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In February last year, the often-elusive Alex Chilton was in New York City for a couple of gigs at the late, great East Village dive Coney Island High, with bassist Ron Easley and drummer Richard Dworkin. The trio had enough of a groove on playing mostly vintage soul tunes that they went into a Manhattan recording studio, Sear Sound, and kept the music rolling. In a single night, they cut 19 cover tunes, and Alex produced the session himself. That sort of approach was common in the studios of Memphis, Tennessee and Muscle Shoals, Alabama during the classic era of the sixties soul, though this think-on-your-feet, overdub-free style is an anomaly today. For the Memphis born-and-bred Alex, that’s the way he always liked it.
Alex and his cohorts had a list of songs for Set, based on what they’d been cooking up on stage, but, as Alex put it, “we thought of a few more once we got there.”
