I'll Never Fall In Love Again Live version 1976

[stevelecher]

Elvis sings poorly on Hey Jude despite it being recorded at American. It's all right to admit it now, almost 50 years later. And Chips would not have wanted it released.

[Fabbe]

I don’t think Elvis is off key in Hey Jude. But if some find him to be off-key (produce notes that are not in harmonic accordance with the key), maybe it is easier to narrow down the pieces of lyrics where this happens. After all, «the burden of proof is on the accuser». This will make it easer to clarify what we are hearing.

[rlj4ep]

The whole Elvis vocalization assessment on this board is hilarious, as if people are on to something big here.
Fact is, there are flaws in many segments of his career from a downright off key Hey Jude in 1969, to an unsteady 'How can you lose what you never had' in 1967 to the downright uncomfortable 1972 recording of 'Love me, Love the life I lead'.
(+Padre)
You just can't bucket Elvis vocal performance by year as for example in 1973, July vs December almost sounded like a different performer.
I'm in the camp of judging individual performances as they are, regardless of the year. People claiming Elvis vocals were 'impaired' in 1974 don't have a single clue what they are talking about.

And yes, as of 1976 his failing health started to affect his voice more prominent.. but also here you can't draw a single line.
I think we know this for over 40 years now don't we?

For the umpteenth time, Elvis is not "downright off key" on that 1969 studio outtake. Period.

Can you help clarify what we are hearing. For years now when I hear Elvis' studio version of "Hey Jude," he doesn't sound "on key" to me either. IMHO, it sounds like the arrangement is way too high for Elvis. Thanks for any further clarification you can lend.

rlj

You're a very intelligent Elvis fan. Rather than repeating technical explanations of how his notes and pitch are just fine, search the forum for more, I will instead leave you with a question.

Knowing the history of the 1969 American Sound sessions as I do, do you think producer Chips Moman would have rolled tape and allowed his artist to track "Hey Jude" through seven run-throughs while singing off-key?

John, I am being serious with my question. I know you have a great deal of information and knowledge of those historic sessions. I am simply curious as to why you say Elvis is not "off key" when all of my records, tapes, and CD's which feature "Hey Jude," feature Elvis sounding very different and not sounding in tune in places. If anything, the music is way to too high for Elvis.

My opinion of Chips Moman is not relevant to my question. That said, how Mr. Moman, RCA, or anyone thought that Elvis' cover of "Hey Jude" sounded good enough to release is a mystery to me.

Mr. Moman did not think it was good enough to release. The hackneyed Felton Jarvis would have submitted Elvis grunting on the toilet to deliver a finished master, and RCA would have released anything, as "Having Fun With Elvis On Stage" so aptly proved.

Thank you for your comment...., I would be friendly to the highlighted parts...., even these years later the release of the album you mention is still puzzling to me.
"Hey Jude" by Elvis is one track I constantly skip, even the live versions from 1969. The timing of the release by RCA is another strange thing. But then again, they did this sort of thing throughout Elvis' career, the Elvis for Everyone album is a case in point. When listening to the rest of the American tracks, Elvis' voice sounds fine (despite battling a cold on some of the songs). But to my hearing (and maybe it is just a personal thing), he just doesn't sound the same on "Hey Jude."

I certainly feel different about Jarvis (and the comment may be a little over the top) but that's a conversation for another thread.

rlj

[drjohncarpenter]

You're a very intelligent Elvis fan. Rather than repeating technical explanations of how his notes and pitch are just fine, search the forum for more, I will instead leave you with a question.

Knowing the history of the 1969 American Sound sessions as I do, do you think producer Chips Moman would have rolled tape and allowed his artist to track "Hey Jude" through seven run-throughs while singing off-key?

John, I am being serious with my question. I know you have a great deal of information and knowledge of those historic sessions. I am simply curious as to why you say Elvis is not "off key" when all of my records, tapes, and CD's which feature "Hey Jude," feature Elvis sounding very different and not sounding in tune in places. If anything, the music is way to too high for Elvis.

My opinion of Chips Moman is not relevant to my question. That said, how Mr. Moman, RCA, or anyone thought that Elvis' cover of "Hey Jude" sounded good enough to release is a mystery to me.

That's rude. My entire response is serious, and it is disappointing you cannot show the same respect in return and answer my question.

Chips Moman is extremely relevant. He was the first producer since God knows when to tell Elvis when he was singing flat. He was not a passive, "keep the artist happy" kind of person, he was always fully in charge at American Sound.

And the historical record shows that Moman left the cover of "Hey Jude" on the shelf. It was exhumed years later by Felton Jarvis when RCA put together the scattershot, desperate 1972 album Elvis Now.

Have a great day.

[FVH]

For me, "I'll Never Fall In Love Again" encompasses both some of his worst weaknesses and greatest moments - with emphasis on the former, of course. While his vocals are anemic and wobbly for the most part, bliss suddenly arises on the word "in" during the last "in love" of the song. Perfect pitch and sheer power hits the eardrums like a bullet just in that moment, and always brings a huge smile on my face. A phrase even Tom Jones would have a hard time topping, I might add.

As for "Hey Jude", it should never have been released on an official album, and only goes to show how desperate RCA were for material in early -72.
And, yes, he is off key at times. The first "sad song" phrase is way off, and every "song" after that is flat except for the last one, which he barely nails.

Whenever I listen to "Hey Jude", I just think along the lines of this:

It's not the end of the world to accept that Elvis simply wasn't up to the task

[Lexie1973]

You're a very intelligent Elvis fan. Rather than repeating technical explanations of how his notes and pitch are just fine, search the forum for more, I will instead leave you with a question.

Knowing the history of the 1969 American Sound sessions as I do, do you think producer Chips Moman would have rolled tape and allowed his artist to track "Hey Jude" through seven run-throughs while singing off-key?

John, I am being serious with my question. I know you have a great deal of information and knowledge of those historic sessions. I am simply curious as to why you say Elvis is not "off key" when all of my records, tapes, and CD's which feature "Hey Jude," feature Elvis sounding very different and not sounding in tune in places. If anything, the music is way to too high for Elvis.

My opinion of Chips Moman is not relevant to my question. That said, how Mr. Moman, RCA, or anyone thought that Elvis' cover of "Hey Jude" sounded good enough to release is a mystery to me.

That's rude.

You're kidding right???? Pot...kettle....black....

Get serious Doc....you're behaviour on this board is getting more erratic by the day....

And yes..... I'll stay strong....

Verstuurd vanaf mijn SM-J330F met Tapatalk

[drjohncarpenter]

For me, "I'll Never Fall In Love Again" encompasses both some of his worst weaknesses and greatest moments - with emphasis on the former, of course. While his vocals are anemic and wobbly for the most part, bliss suddenly arises on the word "in" during the last "in love" of the song. Perfect pitch and sheer power hits the eardrums like a bullet just in that moment, and always brings a huge smile on my face. A phrase even Tom Jones would have a hard time topping, I might add.

As for "Hey Jude", it should never have been released on an official album, and only goes to show how desperate RCA were for material in early -72.
And, yes, he is off key at times. The first "sad song" phrase is way off, and every "song" after that is flat except for the last one, which he barely nails.

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.

Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

[r&b]

I do not think Elvis is off-key in Hey Jude. The key may be a bit too high, but listen to Suspicious Minds, Any Day Now, and some other songs from 69. He used that high voice quite a lot in those sessions. The problem with Hey Jude is the arrangement is a mess and Elvis didnt bother to lean the damn song. It just sounds like a run through instead of a complete song. The vocal is ok but It seems like he need a lyric sheet.

[FVH]

For me, "I'll Never Fall In Love Again" encompasses both some of his worst weaknesses and greatest moments - with emphasis on the former, of course. While his vocals are anemic and wobbly for the most part, bliss suddenly arises on the word "in" during the last "in love" of the song. Perfect pitch and sheer power hits the eardrums like a bullet just in that moment, and always brings a huge smile on my face. A phrase even Tom Jones would have a hard time topping, I might add.

As for "Hey Jude", it should never have been released on an official album, and only goes to show how desperate RCA were for material in early -72.
And, yes, he is off key at times. The first "sad song" phrase is way off, and every "song" after that is flat except for the last one, which he barely nails.

Nope.

Yup.
Your ears just don't work properly.
It's not the end of the world.

[drjohncarpenter]

Yup.
Your ears just don't work properly.
It's not the end of the world.

I committed my post before completion, please revisit. It contains the observations of someone who might know more than you do.

[stevelecher]

It's sacrilege to say but Elvis wasn't in great voice for all the American sessions. I think a lot of people like to hear that little desperation and effort from him to get it done. The voice is quite small on Any Day Now, Little Bit Of Green, This Is The Story and others. It's very small on Hey Jude and, flat or not, he doesn't hit that note on "song'" as FVH mentioned.

I agree that last note, "I-i-i-in love" at the end of "I'm Never Going to Fall" is cool and well done, much like those last notes of Hurt in concert. But all those "Faaaaaaaaaaaall in love"s during the choruses are very weak and were covered up by background singers. The problems with his singing on this track are also present on Solitaire and Last Farewell.

[drjohncarpenter]

According to Keith Flynn's website, the session log for Hey Jude indicates "Track Only". Maybe it was planned as such with the full lyrics to be redone at a later date... just a thought.

This was a possibility that producer Chips Moman considered, and "track only" may have been shorthand for "repair vocal track only." It was certainly not consider a master for release. His bar was set much higher for Elvis.

I agree that last note, "I-i-i-in love" at the end of "I'm Never Going to Fall" is cool and well done, much like those last notes of Hurt in concert. But all those "Faaaaaaaaaaaall in love"s during the choruses are very weak and were covered up by background singers. The problems with his singing on this track are also present on Solitaire and Last Farewell.

Indeed. And when you find yourself praising the "vocal work" on a single word, you should accept that you are grasping at straws.

[stevelecher]

Naw. I just like the end of a track I think is otherwise not up to par.

[mike edwards66]

Elvis' version of "Hey Jude" is not a studio outtake or a run-through or a warm-up, it is indeed a Chips Moman produced 'master'. How do we know, because Elvis confirmed it in August '69 when he told British writer Ray Connolly "I've recorded Hey Jude".

What a pity then, that producer Chips Moman didn't suggest that Elvis learn the lyrics or use a lyric sheet or try another key or try anything. Chips Moman failed us on that one, what price now for an bona fide Elvis Presley studio version of a Beatles song. It's still pretty nice, delicious in parts. But, oh what could have been. If only his producer had been a bit more forceful:

..

[poormadpeter2]

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.

Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Here's something else he wrote about Elvis.

"Presley is in superb voice. Not for a long time had the ringing power and tenderness, the range of expression, and the certainty of feeling been so clearly displayed."

What's he talking about?

ELVIS IN CONCERT.

Other gems from Matthew-Walker's book:

"Catchin On Fast is a very good song."

"A Dog's Life is far better and gets a much more committed performance. One can sense the interest in his voice from the arresting opening to the striking conclusion."

On songs from 1968 TV show:

"Are You Lonesome Tonight comes from the poor sessions of June 27th."
"Baby What You want Me To Do highlights Elvis on lead guitar. This is the only merit of the take."
"Tiger Man attempts to recapture the early days of rock n roll, but the recording is so dismal that the performance has little significance."

Now, Doc, you can take stock in what the man says if you want, but you need to come up with a better source to prove to everybody else that Hey Jude is of any worth.

[poormadpeter2]

Elvis' version of "Hey Jude" is not a studio outtake or a run-through or a warm-up, it is indeed a Chips Moman produced 'master'. How do we know, because Elvis confirmed it in August '69 when he told British writer Ray Connolly "I've recorded Hey Jude".

What a pity then, that producer Chips Moman didn't suggest that Elvis learn the lyrics or use a lyric sheet or try another key or try anything. Chips Moman failed us on that one, what price now for an bona fide Elvis Presley studio version of a Beatles song. It's still pretty nice, delicious in parts. But, oh what could have been. If only his producer had been a bit more forceful:

..

And the fact that it was overdubbed just days after it was recorded. You don't overdub a reject.

[FVH]

Yup.
Your ears just don't work properly.
It's not the end of the world.

I committed my post before completion, please revisit. It contains the observations of someone who might know more than you do.

What do you need to "know" to hear if someone sings a flat note?
You clearly mean that you know more than me on this topic.
Since you present the prerequisite of releasing books in order to be able to determine this: What are your credentials of knowing?

[poormadpeter2]

Yup.
Your ears just don't work properly.
It's not the end of the world.

I committed my post before completion, please revisit. It contains the observations of someone who might know more than you do.

What do you need to "know" to hear if someone sings a flat note?
You clearly mean that you know more than me on this topic.
Since you present the prerequisite of releasing books in order to be able to determine this: What are your credentials of knowing?

OUCH.

[rlj4ep]

You're a very intelligent Elvis fan. Rather than repeating technical explanations of how his notes and pitch are just fine, search the forum for more, I will instead leave you with a question.

Knowing the history of the 1969 American Sound sessions as I do, do you think producer Chips Moman would have rolled tape and allowed his artist to track "Hey Jude" through seven run-throughs while singing off-key?

John, I am being serious with my question. I know you have a great deal of information and knowledge of those historic sessions. I am simply curious as to why you say Elvis is not "off key" when all of my records, tapes, and CD's which feature "Hey Jude," feature Elvis sounding very different and not sounding in tune in places. If anything, the music is way to too high for Elvis.

My opinion of Chips Moman is not relevant to my question. That said, how Mr. Moman, RCA, or anyone thought that Elvis' cover of "Hey Jude" sounded good enough to release is a mystery to me.

That's rude. My entire response is serious, and it is disappointing you cannot show the same respect in return and answer my question.

Chips Moman is extremely relevant. He was the first producer since God knows when to tell Elvis when he was singing flat. He was not a passive, "keep the artist happy" kind of person, he was always fully in charge at American Sound.

And the historical record shows that Moman left the cover of "Hey Jude" on the shelf. It was exhumed years later by Felton Jarvis when RCA put together the scattershot, desperate 1972 album Elvis Now.

Have a great day.

With all due respect I am not being rude nor am I trying to be rude. I am serious with my original question to you. I was genuinely interested on your thoughts as to why you say Elvis was not singing "off key" on "Hey Jude." Instead, my questions gets diverted to Chips Moman.

I withdraw my question to you...., never mind..., sorry to have bothered you.

[rlj4ep]

For me, "I'll Never Fall In Love Again" encompasses both some of his worst weaknesses and greatest moments - with emphasis on the former, of course. While his vocals are anemic and wobbly for the most part, bliss suddenly arises on the word "in" during the last "in love" of the song. Perfect pitch and sheer power hits the eardrums like a bullet just in that moment, and always brings a huge smile on my face. A phrase even Tom Jones would have a hard time topping, I might add.

As for "Hey Jude", it should never have been released on an official album, and only goes to show how desperate RCA were for material in early -72.
And, yes, he is off key at times. The first "sad song" phrase is way off, and every "song" after that is flat except for the last one, which he barely nails.

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.
Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

On the contrary, the song belongs to the Beatles. IMHO, Elvis should not have recorded it let alone have it released. This is even more supported with the way Elvis performed it. That's all it was from me. No hidden agenda, no trying to start an argument. I asked a fellow member of the board a legitimate question and the rest is history.

My last post in this thread so it can get back on point. My apologies to the creator of this thread.

[drjohncarpenter]

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.

Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Yes, that's why I transcribed the entry. There are so many misinformed people on this forum that the ability to actually listen to this outtake of "Hey Jude" is almost impossible, and common sense has gone right out the window. I hate when that happens, don't you?

It's clear that the singing Elvis delivers on the biggest song of 1968 is simply too much for some fans to take, and in part it is because it represents a song and a success that bothers them. What a shame. Although just an outtake, I admire Presley's feeling for the song, and not being afraid to give it a shot. He seldom if ever sang again with such lightness and abandon in a studio.

Funny how almost no one mentions that.

[poormadpeter2]

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.

Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Yes, that's why I transcribed the entry. There are so many misinformed people on this forum that the ability to actually listen to this outtake of "Hey Jude" is almost impossible, and common sense has gone right out the window. I hate when that happens, don't you?

It's clear that the singing Elvis delivers on the biggest song of 1968 is simply too much for some fans to take, and in part it is because it represents a song and a success that bothers them. What a shame. Although just an outtake, I admire Presley's feeling for the song, and not being afraid to give it a shot. He seldom if ever sang again with such lightness and abandon in a studio.

Funny how almost no one mentions that.

Do not, under any circumstances, edit my post in order to make it mean something entirely different to what was intended.

It is insulting, demeaning and completely below the belt, and the only thing you will gain from such actions is complete and utter contempt from other people.

If you are unable to make your argument without stooping to such levels, then it is clearly neither a strong argument or one that you are convinced of.

I understand that we do not get on, never have got on, and never will go on. But even I believe you are capable of better behaviour than this.

For the record, here is my complete post.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Here's something else he wrote about Elvis.

"Presley is in superb voice. Not for a long time had the ringing power and tenderness, the range of expression, and the certainty of feeling been so clearly displayed."

What's he talking about?

ELVIS IN CONCERT.

Other gems from Matthew-Walker's book:

"Catchin On Fast is a very good song."

"A Dog's Life is far better and gets a much more committed performance. One can sense the interest in his voice from the arresting opening to the striking conclusion."

On songs from 1968 TV show:

"Are You Lonesome Tonight comes from the poor sessions of June 27th."
"Baby What You want Me To Do highlights Elvis on lead guitar. This is the only merit of the take."
"Tiger Man attempts to recapture the early days of rock n roll, but the recording is so dismal that the performance has little significance."

Now, Doc, you can take stock in what the man says if you want, but you need to come up with a better source to prove to everybody else that Hey Jude is of any worth.

[Spellbinder]

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.

Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Yes, that's why I transcribed the entry. There are so many misinformed people on this forum that the ability to actually listen to this outtake of "Hey Jude" is almost impossible, and common sense has gone right out the window. I hate when that happens, don't you?

It's clear that the singing Elvis delivers on the biggest song of 1968 is simply too much for some fans to take, and in part it is because it represents a song and a success that bothers them. What a shame. Although just an outtake, I admire Presley's feeling for the song, and not being afraid to give it a shot. He seldom if ever sang again with such lightness and abandon in a studio.

Funny how almost no one mentions that.

Do not, under any circumstances, edit my post in order to make it mean something entirely different to what was intended.

It is insulting, demeaning and completely below the belt, and the only think you will gain from such actions is complete and utter contempt from other people.

If you are unable to make your argument without stooping to such levels, then it is clearly neither a strong argument or one that you are convinced of.

I understand that we do not get on, never have got on, and never will go on. But even I believe you are capable of better behaviour than this.

For the record, here is my complete post.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Here's something else he wrote about Elvis.

"Presley is in superb voice. Not for a long time had the ringing power and tenderness, the range of expression, and the certainty of feeling been so clearly displayed."

What's he talking about?

ELVIS IN CONCERT.

Other gems from Matthew-Walker's book:

"Catchin On Fast is a very good song."

"A Dog's Life is far better and gets a much more committed performance. One can sense the interest in his voice from the arresting opening to the striking conclusion."

On songs from 1968 TV show:

"Are You Lonesome Tonight comes from the poor sessions of June 27th."
"Baby What You want Me To Do highlights Elvis on lead guitar. This is the only merit of the take."
"Tiger Man attempts to recapture the early days of rock n roll, but the recording is so dismal that the performance has little significance."

Now, Doc, you can take stock in what the man says if you want, but you need to come up with a better source to prove to everybody else that Hey Jude is of any worth.

The only think you will gain?

[poormadpeter2]

Only on this forum have I ever read such comments about this 1969 outtake. It's not far-fetched to imagine some of the comments are rooted in the fact that it's a very famous and successful song that defined 1968, and had nothing to do with Elvis.

Classical composer Robert Matthew-Walker undertook an ambitious project back in 1979, publishing a study of Elvis Presley's life's work as a singer. One would imagine his background would not shy away from pointing out when and where Elvis was "off key" or "flat." Here is what he wrote about the outtake of "Hey Jude":

In 'Hey Jude' Presley turns to the Beatles. Just as the "Gentle On My Mind' performance is different from that generally known, so 'Hey Jude' is so unlike the original as to make it a different song. He performs it in a high voice, as though half-whispering to a friend, but this strange atmosphere exerts a fascination.

Robert Matthew-Walker, Elvis Presley: Studies In Modern Music (Kent: MIdas Books, 1979)

Interesting.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Yes, that's why I transcribed the entry. There are so many misinformed people on this forum that the ability to actually listen to this outtake of "Hey Jude" is almost impossible, and common sense has gone right out the window. I hate when that happens, don't you?

It's clear that the singing Elvis delivers on the biggest song of 1968 is simply too much for some fans to take, and in part it is because it represents a song and a success that bothers them. What a shame. Although just an outtake, I admire Presley's feeling for the song, and not being afraid to give it a shot. He seldom if ever sang again with such lightness and abandon in a studio.

Funny how almost no one mentions that.

Do not, under any circumstances, edit my post in order to make it mean something entirely different to what was intended.

It is insulting, demeaning and completely below the belt, and the only think you will gain from such actions is complete and utter contempt from other people.

If you are unable to make your argument without stooping to such levels, then it is clearly neither a strong argument or one that you are convinced of.

I understand that we do not get on, never have got on, and never will go on. But even I believe you are capable of better behaviour than this.

For the record, here is my complete post.

Yes, one would imagine that Robert Matthew-Walker knew what he was talking about.

Here's something else he wrote about Elvis.

"Presley is in superb voice. Not for a long time had the ringing power and tenderness, the range of expression, and the certainty of feeling been so clearly displayed."

What's he talking about?

ELVIS IN CONCERT.

Other gems from Matthew-Walker's book:

"Catchin On Fast is a very good song."

"A Dog's Life is far better and gets a much more committed performance. One can sense the interest in his voice from the arresting opening to the striking conclusion."

On songs from 1968 TV show:

"Are You Lonesome Tonight comes from the poor sessions of June 27th."
"Baby What You want Me To Do highlights Elvis on lead guitar. This is the only merit of the take."
"Tiger Man attempts to recapture the early days of rock n roll, but the recording is so dismal that the performance has little significance."

Now, Doc, you can take stock in what the man says if you want, but you need to come up with a better source to prove to everybody else that Hey Jude is of any worth.

The only think you will gain?

Thanks.

[mike edwards66]

Elvis' version of "Hey Jude" is not a studio outtake or a run-through or a warm-up, it is indeed a Chips Moman produced 'master'. How do we know, because Elvis confirmed it in August '69 when he told British writer Ray Connolly "I've recorded Hey Jude".

What a pity then, that producer Chips Moman didn't suggest that Elvis learn the lyrics or use a lyric sheet or try another key or try anything. Chips Moman failed us on that one, what price now for an bona fide Elvis Presley studio version of a Beatles song. It's still pretty nice, delicious in parts. But, oh what could have been. If only his producer had been a bit more forceful:

..

And the fact that it was overdubbed just days after it was recorded. You don't overdub a reject.

Exactly, you don't overdub a reject or an outtake or a run-through or a warm-up. To settle this, the only question we have to ask, is do we believe Elvis when he told Ray Connolly "I've recorded Hey Jude". Of course we do, in Elvis' mind it was settled. He had a Chips Moman produced 'master'.