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680597 Posts in 27600 Topics by 4068 Members - Latest Member: Dae Lims March 28, 2024, 09:08:04 AM
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8851  Smiley Smile Stuff / The Beach Boys Media / Re: The Official BB You Tube Thread on: July 15, 2009, 01:49:10 PM
http://www.youtube.com/watch?v=pR7NtBe2QHQ&feature=channel_page

Never heard this....
8852  Smiley Smile Stuff / General On Topic Discussions / Re: Dennis' I've Got a Friend on: July 15, 2009, 01:11:24 PM
If this whole "turning Dennis instrumentals into releasable songs with vocals" thing becomes a regular thing, I'd much rather someone more connected with the Beach Boys, like David Marks or Christian Love be singing the leads instead of Taylor Hawkins. I liked the way he sang on Holy Man, though.

What about his own son Carl?  Haven't enough people heard his version of "Forever", with his Uncle Brian, to understand the justice he could do to these instrumental tracks?

Never heard "orever" by him. Where can one listen to that? Sounds interesting
8853  Smiley Smile Stuff / The Beach Boys Media / Re: Mike & Bruce CBS Atlanta on: July 14, 2009, 07:54:42 AM
Look @ The fans digin' it:

 http://www.youtube.com/watch?v=nSLDGUYL0Rc

Thanks for th elink. This and the other videos just show again how much the band has improved and how great Mike's son sounds. They use the same arrangement on the "ooh-bap-bap-good vibrations"-part as Brian did on the Roxy-CD. Nice to hear them doing more vocal parts now than just the same they did through all those decades.

@SJS: Have fun at Willie's show.
http://www.youtube.com/watch?v=TPMxJROHInM&feature=PlayList&p=2467FC41B7BF0EE8&playnext=1&playnext_from=PL&index=3
8854  Smiley Smile Stuff / General On Topic Discussions / Re: Fats Domino's influence on Brian ? on: July 11, 2009, 06:05:44 AM
I always felt that Brian's piano style is similar to the way Fats kinda pounds the keys almost staccato-like as in Walkin' To New Orleans. Brian doesn't hit the keys as hard.

Yeah, kinda true. But it might come from the Rock'n'Roll-style and maybe not directly from Fats. Anyway "Soul searchin" has Fats Domino written all over it.
8855  Smiley Smile Stuff / General On Topic Discussions / Re: Guitar playing on later albums...Still Cruisin, Summer in Paradise on: July 10, 2009, 01:55:02 PM
Well, Carl and Al didn't play on the Summer in paradise-album, so I guess it was Adrian Baker. Maybe someone can shed some light on this.

BTW I absolutely love the surf-guitar on "Island fever" (US-version)
8856  Smiley Smile Stuff / General On Topic Discussions / Re: The Beach Boys Hate You on: July 10, 2009, 06:02:09 AM
The 1964 live recording of "What'd I Say" is pretty darn punk. 


Almost everything in '64 was punk. TAMI-show, the "Concert"-album (listen to the unedited performances). As soon as brian was no longer touring they sounded kinda tired. That began to change in '68 luckily...
8857  Smiley Smile Stuff / General On Topic Discussions / Re: Brian on Michael Jacksons Death on: July 10, 2009, 05:34:01 AM

He is not unhappy with what he's doing - or rather what he does not do. Perhaps it was a blessing for him, in any case, it was a great achievement: that he has responsibility.


No, it's "...: that he did hand of responsibility" (to his band)
8858  Smiley Smile Stuff / General On Topic Discussions / Re: Brian on Michael Jacksons Death on: July 09, 2009, 12:22:05 PM
A typical german article. Same story.....
8859  Smiley Smile Stuff / General On Topic Discussions / Fats Domino's influence on Brian ? on: July 09, 2009, 10:49:02 AM
Not too long ago there was talk about the Beach Boys' version of "Blueberry hill". This brought me to the question if Brian ever mentioned any Fats-influence on his productions or songwriting. Brian's horn-sounds sometimes remind me of Fats'. Anyone got any ideas?
8860  Smiley Smile Stuff / The Beach Boys Media / Re: Trying to Find a BBs Concert Clip from Late '70s on: July 08, 2009, 11:33:07 AM
Yes that clip exists, I think I have it somewhere on my computer, if I find it I will put in on youtube again.

Edit: Here it is:
http://www.youtube.com/watch?v=j1EPXBQV3yM


It doesn't look to me like Brian rocking out but more like either a soned or sick guy. Very sad either way.
BTW Are they really playing "Roller skating child"? Video and sound are not in sync...
8861  Smiley Smile Stuff / General On Topic Discussions / Re: Brian to perform 'new' old songs this year on: July 08, 2009, 08:25:02 AM


Thank you !

I agree, he doesn't seem very excited.
8862  Smiley Smile Stuff / General On Topic Discussions / Re: Brian to perform 'new' old songs this year on: July 08, 2009, 05:17:32 AM
How did Brian do on "Shut down" ? I guess he might've had problems with the lyrics.
8863  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 05, 2009, 03:34:22 PM

That's too bad, I suppose I always hoped that Elvis contributed a bit more than that, but it's not a big deal that he didn't.  As far as I'm concerned the things he did with his songs and they way he shaped them more than counts as musical creativity.  It wasn't just his voice that brought so many songs alive. 


Ther's a release on his collectors-label "Follow that dream" called "Writing for the king" which includes several demos done by the writers of the songs and given to him. It's very interesting, because you can hear what he did with a song, and how he changed the arrangement, etc.  So in fact you could say he contributed alot. The role of a songwriter/producer in Elvis' way of working was very different to that of the Beach Boys.
If I may ask, how old are you? I'm 25 and from what you wrote, I guess we're not very far apart age-wise.
8864  Smiley Smile Stuff / General On Topic Discussions / Re: New Record Collector out with big Al interview on: July 05, 2009, 05:52:58 AM
Thanks !
8865  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 04, 2009, 04:41:14 PM
Here's some interesting update on the "From Elvis in memphis"/"Back in Memphis"-special edition:

FROM ELVIS IN MEMPHIS: LEGACY EDITION
CELEBRATES 40th ANNIVERSARY OF AMERICAN STUDIOS SESSIONS, 36 TRACKS ACROSS 2 CDs, INCLUDING
10 ORIGINAL MONO SINGLE MASTERS

The sessions delivered a year of ‘comeback’ hits:
“In the Ghetto,” “Suspicious Minds,” “Don’t Cry Daddy” and “Kentucky Rain”

Liner notes by Memphis music historians Robert Gordon and Tara McAdams
Out July 28, 2009, through RCA/Legacy


“The implicit challenge was accepted, and all sank in for hard work, real work.. The biggest hits of Elvis’ latter career came from these sessions: ‘Suspicious Minds,’ ‘In The Ghetto,’ ‘Don’t Cry Daddy,’ and ‘Kentucky Rain’… He went from selling a couple hundred thousand singles to having several hits that sold more than a million… Once again Elvis arose and again, Elvis triumphed.”
– from the liner notes by Robert Gordon and Tara McAdams

In January-February 1969, after 13 years of recording studio albums and movie soundtracks in Nashville and Hollywood, the time was right for Elvis Presley (1935-1977) to set foot once again in a Memphis studio. Those sessions at Chip Moman’s American Studios yielded a year-long string of ‘comeback’ hit singles: “In the Ghetto,” “Suspicious Minds,” “Don’t Cry Daddy” and “Kentucky Rain.”

FROM ELVIS IN MEMPHIS: LEGACY EDITION collects that entire American Studios output, and then some. The specially-designed 40th anniversary double-CD package will be available at all physical and digital retail outlets starting July 28th through RCA/Legacy, a division of SONY MUSIC ENTERTAINMENT.

The extensive 2,400-word liner notes essay for FROM ELVIS IN MEMPHIS: LEGACY EDITION was written by the homegrown Memphis team of Robert Gordon (whose books include It Came From Memphis and The Elvis Treasures, and whose documentary films include Respect Yourself: The Stax Records Story and Shakespeare Was A Big George Jones Fan: Cowboy Jack Clement’s Home Movies) and his wife Tara McAdams, author of The Elvis Handbook among other works.

Individually, disc one of FROM ELVIS IN MEMPHIS: LEGACY EDITION includes the 12 songs of 1969’s original From Elvis In Memphis LP. Among these are “In the Ghetto” (written by Mac Davis, the song that jump-started his career the next year as a Columbia Records artist), and powerful covers of Gamble & Huff’s “Only The Strong Survive” (via Jerry Butler), Johnny Tillotson’s “It Keeps Right On A-Hurtin’,” Hank Snow’s “I’m Movin’ On” (famously covered by the Rolling Stones back in ’65), John Hartford’s “Gentle On My Mind,” and Burt Bacharach’s “Any Day Now” (via Chuck Jackson).

The 12 songs are augmented by four bonus tracks, songs that showed up on various LPs over the next couple of years “Who Am I?”, “If I’m A Fool (For Loving You),” and covers of Bobby Darin’s “I’ll Be There” and the Beatles’ “Hey Jude.”

Disc two of FROM ELVIS IN MEMPHIS: LEGACY EDITION includes the 10 songs that comprised LP two of the double-LP From Memphis To Vegas – From Vegas To Memphis (more on this album below). Among these are Percy Mayfield’s “Stranger In My Own Home Town,” Neil Diamond’s “And The Grass Won’t Pay No Mind” (ironically, it was Neil Diamond who yielded his studio time at American to accommodate Elvis), Bobby Russell’s “Do You Know Who I Am?,” Ned Miller’s “From A Jack To A King,” and Mort Shuman’s “You’ll Think Of Me.”

These 10 songs are augmented by another 10 bonus tracks, grouped as The Original Mono Single Masters.

Four are (mono) reprises of songs that appeared on the aforementioned LPs: “In The Ghetto,” “Any Day Now,” “The Fair’s Moving On,” and “You’ll Think Of Me.” The other six were all originally non-LP single sides at the time of their first release: “Suspicious Minds” (the Grammy Hall Of Fame and Rock And Roll Hall Of Fame inductee, written by Mark James); “Don’t Cry Daddy” (Mac Davis) b/w “Rubberneckin’”; Eddie Rabbitt’s “Kentucky Rain” b/w Shirl Milete’s “My Little Friend”; and finally, guitarist Johnny Christopher’s “Mama Liked The Roses.”

Elvis Presley’s multi-faceted performing career underwent a heroic rebirth in 1968 and 1969, ignited by three factors: his NBC-TV “comeback” special of December 1968 (taped in June, his first live show before an audience in over seven years); his landmark sessions at Chip Moman’s American Studios in January-February 1969 (Elvis’ first official recording in his hometown of Memphis since leaving Sun Records in November 1955); and his triumphant return to Las Vegas (the International Hotel) in August 1969, which led to his return to touring for the rest of his life.

The back-story originates with the NBC-TV broadcast of “The ’68 Comeback Special.” A colossal success by every standard, the tv special (and those indelible black leather images) invigorated Elvis and everyone around him, including the two most formidable figures in his career at the time, Colonel Tom Parker (his manager) and Felton Jarvis of RCA Records (his A&R man and staff producer).

Several members of Elvis’ entourage had long-standing connections with producer and songwriter Chips Moman. As busy as Memphis and the surrounding area’s studios were – Stax Records, Willie Mitchell’s Hi Records, and in Alabama, Rick Hall’s FAME Studios and the new Muscle Shoals Sound – it was Chips’ American Studios on Thomas Street that had all but eclipsed the competition, a steady rise in business that began in 1965. Like those other studios, American had its core rhythm section of world-class players: guitarist Reggie Young, bassists Tommy Cogbill and Mike Leech, Bobby Emmons on organ, Bobby Wood on piano, drummer Gene Chrisman, plus the Memphis Horns led by Wayne Jackson and Andrew Love, and a dazzling array of background vocalists. Holding it together was Chips Moman, a songwriter (“Dark End Of the Street,” Aretha Franklin’s “Do Right Woman Do Right Man”) and experienced producer since his earliest days at Stax Records.

According to Peter Guralnick, American reportedly charted 120 hits between November 1967 and January 1971, landing 28 records on the Billboard charts in one memorable week. There were early national hits with local acts Sam the Sham (“Wooly Bully”), Sandy Posey (“Born a Woman”), the Box Tops (“The Letter”), Merrilee Rush (“Angel Of the Morning”), the Gentrys (“Keep On Dancin’”), and many others. Atlantic Records became a major client, as producer Jerry Wexler steered Aretha Franklin (“Think”), Wilson Pickett (“I’m a Midnight Mover”), Dusty Springfield (Dusty In Memphis), Cissy Houston and the Sweet Inspirations (“Sweet Inspiration”), Herbie Mann (Memphis Underground), and many other label acts to Chips’ American Studios.

A lifelong Memphis resident (since age 13) whose story – and the story of the birth of rock and roll itself – is inextricably linked for all time, Elvis Presley arrived at American Studios at the perfect moment: January 13, 1969. It was just six weeks after the NBC-TV broadcast of December 3rd, and a month after the release of the TV Special soundtrack LP, a platinum seller whose climactic closing number, “If I Can Dream,” was turning into Elvis’ first hit single since 1966.

With the exception of the impromptu “Million Dollar Quartet” session of December 1956 at Sun Studios with Jerry Lee Lewis, Carl Perkins and Johnny Cash (officially unreleased until 1990), it was the first time Elvis was recording in his hometown in over 13 years. The first results of the American Studio sessions came quickly; “In the Ghetto” was issued as a non-LP single in May 1969, and was welcomed as a platinum-selling hit.

In June 1969, From Elvis In Memphis presented 12 of the 32 master recordings that Elvis completed at American Studios, climaxing with “In the Ghetto.” The album became his first gold-selling studio (non-movie soundtrack) LP since 1961. In August, “Suspicious Minds” (b/w “You’ll Think Of Me”) was released as a new non-LP single. “Suspicious Minds” not only hit the million-selling mark, but became Elvis first #1 hit since 1962 (“Good Luck Charm”) and the last #1 of his career.

Also in August, buoyed by his comeback chain of events, Elvis kicked off a four-week run at the brand new International Hotel in Las Vegas, following Barbra Streisand’s run in the 2,000-seat showroom. Live recording over the course of six nights was produced by Felton Jarvis, and five months later in November, the double-LP From Memphis To Vegas – From Vegas To Memphis was released.

The first LP gathered 13 songs recorded live at the hotel; the second LP brought out another 10 of the American Studio tracks. The concurrent November single release, however, was not drawn from the album tracks. Instead, it came from the American sessions, as “Don’t Cry Daddy” chalked up another million-selling Top 10 hit. Two months later in January 1970, “Kentucky Rain” extended the string, a Top 20 gold-selling hit.

A couple of as-yet unreleased American tracks - Bobby Darin’s “I’ll Be There,” “If I’m A Fool (For Loving You)” - surfaced on Let’s Be Friends, a Camden budget LP released April 1970. In November, RCA spun off the studio half of the double-album as a single LP, Back In Memphis. In March 1971, another as-yet unreleased American track – “Who Am I” – surfaced on Elvis’ Christmas Album, also a Camden budget LP. And in February 1972, one more as-yet unreleased American track – the Beatles’ “Hey Jude” – popped up in the middle of Elvis Now. It was the last time that the non-LP American sides were heard from until the 1993 box set, From Nashville to Memphis: The Essential 60's Masters.

Elvis Presley scored a major conquest with the music he recorded at American Studios that winter of 1969, a triumphant return to his hitmaking ways in the company of another Mid-South visionary, Chips Moman. “But fires must be fed, or else they go out,” Gordon and McAdams warn. Still, “After revisiting the spirit of home, Elvis had a victory he could reflect upon, a confirmation that he was capable of more, a know­ledge of the fire burning inside us all that we call hope.”


FROM ELVIS IN MEMPHIS: LEGACY EDITION by ELVIS PRESLEY (RCA/Legacy 88697 51497-2)
CD One – Selections: 1. Wearin’ That Loved On Look • 2. Only The Strong Survive • 3. I’ll Hold You In My Heart (Till I Can Hold You In My Arms) • 4. Long Black Limousine • 5. It Keeps Right On A-Hurtin’ • 6. I’m Movin’ On • 7. Power Of My Love • 8. Gentle On My Mind • 9. After Loving You • 10. True Love Travels On A Gravel Road • 11. Any Day Now • 12. In The Ghetto • Bonus tracks: 13. I’ll Be There • 14. Hey Jude • 15. If I’m A Fool (For Loving You) • 16. Who Am I?

Notes: Tracks 1-12 from From Elvis In Memphis, originally issued June 1969, as RCA 4155.
Tracks 13 & 15 from Let’s Be Friends, originally issued April 1970, as Camden 2408.
Track 14 from Elvis Now, originally issued February 1972, as RCA 4671.
Track 16 from You’ll Never Walk Alone, originally issued March 1971, as Camden 2472.


CD Two – Selections: 1. Inherit The Wind • 2. This Is The Story • 3. Stranger In My Own Home Town • 4. A Little Bit Of Green • 5. And The Grass Won’t Pay No Mind • 6. Do You Know Who I Am? • 7. From A Jack To A King • 8. The Fair’s Moving On • 9. You’ll Think Of Me • 10. Without Love (There Is Nothing) • Bonus tracks – The Original Mono Single Masters: 11. In The Ghetto • 12. Any Day Now • 13. The Fair’s Moving On • 14. Suspicious Minds • 15. You’ll Think Of Me • 16. Don’t Cry Daddy • 17. Rubberneckin’ • 18. Kentucky Rain • 19. My Little Friend • 20. Mama Liked The Roses.

Notes: Tracks 1-10 from LP Two of the double-LP From Memphis To Vegas/From Vegas To Memphis, originally issued November 1969, as RCA 6020; tracks 1-10 re-released November 1970 as single LP Back In Memphis, RCA 4429.
8866  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 04, 2009, 03:49:50 PM
Hey, I enjoy it too to talk with someone about Elvis who's willing to learn. There are enough people who have an opinion without ever listening to this guy.

Yeah, I love those three songs he did on the piano. A complete album of this would've been awesome.

Elvis didn't write songs. The only one he co-wrote is "You'll be gone" and he came up with the title to "That's someone you never forget". He's credited as a co-writer on some other stuff, but that was just a royalty-thing. I agree, it would've been interesting to hear what kind of songs he would came up with. But anyway, he knew that he wasn't a writer and he had some of the best people writing for him. Then he took a song and made it totally his own.
8867  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 04, 2009, 08:53:04 AM
Elvis had a very interesting career, I wonder if he was able to do everything he wanted or not. 

Well, in a way he did everything he wanted to do. He wanted to be a famous entertainer, bingo. He wanted to be a famous actor, bingo 2 (he was even the highest paid actor in Hollywood in the 60s). The problem is, that the more songs you need for a specific scene in a movie, the worse the songs get. He had contracts to fulfill and did just that, because he was a professional (the contracts were about "movies" and not "a-class-movies" and they were signed for some years, so he couldn't just say no without breaking his contracts). He was not happy with the material, but one has to remember that he went and did the "How great thou art"-album in '66, which won him a grammy and imho ranks as one of the best albums of that special year.
Apart from the soundtracks, he had total control of what he wanted to record and what he didn't. Though he also chose the songs for the movies, you can imagine how bad some of the songs must've been if the one he recorded were as bad as "Queenie wahini's papaya" (again from "Paradise hawaiian style")
I think his most entertaining movies (family entertainment-wise) asre "Fun in Acapulco" and "Girls girls girls" and the ones from those years (early 60s). The soundtracks to those two mentioned above are terrific, his singing top-notch. 


You know what I love listening to the most for the last weeks (if not months)? Three songs that he recorded in '71 with just him on piano and vocals. Terrific performances. Just listen to his voice...
Here's one of those songs

http://www.youtube.com/watch?v=-OF2HMTnOOs

8868  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 03, 2009, 09:24:50 AM
I recall hearing that Elvis didn't like a lot of his early hits


He loved doing them. He did record what he wanted to. He was one of the first artists who had absolute control over his recordings in the 50s and one of the first self-produced acts.
But he seemed tired of doing the oldies in the later 70s. Maybe that's what you've heard.
Unfortunately there's alot of wrong information out there and people tend to believe that stuff.

I tell ya, I might even like the 60s the best. Especially the early 60s. You can't beat the StudioB recordings with Bill Porter engineering. Elvis' voice was pure gold and his creativity in full swing. I think the "Elvis is back"-album (imo probably his best album) is one of the best sounding albums ever. Right along with "Sunflower"; it's really that good.
And re: his soundtracks, there are much more good or decent ones than most people seem to think. And even the bad ones have at least one or two good-very good songs on them (e.g. "Sand castles" on "Paradise Hawaiian Style").
8869  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 03, 2009, 04:30:10 AM
I don't know why Rubberneckin' ended up as b-side either, such a great tune.  I figure it was one of those songs that Elvis didn't really like doing so that's why it ended up like that. 


If he didn't like doing it, he wouldn't have recorded it at all. I guess he just wanted "Don't cry daddy" (I believe this was the A-side, am I right?) to be the top-side.
BTW ever heard his live-version of "Rubberneckin'"? Great stuff  http://www.youtube.com/watch?v=4OUvFaELRgI
incl. false start

I like this periode myself very much. But I think it wasn't his best though. It's quite terrific to see with how much ease in such a short time he could go from "Speedway" to this. Remember, this was '69 and the Beatles' newest work was "Abbey Road". Imo "From Elvis in Memphis" easily stands at least eye-to-eye with that album.
8870  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 02, 2009, 03:26:09 PM
I like the look of this, any idea when it's coming out?  I've loved his version of Hey Jude, it's one of those songs that just seemed made for Elvis.


I don't have any release date, but I don't htink it will take too long.

Funny, because "Hey Jude" was nothing more than a jam with some overdubbing. Elvis didn't really try to sing it, it was more like what he probably sounded like while taking a shower (although "G.I. Blues" shows something else Wink ). I kinda like it too, can't put my finger on it though. Just imagine what it would've sounded like, if he really did it as a regular recording...
8871  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: July 01, 2009, 10:07:13 AM
Just joking.   Some appalachian sociologists have speculated that Elvis was a Melungeon.


Ah, I see. Never heard about that, though.  Smiley
8872  Non Smiley Smile Stuff / General Music Discussion / Re: \ on: June 29, 2009, 02:07:34 AM
That would be the early Melungeon period.  Before learning to drive the truck.

Sorry, I don't understand what you're talking about....  Embarrassed
8873  Smiley Smile Stuff / General On Topic Discussions / Re: Michael Jackson and Brian Wilson on: June 28, 2009, 05:14:50 AM
Am I wrong, or did The Beach Boys present Michael Jackson with one of his many grammies for Thriller..

I think I've seen a video somewhere


I believe it is here somewhere. Haven't watched through it right now:


EDIT: Damnit ! Wrong link as you probably realized. Here's the real one, sorry

http://www.youtube.com/watch?v=ZBNeS3ZWmwo

and part 2:

http://www.youtube.com/watch?v=v2WwwLkOxp0&feature=related
8874  Smiley Smile Stuff / General On Topic Discussions / Re: Brian to perform 'new' old songs this year on: June 26, 2009, 12:08:06 PM
"Shut down" is my favorite car-song and one of the most exciting rock'n'roll records from that era. But I wonder how Brian will handle the not that easy lyrics.
8875  Smiley Smile Stuff / The Beach Boys Media / Re: Authorised Biography circa 1978, Byron Preiss on: June 24, 2009, 10:10:44 AM
Are there any rare pictures? Anyone care to post some of them? I guess to ask for all would be too much...  Wink
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