909

[Juan Luis]

This is dedicated to uf without whom..

[drjohncarpenter]

Your analogy to 1968's The Beatles (aka "the White Album") makes no sense whatsoever. That incredible #1 double LP derives from a specific series of sessions held between June and October. Their management did not make it a 2 LP set, it was their artistic choice. The 1969 Presley double -- From Memphis To Vegas/From Vegas To Memphis -- was cobbled together by RCA and Tom Parker. It could easily have been two separate releases -- as was done less than a year later.

However one chooses to view Back In Memphis, it is irrefutable it was the first new album of American Sound material after From Elvis In Memphis. Whether it was packaged with a disc of live cuts from Las Vegas is irrelevant. Anyone listening to the two LPs of these Memphis recordings can ascertain that the first was far superior to the second.

[Juan Luis]

Enlightened? Probably ...happy ?? not really...ok DOC! you got it...

[drjohncarpenter]

There really isn't an "artistic" intent with the Presley live/studio double. It was a business decision. But The Beatles remains a tremendous, if sometimes difficult, album nearly 40 years later. And I believe Paul's comment in Anthology about it being "too long" was something along the lines of "it's the bloody white album, shut up."

[Thomas]

8.

[elvislennon]

Actaully the song is call Revolution #9 and not just 9. The Beatles was working on the album long before Elvis' From Memphis to Vegas Double LP. They started working on that in 1967 but all songs was written mostly in 1966 in India. Revolution #9 was the beginning point for Lennon to start his three werid albums Two Virgins, Life With Lions and The Wedding Album. The other songs was talking about what they saw or what is going on in the USA, Britian and so on. So there is nothing between the albums what so ever.

[drjohncarpenter]

The Beatles was working on the album long before Elvis' From Memphis to Vegas Double LP.

Not that long -- as noted above, their sessions began in June 1968, while FMTV/FVTM, issued in November 1969, contained material cut in January, February and August 1969, about a difference of a year or less.

They started working on that in 1967 but all songs was written mostly in 1966 in India.

Wrong on both dates. The album sessions began with informal demos at the end of May 1968, culled from songs primarily written just a few months before, in India.

Revolution #9 was the beginning point for Lennon to start his three werid albums ...

Most agree that John's unique genius began to appear with his amazing 1966 recordings of "She Said She Said," "Tomorrow Never Knows" and "Strawberry Fields Forever."

[likethebike]

I'm not sure what the intent of the thread is?

Nonetheless, nothing wrong with editing your posts. A lot of times people don't think of everything in one shot.

As for The White Album it might have been better off being edited down to a single LP. The character of the album is erratic and although many pieces- "While My Guitar Gently Weeps", "I'm So Tired", "Helter Skelter", "Why Don't We Do it in the Road", "Blackbird"- rank with the greatest popular music of all time- many of the tracks are either self-indulgent- "Revolution #9" or throwaways like "Rocky Racoon".

It's a more coherent statement than the Memphis/Vegas album although that double album does sum up Elvis circa 1969 in the great live show and the maturity in the studio tracks. Although the studio half of the record is clearly inferior to From Elvis in Memphis there are several highlights including stunning soul baring work on "Stranger in My Own Home Town" and "Without Love", the almost liquid sound on "Do You Know Who I Am" and "A Little Bit Of Green" and the most profound Neil Diamond interpretation ever on "And the Grass Won't Pay No Mind". The other songs are kind of workmanlike but never less than respectable.

[Juan Luis]

I'm not sure what the intent of the thread is?

Nonetheless, nothing wrong with editing your posts. A lot of times people don't think of everything in one shot.

As for The White Album it might have been better off being edited down to a single LP. The character of the album is erratic and although many pieces- "While My Guitar Gently Weeps", "I'm So Tired", "Helter Skelter", "Why Don't We Do it in the Road", "Blackbird"- rank with the greatest popular music of all time- many of the tracks are either self-indulgent- "Revolution #9" or throwaways like "Rocky Racoon".

It's a more coherent statement than the Memphis/Vegas album although that double album does sum up Elvis circa 1969 in the great live show and the maturity in the studio tracks. Although the studio half of the record is clearly inferior to From Elvis in Memphis there are several highlights including stunning soul baring work on "Stranger in My Own Home Town" and "Without Love", the almost liquid sound on "Do You Know Who I Am" and "A Little Bit Of Green" and the most profound Neil Diamond interpretation ever on "And the Grass Won't Pay No Mind". The other songs are kind of workmanlike but never less than respectable.

Thanks LTB. I tried and failed to compare the double album (self titled) of the fab 4 with From Memphis To Vegas and from Vegas to Memphis (as long as you do not consider BIM a standalone..which to me was not ever..even though separated in 1970) anyway my failed comparison was to try to show that the bad "music" (of the white album)was more throwaway than even BIM as a standalone (that is not in my book) . Also that the studio stuff(BIM) from double album seems stronger than the ""album" by itself.

[TJ]

Most agree that John's unique genius began to appear with his amazing 1966 recordings of "She Said She Said," "Tomorrow Never Knows" and "Strawberry Fields Forever."

Norwegian Wood, Girl and In My Life pre-date those and I think equal anything that came later, especially In My Life.

[drjohncarpenter]

Norwegian Wood, Girl and In My Life pre-date those and I think equal anything that came later, especially In My Life.

Right. As a matter of fact, "There's A Place" from February 1963 is as good as anything John ever wrote.

But you miss the point. You need to revisit my quote in context. It's based squarely on the absurd statement made by "elvislennon."

[Juan Luis]

In My Life is my favorite Lennon /McCartney/Martin composition.

[drjohncarpenter]

In My Life is my favorite Lennon /McCartney/Martin composition.

This classic was almost completely composed by John Lennon, with a little help from his friend, Paul.

Producer George Martin had nothing to do with writing the song, and has quite rightfully never received a songwriting credit.

[Juan Luis]

In My Life is my favorite Lennon /McCartney/Martin composition.

This classic was almost completely composed by John Lennon, with a little help from his friend, Paul.

Producer George Martin had nothing to do with writing the song, and has quite rightfully never received a songwriting credit.

He should of gotten credit for beautiful piano solo(composed not improvised ) which is my favorite part of the whole song. Musically.Baroque..very Martinesque..

[drjohncarpenter]

He should of gotten credit for beautiful piano solo(composed not improvised ) ...

No. Martin's wonderful solo was composed at John's explicit instruction, and the group determined it be recorded with the tape running at half speed so it would sound faster on normal play.

Using your logic, Scotty Moore should be a songwriter because of his work on tracks like "Too Much" or "That's All Right" -- and Floyd Cramer should join Schroeder and Wyche's credit on "A Big Hunk O' Love," since his piano solo is such a killer. But it doesn't work that way.

[Juan Luis]

He should of gotten credit for beautiful piano solo(composed not improvised ) ...

No. Martin's wonderful solo was composed at John's explicit instruction, and the group determined it be recorded with the tape running at half speed so it would sound faster on normal play.

Using your logic, Scotty Moore should be a songwriter because of his work on tracks like "Too Much" or "That's All Right" -- and Floyd Cramer should join Schroeder and Wyche's credit on "A Big Hunk O' Love," since his piano solo is such a killer. But it doesn't work that way.

I know the difference between a great improvised solo (thats what Jazz is all about) and a composed piece of work. And he should have gotten credit even if John asked for .... and its ok that he did not. A lot of people (musicians etc) get credit for much less than what Martin did. There are a few Beatle numbers (no not thinking of Strawberry Fields) that without Martin are simply unfinished. I AM The Walrus even Eleanor Rigby especially have beautiful string compositions NOT sweetening arrangements..etc..to be back on Elvis..well he got credit for providing as little as song title....PS. In My life is not just a great solo but a beautiful composition within composition...