ELVIS PRESLEY: Inside His Record Collection | Official Graceland Blog

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103014-otisandcarlaInside Elvis’ Record Collection
Posted by Elvis Presley’s Graceland on Oct 30, 2014 | 0 comments

Fans have enjoyed Elvis’ music for decades, whether it was on vinyl, 8-track, cassettes, CDs or on their iPhones.

But what music did Elvis listen to?

Elvis’ personal record collection, which includes more than 2,000 singles and albums, is diverse: There’s rock ‘n’ roll, gospel, doo wop, country, soul, classical, Christmas tunes, jazz and much more. The following photos are from Elvis’ collection here at Graceland.

A great portion of Elvis’ collection is made up of gospel records. Elvis loved the Blackwood Brothers. Some of the group’s albums he enjoyed include “Paradise Island,” “Oh Happy Day,” “Roll on Jordan,” “His Hands,” “Just a Closer Walk with Thee” and “Hymn Sing,” from 1956.

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“Hymn Sing” is one of the many Blackwood Brothers albums that Elvis owned.

His expansive collection of gospel albums includes records by Mahalia Jackson, The Stamps Quartet, The Mormon Tabernacle Choir, The Statesmen Quartet and Jimmy Dean, to name just a few.

Elvis had plenty of Christmas and holiday music, too. His collection includes secular and sacred seasonal music; he owned Christmas albums by the likes of the Jackson 5, Johnny Mathis, Bing Crosby, Gene Autry and The Temptations.

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The Jackson 5′s Christmas album includes songs like “Have Yourself a Merry Little Christmas” and “Up on the Housetop.”

Elvis loved the twang of country music. He had several records by his pal Johnny Cash, as well as records by Merle Haggard, Patsy Cline and Hank Williams. His collection includes a 45 of “Ode to Billie Joe” by fellow native Mississippian, Bobbie Gentry.

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Elvis owned a lot of Johnny Cash’s albums and singles, including the classic “I Walk the Line.”

The King of Rock ‘n’ Roll had plenty of rock records, too. He had records such as a Dave Clark Five greatest hits album, “Magical Mystery Tour” by The Beatles and “Eat a Peach” by the Allman Brothers, and his 45s included “Whole Lot of Shakin’ Going On” by Jerry Lee Lewis, “All I Have to Do is Dream” by the Everly Brothers and B.J. Thomas’ “Hooked on a Feeling.” He also had a copy of Mott the Hoople’s 1972 album, “All the Young Dudes,” and “Piece of My Heart” by Big Brother and the Holding Company.

Elvis enjoyed plenty of popular artists as well, like the Bee Gees, Tom Jones, Neil Sedaka and Peter, Paul & Mary.

Ray Charles is an artist whose music pops up repeatedly in his collection. Elvis had 45s of Charles’ “America the Beautiful,” “Hit the Road, Jack,” “Hardhearted Hannah” and “In the Heat of the Night,” as well as several albums.

Elvis loved his R&B, soul and blues records. He had albums and singles by the likes of John Lee Hooker, B.B. King, James Brown, Aretha Franklin, Sam & Dave, Chuck Berry, The Platters, Little Richard and Stevie Wonder. A few singles include Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” and Albert King’s “I’ll Play the Blues for You.” He also owned Big Mama Thornton’s version of “Hound Dog.”

The King definitely supported his fellow Memphis musicians. He owned many albums on the famous STAX label, including “King & Queen” by Otis Redding and Carla Thomas. He had 45s of Al Green’s “Let’s Stay Together” and “L-O-V-E,” as well as several albums and singles by The Box Tops and Big Star.

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Elvis owned albums and singles by both Carla Thomas and Otis Redding, as well as this STAX release.

Of course, Elvis’ collection is diverse in other ways. He owned a Cheech & Chong comedy album, several records of Martin Luther King Jr.’s speeches, a Bill Cosby comedy record, a few Partridge Family albums, music from “West Side Story,” and symphonies by Mozart and Brahms.

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Elvis loved to laugh, and there’s no doubt he found plenty to laugh about with this Cheech and Chong comedy album.

A unique piece in his collection includes legendary actor Charles Boyer’s only album, “Where Does Love Go?”

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Actor Charles Boyer is best known for his roles in films like “Gaslight, “All This, and Heaven Too” and “Love Affair,” but he also made one album.

A few other artists included in Elvis’ collection include Santana, The Staple Singers, The Drifters, Pat Boone, Frank Sinatra, Frankie Avalon, Peggy Lee, Roy Orbison, The Harmonizing Four, Nat “King” Cole, Bobby Bland, Gordon Lightfoot, Duke Ellington, The Harmoneers, Sammy Davis Jr., Tennessee Ernie Ford, The Hollies, Ben E. King, Eddie Boyd & the Chess Men, The Dell Vikings, The Golden Gate Quartet, Eddy Arnold, Gloria Gaynor, Sarah Vaughan, Sonny & Cher, Del Shannon, The Ink Spots, The Statler Brothers and Blood, Sweat & Tears.

Elvis’ collection includes many of his own albums, as well as a few tribute albums. He kept many records in the TV room, and you can see a portion of his collection here at Graceland.

What Elvis albums and singles do you have on vinyl?

via Inside Elvis’ Record Collection | Official Graceland Blog.

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‘THAT’LL BE THE STARDUST!’ – A Fiery Welcome…

stardust (1)

It’s fabulous to be in a position to finally welcome home my radio drama production of “That’ll be the Stardust!”.  It’s been 3 years since it temporarily jumped off its own domain on the worldwide web, and during this time a lot of contemplation and planning has gone into building a blog network of relevant context and one which will cater to its updating and promotional needs.

When a concept such as this is powered by an intensity which has a ‘motor’ driven by passion and belief along with a heavy dilution of integrity, it would appear to flame its own ‘fire’; ultimately becoming its own ‘creature’ – a force of nature. It may cause some people to act out of ‘character’, it may cause some people problems getting into ‘character’. ‘That’ll be the Stardust!’ has certainly created a little ‘fire’ here and there throughout its development. Why, it’s even been burnt itself a little – here and there. It’s been talked about in many rooms leading up to, and beyond, its making. It was actually recorded in two rooms (studios) – both being utilised for different facets of its ‘nature’. But no matter where it’s been talked about or recorded, it’s always presented people with a certain ‘magic’, if you will, the magic of instant communication – it’s got people talking. Whether fans of the original films it is ‘spun’ off from, or whether fans of its musical themes that have inspired them – people have communicated. It’s also provided further interaction between people who are fond of the acting profession, people who pride themselves on their art and the business of perfecting such art. It’s waved its own wand of magic – that magic of purpose, and that of which it has served.

As you may or may not be aware the ‘Cosmic Dwellings’ blog network has devised a very special ‘room’ for ‘That’ll be the Stardust!’ which is amidst the menus at the top of the site. Do you see it?? Yeah, there ya go! Therein, you can find out further insights into its 20-year development via a recent interview which was held with myself specially for the ‘homecoming’. PLUS, most importantly in there, you can let the drama unfold between your very ears via the link which will grant you FREE access!! However, I do need to bring your attention to the “PARENTAL ADVISORY” notice. There, you’ve been warned! Also, there’s a little info about the final chapter continuation which I’m sure you’ll find somewhat intriguing if you’re a fan of the concept, or even if you’re a fan of the original films. Anyway, without further ado, the room’s about to set aflame once more, crackling with the ‘magic’ of artistic communication – even if I do say so myself…

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LED ZEPPELIN: The Top 6 Bootlegs

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EASY RIDER Harley-Davidson sold at auction – Telegraph

The motorbike ridden by Peter Fonda in Easy Rider has been sold at auction

Easy RiderThe Harley-Davidson ridden by Peter Fonda (left) in Easy Rider has been sold at auction

The iconic Harley-Davidson chopper-style motorbike ridden by Peter Fonda in the 1969 classic Easy Rider was sold for $1.35 million (£840,000) at auction this weekend.

The Captain America bike, complete with authenticating documents including a letter from Fonda, was sold on Saturday (October 18) at entertainment industry auction house Profiles in History.

The red, white and blue stars-and-stripes panhead chopper was designed and built by two African-American bike builders, Cliff Vaughs and Ben Hardy, based on design suggestions from Fonda.

“After fierce bidding, we are so pleased that the buyer values this for the cultural icon that it is,” said the seller, Mike Eisenberg.

There were two Captain America bikes built for Easy Rider, so shooting the film would not be disrupted if one of them broke down. The bike sold on Saturday was used in the crash scene at the conclusion of the film.

It was sold as part of a sale of Hollywood memorabilia at Profiles in History’s auction rooms in Calabasas, northwest of Los Angeles. Bids were taken online and by phone, as well as in person.

Auctioneers’ boss Joseph Maddalena described the chopper before the sale as “one of the most iconic images in American film.” He added: “The bike evokes powerful emotions even in non-bikers.

“It personifies the Sixties, all of the good and the bad that decade brought.

“This is the only original Captain America bike in existence. This is without doubt the world’s most famous motorcycle. It influenced the entire motorcycle industry – after that movie came out thousands upon thousands of people went out and bought motorbikes.

“The film sparked the whole idea of riding motorcycles. The film marked the beginning of the rebellious anti-war era. Peter Fonda’s character was blazing a trail for freedom and this motorcycle was the vehicle on which he did that.”

The other Captain America bike and the two bikes ridden by Dennis Hopper in Easy Rider were stolen after filming had finished. “Legend has it that the bikes were cut up into pieces and that to this day, Hell’s Angels riders wear stars cut from the gas tanks on their leather vests,” explained Maddalena.

Easy Rider, which tells the story of two counterculture bikers who travel from Los Angeles to New Orleans in search of true freedom, grossed $60 million at the box office, making it the third most successful film to be released in 1969.

Easy Rider soundtrack

 

via Easy Rider Harley-Davidson sold at auction – Telegraph.

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FLEETWOOD MAC is back: Christine McVie sings again as the tour starts anew | Music | The Guardian

Fleetwood Mac is back: Christine McVie sings again as the tour starts anew…

4 / 5 stars

Though Stevie Nicks and the band are older, they opened their first reunited show in 16 years with the hallmark brilliance for playing off each others’ strengths.


Fleetwood Mac 2013 tour

Stevie Nicks sings at a Fleetwood Mac show in London in 2013. Photograph: Christie Goodwin/Redferns via Getty Images

The key selling point for Fleetwood Mac’s On With The Show tour, which opened on Tuesday at Minneapolis’s Target Center, is that it’s the first in 16 years to include keyboardist and singer-songwriter Christine McVie, lately relieved of her fear of flying and sprung from her doggy English countryside redoubt.

All of the band’s members except taciturn bassist John McVie, Christine’s ex-husband, paid vocal tribute to her over the course of a spirited two-and-half-hour set. “Our songbird has returned,” said drummer Mick Fleetwood during an extended encore.

McVie’s comeback restores the enduring and protean group’s flagship configuration, whose mid- to late-70s albums entered roughly as many homes as the products of, let’s say, General Electric. The band is currently at work on its first studio album since the 80s, and, you know, it might be pretty good.

They opened with The Chain, a collaboratively composed document of the group’s internecine romantic alliances and disunions that doubles as a unity anthem.

Lindsey Buckingham, wearing heroically tight Levi’s, led the song and established early on that he’d be the evening’s dynamo. As on Side Two of Rumours, You Make Loving Fun followed, with McVie drawing loud applause when she purred the opening lines, “Sweeeet wonderful you.”


The Chain 

Sixteen mostly retired years is a long time to get rusty, but the 71-year-old McVie was in excellent form, her keyboard playing gently rumbling or subtly expressive, her singing graceful. Unlike her two front-of-stage colleagues, McVie isn’t an apparent eccentric or egoist, but rather an understated craftsperson of plaintive easy listening and English soul. The group worked in many of her signature songs, including Over My Head, Little Lies, Say You Love Me and a moving closing number, on which more later.

With McVie’s keyboard resettled next to Stevie Nicks’s scarf-draped mic stand, Fleetwood Mac can once more pass the Bechdel test. The group’s gender parity wasn’t unprecedented, but their music was and is unusually dialogic – women and men trading perspectives on lust and longing, volleying tributes to old Welsh witches and beleaguered Beach Boys. It was great, and crucial, to have her back.

Nicks, the group’s most distinctive vocalist and most famous personality, took a while to reach maybe 85%. Even children get older, Nicks once reminded us, and her sandpaper contralto isn’t as reliable as it once was.

Owing either to first-night caution or diminished range, Nicks – on Gypsy, Dreams, and her traditional showstopper, Rhiannon – backed away from vocal climaxes and generally refashioned her melodies toward compression. Sometimes this led to some interesting jazzy or Dylanesque variations; other times the songs sounded bleary and depleted. She did find her feet, though, giving a sensitive reading of the invincible Landslide, and offering a cool vocal improv and a mystical interpretive dance for Gold Dust Woman.

There’s no reason to doubt that Fleetwood Mac’s sobriety is secure across the board, but Buckingham was certainly hopped up, stomping and whopping and prowling the stage, letting front-row disciples touch the neck of his guitar, breaking into a maniacal laugh to jump-start Tusk, the titular hit from the double album on which his genius act was at its most fastidious and convincing. Tusk was menacing and spot-on, notwithstanding piped-in horns from the USC Trojans (as if the University of Minnesota’s perfectly capable marching band had another commitment!).


Landslide

Like Nicks, Buckingham’s a pro at shading the lines between idiosyncratic brilliance and loopy kitsch, and certain passages of intensely breathy emoting or orgasmic lead guitar moved definitively into the latter territory. Mostly, though, he was seriously impressive: his dexterous finger-picking, his fine-toned leads, his impassioned singing, his cool Garfunkel hair. And though he never soft-sold his own songs, he was smartly supportive when McVie or Nicks were in charge.

The group was augmented by a shadow quintet composed of a percussionist, two utility player-harmonists, and two 20-feet-from-stardom singers. High harmonies were in place, then, even if the principals couldn’t access them, and the sound was lush throughout. As usual with the band, there were also stripped-down sections with Buckingham working alone or with one other member, and at one point Fleetwood left his main drum kit (about the size of a Buick LeSabre) for a more modestly scaled kit set up in front.

The finest of these quieter interludes was saved for last, when, following a tender run through Nicks’s Silver Springs, the crew wheeled out a baby grand. McVie sat down for an expressive version of Songbird with Buckingham providing a spare solo. Those philistines who trotted out during McVie’s pounding Don’t Stop solo may have escaped the parking ramps a half hour before the rest of us; but their lives are exponentially poorer for it.

There were two closing speeches in tribute to McVie and the band’s new wholeness: one from Nicks, who said she would have bet every cent that McVie would never come back, and a final one from Fleetwood, who urged kindness in a troubled world, then stepped to the mic for one last, bellowed message: “And remember for sure, the Mac is back!”

 

via Fleetwood Mac is back: Christine McVie sings again as the tour starts anew | Music | The Guardian.

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LED ZEPPELIN: Dusting Em Off -– “Houses of the Holy” | Consequence of Sound

Houses of the Holy

By JGerber

Led Zeppelin’s fifth studio album, Houses of the Holy, did not really require dusting off. It’s been on steady rotation since hearing it in its entirety my sophomore year of high school. I grew up on a decent dose of Zeppelin (my Dad had a cassette tape of Led Zeppelin II), but by the time high school came around, I dove in to their back catalogue.

To this day, I still feel their top three records start-to-finish consist of Led Zeppelin II, Led Zeppelin IV, and Houses of the Holy. The other numbered albums have their great number of supporters, and this isn’t a knock on the classic-filled Physical Graffiti. It’s merely a statement on a great band that made a lot of great music for about a decade. They may have teetered off a bit at the end, and probably would have broken up even if John Bonham had not passed away.

However, their legacy remains intact: Led Zeppelin is one of the greatest bands of all time, and Houses of the Holy is one of their great albums. So grab your headphones or open up iTunes, and let’s take a stroll down memory lane. First up: “The Song Remains the Same”…
…this hasn’t lost any of its punch over the past 35-plus years. Guitar legend Jimmy Page’s quick riff is punctured by the thunder of the Zeppelin rhythm section, consisting of bassist (and now Them Crooked Vultures member) John Paul Jones and drummer Bonham, leading into a great minute-long intro. The music slows down for vocalist Robert Plant, reminiscing about a “crazy dream” about “anything I wanted to know/any place I needed to go.” Before we know it, the song is off to the races again as Page delivers Great Solo #1,031. “The Song Remains the Same” remains epic, even though it clocks in at a little over five minutes.
“The Rain” may be Zeppelin’s most gorgeous song. Page alternates effortlessly between acoustic guitar and electric, with his acoustic playing reaching perfection at 1:26. These notes are played throughout the song, only elevated by Jones’ underrated keyboarding. Plant sings about the varying seasons of his emotive state, which culminates after Bonham makes his presence fully known:

I’ve felt the coldness of my winter
I never thought it would ever go
I cursed the gloom that set upon us
But I know
That I love you so

“Over the Hills and Far Away” is a song introduced to this writer via the genius of Mike Judge. An old promo video of the song played on an episode of Beavis and Butthead. The duo weren’t too sure about the song in the beginning, until the electric guitar kicked in. Headbanging and devil horns commenced, but for me, I was hooked from the onset. Page’s acoustic guitar at the opening and closing of “Over the Hills” is something to experience. Okay, the middle part rules, as well.

Zeppelin gets funkdafied come track four. “The Crunge” features one of the baddest Jones basslines (Ba-da-da-da-da…da…da…da/Ba-da-da-da-da…da…da…da), and lyrics that must have been improvised. In addition, Page plays to the disco halls with his guitar, all leading up to one question…

Stone Temple Pilots obviously like “Dancing Days”. Not only did they cover it on a tribute album, but the band’s own “Trippin’ on a Hole in a Paper Heart” takes the guitar nearly note-for-note in the chorus. That mystical-twang Page brings as themusic’s driving force is irresistible. Add that to the “flower power” lyrics, and “Dancing Days” certainly makes for a trippy experience. The fun times continue with the reggae-influenced “D’yer Mak’er.” With fantastic drums courtesy of Bonzo, this is a bouncy song if there ever was one. Plant cries out, “You don’t have to go,” but does he mean it? It’s left to the listener to decide.

John Paul Jones is all over “No Quarter”. When I think of John Paul Jones in general, this is the song that comes to mind. He presides over the music for the most part with his keyboards and bass, but we can’t forget about the distortion from Page’s guitar and Plant’s altered vocals:

Close the doors, put out the light
You know they won’t be home tonight
The snow falls hard and don’t you know
The winds of Thor are blowing cold
They’re wearing steel that’s bright and true
They carry news that must get through

The ominous tone that Jones sets in “No Quarter” makes way for a song that can be heard as a polar opposite. Bonzo counts the band into the final song on Houses of the Holy, “The Ocean”. Page’s guitar riff (great solo #1,039) and the Zeppelin rhythm section pound march their way into the song’s finale, which plays out as the classic-rock equivalent of New Year’s Eve: streamers falling, confetti in the air, and couples embracing. “Oh, it’s so good” indeed, Mr. Plant.

And so ends Houses of the Holy. Only eight tracks long, but plenty long enough. Each track stands apart from the others, and serves as an example of a band at the height of its talents. All these years later, it still holds up, and, seriously…

via Dusting ‘Em Off: Led Zeppelin – Houses of the Holy | Consequence of Sound.

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GREATEST DEBUT SINGLES | uDiscover

Debut 45's

If you are the kind of person that thinks of “singles” rather than “tracks,” then this list is for you. This playlist is what we think are the 45 greatest debut singles of all time; the first 45 rpm records that put careers into gear, and in many cases artists into the charts.

The first thing that many of you will notice is, no Beatles ‘Love Me Do’ or the Rolling Stones and ‘Come on’ – for us, these weren’t great debuts, they sold themselves short — or, to be fair, their record companies did. So why then include, ‘Surfin’’ from the Beach Boys? Well, for a start, this was a band that already knew what they wanted to sound like – or at least, Brian Wilson had the right idea.

We also cheated ever so slightly and picked ‘Ride A White Swan’ over ‘Debora’ because this was all about when Tyrannosaurus Rex became T.Rex. To be honest, either could have been on the list, and perhaps both.

Has there ever been a better debut than the Undertones’ ‘Teenage Kicks’? It’s breathless, it’s raw but it’s also magical. The same could be said of the Jam’s ‘In The City.’ Boston’s ‘More Than a Feeling’ may have been years in the making, but it was certainly worth the wait. Who can forget Thunderclap Newman’s brilliant ‘Something In The Air,’ and at the other end of the musical spectrum, Richard Harris’s take on Jimmy Webb’s ‘MacArthur Park’ – bombastic, fantastic. And if you want atmospheric, there’s nothing like Booker T and The MG’s ‘Green Onions’.

Prog rock bands made great singles too, and Yes’s b-side ‘Something’s Coming’ is a whole new take on ‘West Side Story.’ From the west side of America there’s the Doors and ‘Break On Through (To The Other Side)’ and ‘Mr Tambourine Man’ by the Byrds, which is surely one of the great openings to a debut single, as is Gene Vincent’s ‘Be Bop A Lula.’

We could go on justifying our choices, but why don’t you tell us what should or shouldn’t be on the list of greatest debut singles?

[spotify http://open.spotify.com/user/udiscover/playlist/56vhgY5BxrcqiV7Gz6UDLE]

via Debut Singles.

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THE BEACH BOYS: 15 Facts About ‘Pet Sounds’ | Mental Floss

The Beach Boys - Pet Sounds

Brian Wilson and The Beach Boys’ Pet Sounds forever changed the landscape of pop music. It’s a deeply personal album, and Wilson’s meticulously complex and bizarre arrangements elevated the three-minute radio tune to art.

The story of how Pet Sounds was made has been told and retold (and parodied) plenty of times since its release in 1966, but there are still so many fascinating little stories about the album that may have gone under the radar.

Pet Sounds - The Beach Boys

1. Pet Sounds was inspired by the immaculately constructed and filler-free Beatles album,Rubber Soul. “Rubber Soul blew my mind,” Brian Wilson says. “When I heard Rubber Soul, I said, ‘That’s it. That’s all. That’s all folks.’ I said, ‘I’m going to make an album that’s really good, I mean really challenge me.’ I mean, I love that fucking album, I cherish that album.”

2. Pet Sounds started with a panic attack. In December of 1964, while on a flight to Houston to start yet another Beach Boys tour, Brian Wilson collapsed in the plane’s aisle and began sobbing. He had to return to California, where he recovered and realized that he could tour no longer. He called a meeting with the rest of the band and said, “Listen, I’m going to have to quit the touring group. But it’s going to be well worth it, because I’m going to write you some good songs.”

3. Throughout 1965, while the rest of band toured, Brian worked on his new project. He arranged, composed, and produced the album and conducted an army of L.A.’s best studio musicians, also known as “The Wrecking Crew,” to perform on it. Wilson had unprecedented control over Pet Sounds, and he was just 23 years old.

4. Once the rest of the band returned from international touring, Brian had them come into the studio to put vocals down on top of his compositions. It took a full week to record the voice track on “Wouldn’t it be Nice.” Brian was so demanding, Mike Love took to calling him “Dog Ears” because he could hear things humans could not. Love joked that they’d have to re-record a take in case any of the members had “an impure thought” while singing that Brian could pick up on the track. Maybe it wasn’t a joke.

5. Wilson wrote the instrumental track “Pet Sounds” with the intention that it would be used in a James Bond movie. The original title was “Run James Run.”

6. Brian’s arrangements on Pet Sounds are so musically complex and meticulous, meaning can be derived at a remarkably technical level, as music critic Jim Fusilli does here (taken from Fusilli’s book about the album):

[“You Still Believe in Me”] begins in B major, a key rarely used in pop, and remains in B major. The G# major chord below the first, and only, time the word “love” is invoked in the song is particularly striking; on the second pass, the G# major chord hits below the word “fail.” In a rare example of the bassist emphasizing the root in a Brian Wilson arrangement, Carol Kaye hits the G# in both instances. It’s as if Brian wanted there to be no confusion for the listener: in his mind, at least in this song, love equals failure.

7. Brian’s abusive father and manager Murry Wilson had effectively been kicked out of his sons’ musical lives after a drunken, in-studio tirade during a recording of “Help Me, Rhonda.” Despite this, he managed to use his clout with Capitol Records to speed up Brian’s vocal track on “Caroline, No” to make it sound higher to his liking.

8. The barking at the end of “Caroline, No” comes from Brian’s two dogs, Banana and Louie.

9. The dreamy, plinking sound at the beginning of “You Still Believe in Me” is achieved by someone reaching inside an open piano and directly plucking its strings. This effect is used in other songs on the album, but it is isolated here.

10. Besides its orchestral strings and wind sections, Pet Sounds is famous for its unusual and almost comedic use of bizarre instruments, including, but nowhere even near limited to, bicycle horns, vibraphones, timpani, finger cymbals, Coke cans, accordions, modified twelve-string mandolins, and water jugs.

11. Capitol Records wasn’t thrilled with the album and how far it strayed from the band’s usual sound. The company refused to issue a single with it until months after its release. (“Sloop John B” and “Caroline, No” were released as singles months before the album, with the latter published as a Brian Wilson solo).

12. Capitol had such little faith in Pet Sounds, they decided to release The Best of The Beach Boys, a collection of the band’s well-known surf and party hits, around the same time.

13. Pet Sounds peaked at number 10 on the charts in the United States. The Best of The Beach Boys landed at 8.

14. Pet Sounds was a hit in the UK, where it topped the charts. Before its release there, Brian’s tour fill-in Bruce Johnston took two copies with him to London and managed—through Beach Boys fanatic Keith Moon—to arrange a meeting at a hotel with John Lennon and Paul McCartney to play it for them. They listened to it once through, paused, and immediately asked to hear the album again. Shortly afterward, the two began to work on Sgt. Pepper’s Lonely Hearts Club Band.

15. According to Beatles producer George Martin, “Without Pet SoundsSgt. Pepper never would have happened….Pepper was an attempt to equal Pet Sounds.”

via 15 Facts About ‘Pet Sounds’ | Mental Floss.

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ELVIS PRESLEY: ‘Showroom Internationale’ Numbered 2LP Set To Be Released For Record Store Day | The Official Elvis Presley Site

Elvis Presley ‘Showroom Internationale’ Numbered 2-LP Set To Be Released For Record Store Day

Elvis Showroom Internationale

LEGACY RECORDINGS ANNOUNCES LIMITED EDITION VINYL EXCLUSIVES FOR RECORD STORE DAY’S ANNUAL BLACK FRIDAY EVENT (FRIDAY, NOVEMBER 28, 2014)

New David Bowie 10″ Single Leads Legacy’s RSD Black Friday 2014 Line-Up

New Legacy Vinyl Collectibles include Releases by Aaliyah, Bessie Smith, Dave Matthews Band, Elvis Presley, Jimi Hendrix, Joe Satriani, The Kinks, Miles Davis, OutKast, Wham!, Wu Tang Clan and the “American Hustle” Soundtrack

* * * * *

Legacy Recordings, the catalog division of Sony Music Entertainment, announces the label’s line-up of collectible 12″, 10″ and 7″ vinyl releases created especially for Record Store Day’s Black Friday 2014, celebrated this year at the nation’s independent record stores on Friday, November 28, 2014.

For RSD Black Friday 2014, Legacy is offering a range of RSD exclusives and numbered limited vinyl editions, catering to connoisseurs of classic sounds delivered old school.

Leading Legacy’s RSD Black Friday line-up this year is “Sue (Or In A Season Of Crime),” a 10″ vinyl single premiering two new tracks by the legendary David Bowie.

1994 is represented with the 20th anniversary editions of Aaliyah’s Age Ain’t Nothing But A Number (in a 12″ double LP 180 gram white vinyl pressing); Dave Matthews Band’s Recently EP (on vinyl for the first time ever in a 10″ numbered edition which includes the rare “Pumpkin Recently” promo); and OutKast’s breakout “Player’s Ball” single (newly reissued on 10″ translucent green vinyl).

Legacy’s Black Friday 2014 releases include these Record Store Day exclusives:

Aaliyah – Age Ain’t Nothing But A Number 2LP – White Vinyl 180 Gram
Twenty years ago, Age Ain’t Nothing But A Number introduced the world to the stunning talent of Aaliyah. Her sensuous, soulful vocals, combined with the writing and production skills of R. Kelly, established her as one of R&B’s brightest stars. This collectible 2LP edition of her debut is pressed on white 180-gram vinyl and features the Top 10 hits “Back & Forth” and “At Your Best (You Are Love)” plus the rare international bonus track “The Thing I Like.”

Bessie Smith – At The Christmas Ball – Red 7” Single
Legacy celebrates the 2014 holiday season with a classic vinyl single by the Bessie Smith, the Empress of the Blues, featuring her classic “At the Christmas Ball” c/w “Jazzbo Brown from Memphis Town” pressed on on a red vinyl 7″ 45 RPM single featuring a replica of the original Columbia 78 RPM label. Bessie Smith is the subject of a new biopic, starring Queen Latifah, coming in 2015.

Dave Matthews Band – Recently EP Double 10″ Vinyl
This individually numbered limited edition of the Dave Matthews Band’s Recently EP marks the first ever vinyl release of this music. The deluxe double 10″ includes the original EP and the rare “Pumpkin Recently” promo as well as a free download of both versions.

David Bowie – “Sue (Or In A Season Of Crime)” c/w “Tis A Pity She’s A Whore 10″ vinyl single
Two new tracks from music legend Davie Bowie on a 10″ vinyl single.

Joe Satriani – Joe Satriani EP 12″ Vinyl 45 RPM 180G – 30th Anniversary Edition
This 30th anniversary edition of Satriani’s self-titled 5 song debut showcases the magic that helped Joe secure his deal with Relativity Records. This “one man band” recording is remarkable in that every sound on the 5 songs was made on an electric guitar, from tapping on the tuneups for drums and percussion to detuning the guitar to replicate the lower bass sounds. This RSD exclusive is individually numbered and remastered on 180 gram vinyl.

Miles Davis – “Blue Xmas” 7″ 45 RPM blue vinyl single
In 1962, Miles Davis, Gil Evans and bebop singer Bob Dorough turned the holiday season on its ear with “Blue Xmas,” a jazzy original mocking the commercialism of the Christmas season. This recording, along with “Devil May Care,” another Dorough original recorded by Davis and Evans, is being released by Legacy for Record Store Day Black Friday 2014 as a 7″ 45 RPM blue vinyl single in a brand-new picture sleeve. “Blue Xmas” is featured in Jingle Bell Rocks!, a new documentary about alternative holiday songs to be released this year by Oscilloscope Laboratories.

OutKast – “Player’s Ball” 10″ Translucent Green Vinyl
OutKast proved “the South got something to say” when they returned to the stage earlier this year after an eight-year absence. Celebrate the 20th anniversary of their unique sound and influential Southern hip-hop movement with their breakthrough debut single “Player’s Ball” on 10” translucent green vinyl. This limited, numbered single features a rare extended version of the track alongside two tracks from the duo’s acclaimed 1994 debut album, Southernplayalisticadillacmuzik.

Wham! – Last Christmas 12″ Translucent Red/Green Vinyl
Celebrate the 30th anniversary of Wham!’s “Last Christmas”–the much-covered yuletide perennial penned and produced by George Michael–with this limited edition 12″ translucent red/green vinyl single which includes a previously unreleased instrumental version of the Wham! seasonal classic, perfect for Christmas karaoke under the mistletoe.

Wu-Tang Clan – “C.R.E.A.M.” 10″ Die Cut Picture Disc on 120G Vinyl
The lyrical mastery and groundbreaking production technique of the Wu-Tang Clan changed the hip-hop scene forever. Legacy Recordings celebrates the 1994 release of their single “C.R.E.A.M.”-hailed as one of the greatest rap singles by The Source, Rolling Stone and Time-with a limited collectible vinyl single die-cut n the shape of the group’s iconic logo and backed with the single’s original B-side “The Mystery Of Chessboxin’.”

The following will be released as RSD exclusives before becoming more generally available:

Elvis Presley – Showroom Internationale 2LP – 180G 12″ vinyl
The film “Elvis: That’s The Way It Is” provided fans with their first real glimpse of Elvis performing at an absolute peak of his vocal prowess in August 1970. This individually numbered, 17 song, 2 LP set features the King’s full August 12, 1970 dinner show and includes 13 previously unreleased performances.

Jimi Hendrix – Hear My Music 2LP 200 Gram Audiophile 12″ vinyl
This limited edition, individually numbered 2LP set, pressed on 200 gram audiophile vinyl by QRP, features a treasure trove of unreleased Jimi Hendrix studio recordings from 1969. Hear My Music is an authorized Jimi Hendrix “bootleg” issued by Dagger Records.

The Kinks – Muswell Hillbillies 2LP 180 Gram Vinyl
Released in 1971, The Kinks’ Muswell Hillbillies found the quintessentially British band painting a vivid portrait of working class life in North London, with a sonic palette that drew from turn-of-the-century British music hall and American country styles. Rolling Stone would call it Ray Davies’ “signature statement” as a songwriter. This deluxe 2LP edition features the original album paired with a bonus vinyl disc of rarities and outtakes from the original album sessions as well as BBC sessions recorded for John Peel.

Various Artists – American Hustle Soundtrack 2LP – 1 Red 1 Blue Colored 150G Vinyl
The soundtrack to the blockbuster film is now a 2 LP Gatefold (on red & blue vinyl) with 6 songs not found on the CD version. The soundtrack featuring tracks by America, Bee Gees, Electric Light Orchestra, Duke Ellington, Elton John, Tom Jones, Jeff Lynne, Donna Summer, and Wings.

* * * * *

Now in its seventh year, Record Store Day is an annual day-long celebration of record store culture taking place on the third Saturday in April, with an annual Black Friday event occurring the day after Thanksgiving. This past February, RSD announced Chuck D as Record Store Day 2014 Ambassador.

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via Elvis Presley ‘Showroom Internationale’ Numbered 2LP Set To Be Released For Record Store Day | The Official Elvis Presley Site.

Posted in Album, Concert, Documentary, Live, Music | Tagged , , , , , , , , , , , , , , , , , , | Leave a comment

HEART: New October release: BOX SET | www.heartlinker.nl | ann & nancy wilson of heart | fansite

New October release: BOX SET

by HEARTLINKER

Another new collectible on the horizon! Did you guess it?  On October 14th Sony Legacy will release a new BOX SET with as yet unknown contents. The Heartlinker will be keeping you updated on this new release in this post.

First update: it has FOUR discs! And the title “The Box Set Series” suggests a simple catalog release with some extra’s in this fashion.

Update September 17th: Thank you Manny for reporting on the BBS!: Since Legacy/Sony are involved with this project, they tend to get the artists involved with their “Boxset Series’” ie. providing liner notes. Other boxsets released by Sony/Legacy in this series include hits, deep album cuts and alternative outtakes/b-sides.

Update October 7th 2014: and here’s the cover art!

Heart - the box set series

Update October 11th 2014: “2014 four CD release, an installment in the popular THE BOX SET SERIES, which come packed with original hit recordings by the biggest artists in music history. For the first time, the classic recordings of these household names are now packaged in box sets that virtually any household can afford. This set from the Classic Rock duo features 44 tracks including ‘Barracuda’, ‘Straight On’, ‘Even It Up’ and the previously unreleased ‘Stairway To Heaven’.”

Update October 15th 2014: the track list has appeared at Walmart.com and thanx to David G for posting the correct order. Disc 4 has the previously unreleased on CD track of the FAMOUS and HISTORIC Kennedy Center performance of “Stairway to Heaven”. Plus… and this is not confirmed… I think that many of the tracks on disc 4 are taken from their Sony DVD release “Night at Sky Church”, which was not released on CD (except for a small promo with a couple of songs). “Never” (live) is listed on the set as previously unreleased on CD: at first I thought it would be the “The Road home” version that was released on CD in Japan, but that version did see the laser light as part of “Strange Euphoria”. So what is this? Also nice to see that the disc includes singles from their latest studio efforts “Jupiter’s Darling”, “Red Velvet Car” and “Fanatic”!

Disc 1: 1. Barracuda 2. Little Queen 3. Kick It Out 4. Magic Man (Live) 5. Dreamboat Annie (Live) 6. Mistral Wind (Live) 7. Sylvan Song 8. Dream Of The Archer 9. Love Alive 10. Cry To Me 11. Straight On

Disc 2: 1. Dog & Butterfly 2. Nada One 3. Bebe le Strange 4. Even It Up 5. Sweet Darlin’ 6. Silver Wheels 7. Rockin’ Heaven Down 8. This Man Is Mine 9. City’s Burning 10. How Can I Refuse 11. Allies

Disc 3: 1. Almost Paradise (Love Theme From Footloose) – Mike Reno & Ann Wilson 2. Nothin’ At All 3. All I Wanna Do Is Make Love To You 4. Kiss – The Lovemongers 5. The Oldest Story In The World 6. The Perfect Goodbye 7. Hey You 8. WTF 9. Walkin’ Good – featuring Sarah McLachlan 10. Rock Deep (Vancouver) 11. Tell It Like It Is

Disc 4: 1. Crazy On You (Live) 2. Heartless (Live) 3. Never (Live) 4. What About Love (Live)  5. These Dreams (Live) 6. Alone (Live) 7. Unchained Melody (Live) 8. Misty Mountain Hop (Live) 9. Rock And Roll (Live) 10. Black Dog (Live) 11. Stairway To Heaven (Live at the Kennedy Center)

Extra latest:

Dig the cookin’ hot performance of “Kick It Out” with Heart featuring Foo Fighters on ‘Letterman’:

 

via New October release: BOX SET | www.heartlinker.nl | ann & nancy wilson of heart | fansite.

Posted in Album, Blues, CD, Concert, Folk, Live, Music, Rock | Tagged , , , , , , , , , , , , , | Leave a comment