Q&A: R.E.M.'s Mike Mills chats about Big Star reissues

Though countless musicians credit Big Star as an influence, the Memphis-based group didn't become widely known until years after it disbanded. Some might say Big Star's albums still haven't received their due respect.

This week Stax Records reissues remastered versions of Big Star's stellar first two releases, 1972's #1 Record and 1974's Radio City. The albums come with new liner notes from R.E.M. bassist Mike Mills, a big fan who performs the band's material in the ongoing Big Star's Third concert series.

During a break in his busy tour schedule, I had the pleasure to talking to Mike about his relationship with Big Star:

You've had a busy summer. You're kind of touring with three bands, right?

Mills: Pretty much, with Joseph Arthur, Big Star's Third and The Baseball Project. (Laughs) It's more touring than I've done in six years, but it's really fun.

In the liner notes for the Big Star reissues, you say you first heard the band through (R.E.M. guitarist) Peter Buck's record collection. Around what year was that?

Oh, I imagine it would've been '79 or '80. It would've been the first two (records); I didn't listen to the third for a little while — or I did, actually, I just didn't like it as much off the bat.

There are certain bands where I can pinpoint the first moment I heard them, and Big Star is one. What is it about their music that you think makes such an impression?

Well, it's just … it's just done right. The recording and the producing is great, the songs are all fantastic — there's not a dog on any of their three records — and they just knew how to do it. They had the feeling, they had the chemistry, they had the connection to music and to rock 'n' roll that shows up when you listen to it.

When did you become acquainted with the band? Was it when Alex (Chilton) was still alive?

I saw Alex a lot over the years. (R.E.M.) first met him at a place called Tupelo's Tavern in New Orleans. He came backstage and drank all our beer; we got backstage and the beer was gone, and so was Alex. (Laughs) Of course, I knew Jody (Stephens, the drummer) from Ardent Studios, where we recorded Document. And I would just encounter them in various places. Alex used to tour a fair amount, so I would see him here and there. Then when Alex died, Jody asked if I'd play a memorial tribute down at South by Southwest, so that started this whole thing we're doing now.

Now that you're playing the songs, what have you learned about Big Star's music that perhaps didn't occur to you when you were just a fan?

Well, I realize what a great bass player Andy Hummel was. He doesn't play traditional bass and I don't either, so I can totally relate to and enjoy his style of playing. That was a big revelation once I started learning all these songs.

What has the fan reaction been like to the Third shows? I imagine you meet a few who saw Big Star play back in the day.

You know, there aren't a whole lot of people we've talked to that actually saw all four of them together, but everybody loves it. People are profoundly affected. It's extremely emotional music; the third record is the sound of Alex basically giving up, going insane and doing whatever the hell he felt like. It's naked and raw and extremely vulnerable, and I think that comes out.

You heard the master tracks of Radio City. What was that like?

That was pretty crazy. It was part of the documentary ... I think we did a show at the bandshell in Memphis at Overton Park. Ken (Stringfellow) and Jon (Auer) had taken the master tracks and put them on Pro Tools so you could separate them, I tagged along and got a free listen. It was amazing. There's just a lot going on that you don't know is there, and yet it affects the song.

For new listeners, what do you suggest as an entry point to Big Star's music? Should they go in chronological order?

I always liked the first record because it had Chris Bell on it. Chris Bell was a great counterpoint to Alex in terms of both singing and songwriting, and his production is also a part of why that first record sounds as good as it does. So just as a general entry to the band, I would go with #1 Record, then if you're gonna see the show, you should listen to the third. But they're all great, you can't go wrong.

I didn't really listen to Chris Bell's solo stuff until it was reissued a few years ago, and it just blew me away. My heart feels heavy even mentioning it.

Yeah, he was a very ... you know, I hate the word "sensitive," but I think he probably was. He was a very vulnerable guy, and he really put his heart and soul into it. And he was profoundly affected by the fact that (the band) didn't pan out as it should have. I feel bad for him to this day.

It's just occurring to me that the latest Baseball Project album is called 3rd ...

That's not a complete coincidence. Certainly everyone in The Baseball Project is a big Big Star fan, so 3rd was a nod to the band, a tip of the hat. Of course, it also relates to the fact that it is the Baseball Project's third album, Babe Ruth was No. 3 … there were a lot of cosmic reasons to call it 3rd. But yes, Big Star was part of that.

Mike, thanks for making the time to talk. It's always a pleasure when I speak to someone whose work has impacted me, and you're certainly one of those people.

Thank you, Whitney. Thanks for caring.

Note: The remastered reissues of #1 Record and Radio City are available now digitally and on CD. Learn more about Big Star at ardentmusic.com, bigstarthird.com and on Twitter at @BigStarBand.