADS1501, ADS 1501 Big Star Radio City ‎(LP, Album, RE, 200) Ardent Records , Classic Records ADS1501, ADS 1501 US 2009
ADS 1501, ADS1501 Big Star Radio City ‎(LP, Album, RE, RM, 140) Classic Records, Ardent Records ADS 1501, ADS1501 US 2009
ADS 1501 Big Star Radio City ‎(LP, Album, RE, TP) Ardent Records ADS 1501 US 2009
ADS1501, ADS 1501 Big Star Radio City ‎(LP, Album, RE, TP, 150) Classic Records, Ardent Records ADS1501, ADS 1501 US 2009
ADS-1501 Big Star Radio City ‎(LP, Album, RE, TP, 200) Ardent Records , Classic Records ADS-1501 US 2009
0602527417158 Big Star Radio City ‎(LP, Album, Ltd, Num, RE, RM, Red) Fantasy, Ardent Records 0602527417158 UK & Europe 2010
ADS 1501 Big Star Radio City ‎(LP, Album, RE, RM, RP) Ardent Records ADS 1501 US 2011
STX-35952-02 Big Star Radio City ‎(CD, Album, Mono, RE, RM) Stax, Ardent Records STX-35952-02 US 2014
4M241 Big Star Radio City ‎(LP, Album, RE, 180) Ardent Records , 4 Men With Beards 4M241 US 2014
0888072317321 Big Star Radio City ‎(LP, Album, RE, 180) Fantasy, Universal Music Group International 0888072317321 UK & Europe 2016
none, ADS 1501 Big Star Radio City ‎(LP, Album, Ltd, RE, Che) Concord Music Group, Inc., Ardent Records none, ADS 1501 US 2018
AK 029, 60125 Big Star Radio City ‎(CD, Album, RE, RM, Jew) Akarma, Stax, Ardent Records AK 029, 60125 Italy Unknown
ADS-1501 Big Star Radio City ‎(LP, Album, Mono, RE) Ardent Records ADS-1501 US Unknown

  • Use_Death
Sounds crystal to me, very good depth for a vinyl pressing.
  • Clever
I strongly believe this is an unofficial issue. And the runout identifiers aren't 7507 a and b, but 1501 a and b. Opinions?
  • Rolorel
This LP sounds great, just like most Back to Black pressings.
  • Wymefw
How does this pressing sound? Still plagued by harsh sibilance and distortion like the previous Concord pressing?
  • Ishnllador
it may be my own setup, but to me this is way more clearer and has big highs. i have no other edition to compare to but this release is way more pronounced in the higs than whats on spotify currently.
  • Black_Hawk_Down.
NOT AT ALL! In fact, this sounds superior to the previous two pressings I had and the dynamic sound on this is pretty remarkable.
  • Yla
Looks like the United pressed, Concord/Ardent 2011 version is getting a red/white split pressing from Newbury Comics. 500 pieces, shipping/in store Feb. 16, 2017.
  • Jieylau
Can anyone recommend which pressings of Radio City and #1 Record to go with? It seems like there are quite a few to choose from and I can't find much info on all of the different versions.
  • Mozel
andrwsmith Can anyone recommend which pressings of Radio City and #1 Record to go with? It seems like there are quite a few to choose from and I can't find much info on all of the different versions.
  • artman
Nice edition, record is well pressed and sounds good, but a shame that the artwork is so cheap...
  • TheFresh
That's a William Eggleston photo - a famous American photographer - hardly cheap! He is also from Memphis and seems he knew the band.
  • Clodebd
This is a 2011 Reissue by Ardent Records / Concord Music Group. Sounds good!
  • Kemath
Just wanted to drop in and post a review(s) of what is actually the lesser-known 1978 Stax UK two-fer pressing of "#1 Record" + "Radio City" s (i.e., this 2xLP: ), with the hope that it may be helpful to anyone who may be fretting over the daunting prospect of hunting down original Ardent copies of these records--which, while prohibitively pricey since *at least* the early 2000s, will nowadays not only obliterate your wallet, but damn near take a few chunks of butt-cheek with 'em. Here goes….Abbreviated review: The Stax two-fer UK pressing sounds very nice and, while not exactly a dollar bin record, is a vastly cheaper way of obtaining good-sounding, all-analog vinyl copies of the first two Big Star LPs.Full review: ***CRUCIAL CAVEAT***: I *have not* compared the Stax two-fer with actual, physical copies of the original Ardent US pressings. I can’t afford those records, either. The best I could do was to compare the two-fer with FLAC vinyl rips executed by the highly respected ”pbthal,” whose contributions to What.CD (RIP) were once an essential element of what made that legendary (and legendarily exclusive) file-sharing site so great. In light of this fact, it is with *massive emphasis* that I assert that the following review is ***fraught with huge limitations*** and must be taken with a golf ball-sized grain of salt. With all these qualifications and potential pitfalls in mind, here’s the setup on which I conducted the A/B shootout:McIntosh C29 preampMcIntosh MC 2205 ampJBL L100T3 speakersTechnics SL-1200mk2 + Shure M97xE cart + JICO SAS stylus (for playing the records)Music Streamer II DAC (for playing the FLAC files)I am unsure as to what pbthal’s setup was when he ripped the records--he constantly evolves and improves his setup--but one can safely assume that it was top-of-the-line. Also possibly noteworthy is that he used a white label promo copy of “Radio City.”Regardless, I got the same impression from both shootouts: In each case, pbthal’s FLAC vinyl rips were a tad brighter than my phono setup, and *possibly* very slightly more detailed; if the latter were the case, it’d probably be due to pbthal’s superior phono setup, but it was very close, so I’m not even sure it’s the case at all. Comparatively, my phono setup was a bit (not a lot) warmer, but the soundstage was wider, and the music seemed somehow less mediated to my ears. All in all, I slightly preferred listening to the records to the FLAC files. But these nit-pickings aside, the main thing that struck me during the shootouts was how ***similar*** the physical records sounded compared to the FLAC files. If I hadn’t been so hyper-focused on it, I may not even have noticed a difference if, say, I were listening from another room and a mischievous leprechaun were switching back and forth between the FLAC files and the turntable each song. I might notice, but I’m not *sure* that I would. They simply sounded more similar than different.Now, I should hasten to add, again, that there are glaring limitations to the very notion of comparing vinyl pressings by using FLAC files for one record and an actual record for the other--so glaring that I wasn’t even sure I was going to post this review at all. But when it comes down to it, I walked away from that shootout convinced that the UK Stax two-fer is a pretty damn good-sounding 2xLP, and is probably (although I’m obviously not 100% certain) quite comparable to the original US Ardent pressings. Might the Stax pressing have used, say, second-generation tapes? Maybe, maybe not. But even if so, they did a dang good job with them. Indeed, I also walked away from the shootout feeling like the Stax two-fer was a good-sounding record *in general*, and it actually sounded better than I expected beforehand, given the era during and circumstances under which it was created (I don’t know too much about the albums’ recording history, can’t help but assume that they didn’t exactly have Beatles- or Led Zep-level budgets when they originally recorded them).My ultimate conclusion/recommendation: If you ever see the 1978 “#1 Record” + “Radio City” two-fer Stax UK pressing for a good price, grab it without hesitation. It’s a good-sounding pair of records, and it may be the last chance you ever get to hear Big Star in glorious analog in your very own living room.
  • Arakus
Hi. I'm lucky to have compared the Stax two-fer with the actual, physical copies of the original Ardent US pressings. Larry Nix's original mastering mix on the US pressing is an aural experience! While the UK 2-fer mix is both underwhelming and quiet. I'd prefer you get the original US pressings if you got the cash, otherwise getting the UK 2-fer is a nice starting point into the world of Big Star.
  • Qusserel
Man, I miss phthal. I still remember the days he dropped Neil Young's Time Fades Away, the first three Kraftwerks and Dylan's Freewheelin (with Rocks & Gravel, John Birch etc) like they were yesterday. It was like all your Christmases come at once, over and over again. Dude truly was to vinyl ripping what Walter White was to crystal meth.
  • Owomed
Just sold off my copy of this. Might have just been unlucky, but there was a ton of sibilance and distortion especially on Morpha Too and I'm In Love With a Girl. Pressing defect most likely. It drove me nuts for such a long time. I settled for the 4mwb pressing, and it's alright. At least I can breathe easy now when the last two tracks come on.
  • Tojahn
1) The music itself is sibilant. It's been that way since I first heard the album on CD in the 90s. When Chris Bellman cut the lacquers for Classic, they were "no compromise" cuts straight off the master tape. If they had been transferred to digital first, it would've been easier to run them through a d-esser plug-in or use other methods to shave off the sibilance. I'm guessing that's what happened with the 4MWB pressing. Coincidentally new CD versions were released around the same time as the 4MWB pressings, which means they probably used whatever digital transfer (though likely 24 bit) that was done for the CDs. 2) Concord Music Group always farms out to whatever plant has the capacity. That means even with good metalwork, you can wind up with pressing defects. United pressed a bunch of these with the Classic metalwork, and United is probably one of the least consistent plants out there. 3) No compromise cuts like those described in point #1 assume the user has a decent cartridge with an advanced stylus. These cartridges can track sibilance a little better though they'll never be able to eliminate what's on the tape. If you have a sub-$100 cartridge, or something with a fat elliptical or conical stylus, forget it.
  • Global Progression
You realize that they are basically like a counterfeit company right? Making money by taking the easiest to license albums and using terrible sources like CDs to make records from. The only reason it doesnt suffer from the problem you had is because its probably so low quality you cant hear it anymore. Who is to say its not your equipment or the music itself thats sibilant.
  • Kerdana
Sure. I'll dish out 85 bucks for the classic reissue. While 4 Men has a terrible reputation, at least their pressing didn't suffer from some of the egregious quality control issues I found on multiple copies of this pressing. But, hey. Being pretentious and condescending is likely what you live for. Enjoy.
  • Andromajurus
leonthepro 4MWB is like the worst record company, wtf. Just get a Classic Records issue or the white and red repressings of those. 4MWB is like the worst record company, wtf.
  • Aedem
Get this while you can. As I understand it this reissue used the Classic Records plates. This version as well as the CR reissue are both long gone, and it's only a matter of time before this spikes in price. It's a solid reissue and far superior to the Four Men With Beards version.
  • Cerar
Hey! Any comments on the audio & pressing quality of these 2016 "Back To Black" Big Star reissues?Thanks!!
  • Kigul
I can certify it sounds great indeed. Until I got this copy I never thought Radio City was such well recorded and produced.
  • Mikale
Only have #1 Record but it sounds great, it's the same remaster from the reissue done in the states a few years previous
  • Connorise
Pressing sounds fantastic. One problem I've noticed is right out of the plastic there was a significant skip on "September Gurls". No visible flaws in the vinyl but it skips in the same spot every time. I wonder if this is a common issue or if I just bought a bad copy.
  • fabscf
I had a similar issue with O My Soul (first of all, I freaked out not just a little because I didn't know it was mono, and occasionally there is sibilance that is definitely in stereo), but anyhoo I went after the spot on the grooves with a (vintage 80s) Discwasher brush and some MoFi cleaning solution and got rid of the skip.
  • Armin
jay_gord76 I wonder if this is a common issue or if I just bought a bad copy. I agree about the sound quality - I'm very pleased with this pressing. I can also let you know that my copy has no flaws as you describe.
  • Pringles
Hi guys,I have an old copy of Radio City which matches all the information presented on this release. On both sides of the vinyl in the run-out groove there is only a hand written number "1501" followed by some sort of a small symbol, different small symbols for Side A and Side B. I wonder if anyone has any information on the matrix number/codes of early Radio City copies?Thanks so much!-Andy
  • Alsantrius
Hi! Thanks so much for your reply, much appreciated! I was also pretty sure it was a bootleg/pirate version...thankfully I didn't pay too much for it. If I had known before buying, I probably wouldn't have bought it, but no big harm done :) Still on the hunt for an original, of course!!
  • Oghmaghma
Record with this matrix 1501 a / b is an italian pirate reissue from 1986.Sleeve is on lighter, filmsy cardboard and labels are almost green instead of blue.Printings on the side of the sleeve are bigger than on official 1974 release.This industrious lads also did a reissue of #1 Record at the same time.
  • Nilador
I think I have the same pressing .... I got this in the early 80s . It has slightly greener ARDENT lettering on the label than the one pictured . I think it may be a bootleg or Greek pressing as quite a lot of rare / deleted albums were only available as Greek pressings back in those dark days . I hope mine is an original but I doubt it is
  • Shakar
My copy matches the matrix info above, except no promo label--but it is a cut-out.
  • Malodora
The second album from proto-everything pioneers Big Star, led at this point by guitarist/singer/songwriter/lyricist (not to mention former teenage musical sensation) Alex Chilton, throws down some of the most invigorating, unexpected and forehead-slappingly brilliant guitar performances in the history of pop/rock music. The songs are impeccably arranged, full of twists and turns that document the incredible peak of Chilton's powers. Opening track "O My Soul" by itself is one of the greatest guitar-based workouts committed to wax, full of intertwining lines that are endlessly complimentary-- not to mention the crack rhythm section (and occasional co-writers) of Jody Stephens on drums and backup vocals and Andy Hummel on bass guitar. I guess this is classified as "power pop" (which is great and fairly accurate) but mostly it just feels like a classic, singular, timeless record in the grand tradition of rock'n'roll.