When debuted in 1977, it revolutionized the visual landscape of mainstream American filmmaking, transporting fans to new galaxies and introducing them to countless now-classic characters, costumes, aliens, planets, and starships. By 2005, with the last film in theaters, the had become a phenomenon impacting cultures across the globe. From the beginning, the aesthetic was influenced by comic book artists from the 1930s to the 1970s, famed illustrators Chesley Bonestell, John Berkey, Frank Frazetta, and others, as well as classical artists. Just as George Lucas drew upon the work of N. C. Wyeth and Norman Rockwell for his own visual inspiration, he has now invited more than 100 of the best working illustrators, designers, cartoonists, and fine artists to create new work based on or inspired by their favorite characters, themes, landscapes, and moments from the Star Wars Universe. collects the very best of these works together for the first time, celebrating more than thirty years of Star Wars with a roster of talent working in every style and genre. Capturing the imagination, beauty, and breadth of the films, television series, and more, Star Wars Visions is both a tribute to and a new way of experiencing a galaxy far, far away...
Cardboard sleeve, digitally remastered re-release of Big Star's last album featuring all of their original members. Cardboard sleeve (mini LP) replicates original LP artwork with obi strip, printed inner and lyric sheet in Japanese & English. After Big Star released Radio City, they fell apart, leaving Alex Chilton to record in 1975 what was later released as 3rd (aka Sister Lovers). The album is strikingly different from everything Chilton created before or after. With pained outpourings such as the haunting "Holocaust," it holds its own against rock's greatest monuments to existential angst, from Tonight's the Night to Bryter Layter. It also ranks alongside the Beach Boys' SMiLE as perhaps the only "classic" album with no set sequence. (Chilton never bothered to sequence it because, upon its completion, no label wanted to release it.) It finally came out four years later, and since then, while it has appeared on several labels, no two have used the same track order.
Largely lacking co-leader Chris Bell, Big Star's second album also lacked something of the pop sweetness (especially the harmonies) of #1 Record. What it possessed was Alex Chilton's urgency (sometimes desperation) on songs that made his case as a genuine rock & roll eccentric. If #1 Record had a certain pop perfection that brought everything together, Radio City was the sound of everything falling apart, which proved at least as compelling.
First-to-CD reissue of Big Star's 1972 first album. Expected to come housed in a mini-LP type cardboard sleeve. The problem with coming in late on an artwork lauded as "influential" is that you've probably encountered the work it influenced first, so its truly innovative qualities are lost. Thus, if you are hearing Big Star's debut album for the first time decades after its release (as, inevitably, most people must), you may be reminded of Tom Petty & the Heartbreakers or R.E.M., who came after – that is, if you don't think of the Byrds and the Beatles circa 1965. What was remarkable about #1 Record in 1972 was that nobody except Big Star (and maybe Badfinger and the Raspberries) wanted to sound like this – simple, light pop with sweet harmonies and jangly guitars.