ALEX CHILTON Like Flies On Sherbert SEALED German Import Big Star Jim Dickinson

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Vinyl:  Mint!  Sealed!  This is the 2010 Lilith Pressing of the 1980 Aura Release.  Alex Chilton of Big Star shows a fiercely independent swagger here and is laying the groundworks for all the Indie and Alternative hipsters just over the horizon...See Review Below!
Cover: Mint!  Sealed!!  (see photos)  The record appears straight; when I look down with one eye down all 4 edges there's no big, ominous bow to it that would suggest that it's warped.
I will gladly accept the return of Sealed records as long as they have not been opened (i.e. as long as they are still in the condition I sent them in).  Every record has a "fingerprint" of imperfections in the seal and/or the cover and I separately photograph and keep these details to prevent fraudulently returned items...yep, there are a few rotten apples out there!)  I will not accept a previously sealed record that has been opened, even if the complaint is that the record is warped.  This is why I look down the edge of all 4 sides of the record, to assess for potential bowing.  Look for that in the description of the covers of all my Sealed items. Thanks!  By the way, I've never (knock on wood!) had a buyer complain that they received a warped Sealed record.  :)
Goldmine Standards.   
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AllMusic Review by Steve Leggett  [-]

A step beyond the pop-perfection of Big Star lay Chilton's darker side. His 1979 solo effort was a both brilliant and flawed drug fuelled examination of his own country roots in search of a new direction. Through songs by Ernest Tubb, Jimmy C. Newman, Roy Orbison and K.C. and the Sunshine Band, as well as some originals, Chilton produced a looser album that allowed his new found creativity to flow through the many cracks, simultaneously dividing fans into two camps: The Big Star purists, and the ones who were able to see the genius on the flip side of it's demise. 180 gram vinyl.

This album from Lilith has a strange coherence to it, full of loose, ragged deconstructive noise experiments, gutbucket R&B, and deliberately torpedoed pop and country songs. All of this is a far cry from the impressive power pop of Big Star, to be sure, but Flies still seems to have a sense of purpose, even if that sense may have only been clear to Chilton. If love of Chilton's Big Star work brings you to this, well, be prepared to be shocked, but give it all a second listen. Songs like "My Rival" and its mirror cousin, "Like Flies on Sherbert," have fascinatingly bristling junkyard exteriors that mask a powerfully inverted pop sense, while tracks like "Boogie Shoes" have a refreshing country-R&B shuffle feel.   None of this is pop music trying to get over -- which is what one is used to -- but is instead pop music trying to get away from any perceived boundaries. What photo best captures the look and feel of the aftermath of a huge blowout party, one that is clear, in focus, and perfectly posed, or one that is blurred at the edges, tilted off axis, and has no obvious center point? The party's over, Chilton seems to be saying, and I don't have to look pretty anymore.