Elvis Presley - From Elvis in Memphis CD

From Elvis in Memphis CD music Without a doubt, Harrison's first solo recording, originally issued as a triple album, is his best. Drawing on his backlog of unused compositions from the late Beatles era, George crafted material that managed the rare feat of conveying spiritual mysticism without sacrificing his gifts for melody and grand, sweeping arrangements. Enhanced by Phil Spector's lush orchestral production and Harrison's own superb slide guitar, nearly every song is excellent: "Awaiting on You All," "Beware of Darkness," the Dylan collaboration "I'd Have You Anytime," "Isn't It a Pity," and the hit singles "My Sweet Lord" and "What Is Life" are just a few of the highlights. A very moving work, with a very significant flaw: the jams that comprise the final third of the album are entirely dispensable, and have probably only been played once or twice by most of the listeners who own this record. Those same jams, however, played by Eric Clapton, Carl Radle, Bobby Whitlock, and Jim Gordon (all of whom had just come off of touring as part of Delaney & Bonnie's band), proved to be of immense musical importance, precipitating the formation of Derek & the Dominos. Thus, they weren't a total dead end, and may actually be much more to the liking of the latter band's fans. ~ Richie Unterberger & Bruce Eder Includes 5 bonus tracks. Includes liner notes by George Harrison. Digitally remastered by Jon Astley. Additional Tracks Personnel: George Harrison (vocals, guitar); Sam Brown (vocals); Dhani Harrison (acosutic guitar, Fender Rhodes piano, background vocals); Badfinger (guitar, percussion); Dave Mason, Eric Clapton (guitar); Pete Drake (pedal steel guitar); Bobby Keys (tenor saxophone); Jim Price (trumpet); Billy Preston, Gary Wright, Bobby Whitlock, Gary Brooker (keyboards); Carl Radle, Klaus Voorman (bass); Ringo Starr, Alan White, Jim Gordon (drums, percussion); Ray Cooper, Mal Evans (tambourine). Engineers: Ken Scott, Philip McDonald, Ken Scott. Personnel: George Harrison (guitar); George Harrison (vocals); Ringo Starr (vocals, drums, percussion); Sam Brown (vocals, background vocals); Eric Clapton (guitar, guitars); Badfinger (guitar, percussion); Joey Molland, Pete Ham, Peter Frampton, Tommy Evans (guitar); Pete Drake (pedal steel guitar); Billy Preston (piano, organ, keyboards); Dhani Harrison (Fender Rhodes piano); Gary Brooker (keyboards); Klaus Voormann (bass instrument, bass guitar); Mike Gibbins (percussion); Dave Mason (guitar); Bobby Keys (tenor saxophone); Jim Price (trumpet); Gary Wright, Bobby Whitlock (keyboards); Carl Radle (bass guitar); Jim Gordon , Alan White (drums, percussion); Mal Evans, Ray Cooper (tambourine). Audio Remasterer: Jon Astley. Liner Note Author: George Harrison. Recording information: EMI Abbey Road Studios, London, England (05/1970). Photographer: Barry Feinstein. Arranger: John Barham.

From Elvis in Memphis songs Though Moby Grape came blasting out of San Francisco at the height of the Haight-Ashbury scene, they are more related to LA bands like the Byrds and Love, stressing songwriting, arrangements, and multi-part vocals rather than jamming. This debut album stands as one of the finest debuts by any band of the '60s rock era. The Grape's three-guitar line-up is known to have inspired a similar approach with Buffalo Springfield. From the first blast of "Hey Grandma" to the mesmerizing electric closer "Indifference," Moby Grape moved fearlessly from country-tinged romps to blue-eyed soul, with plenty of pounding-in-the-chest rockers throughout. It's all anchored with tight and inventive instrumental interplay and no less than four songwriters, each with a vocal character that would've made them the center of any band. However, from this enduring peak it all went downhill, with sad swiftness. The usual litany of in-fighting, bad management, label pressures, and drugs began undoing this great band as soon as this album appeared. While created in the late '60s, this is an essential album by the measure of any decade. Recording information: CBS, Hollywood, CA (01/25/1967-11/06/1967). Unknown Contributor Roles: Don Stevenson; Jerry Miller; Peter Lewis; Skip Spence; Bob Mosley . Moby Grape: Skip Spence, Peter Lewis, Jerry Miller (vocals, guitar); Bob Mosley (vocals, bass); Don Stevenson (drums). Personnel: Don Stevenson, Skip Spence (vocals, guitar, drums); Jerry Miller, Peter Lewis (vocals, guitar); Bob Mosley (vocals).

From Elvis in Memphis album for sale WHITE LIGHT/WHITE HEAT, the Velvet Underground's second album, is the band at their most calculated and perverse, but also shows another side. It is a glimpse of the more accessible rock which Lou Reed wrote, but wasn't fully comfortable with until the group's third album. WHITE LIGHT/WHITE HEAT also introduced guitar sounds and production so abrasive that the feel wasn't duplicated until even punk had matured into New York's downtown art/noise scene nearly twenty years later. WHITE LIGHT/WHITE HEAT is an exhausting exercise in opposites. The aching beauty of "Here She Comes Now" features a delicate guitar melody and Reed's most innocent vocals since the debut's "Sunday Morning"; it sniffs around Lou's taste for ballads, but throws in the cruel "oh she looks so good/oh she's made out of wood" refrain for effect. The title track would even be playful if not for the instrumental speed rushes and vocal harmonies so discordant they're sinister. It also turns out to be a perfect primer for "Sister Ray," a depraved freak show of prostitutes, junkies and what happens when the cops come banging at the door. Musically, "Sister Ray" is a jarring guitar crash, clocking in at 17:25, fully showing the Velvet's musical ferociousness. As organ washes clash with jagged locomotive guitars, Reed whirls off descriptions of sailors and transsexuals who "want to know a way to earn a dollar." Such snapshots into the Velvet Underground's twin sides make WHITE LIGHT/WHITE HEAT indispensable. Photographers: Susan Cooper; Billy Name. Velvet Underground: Lou Reed (vocals, guitar, piano); Sterling Morrison (vocals, guitar, bass); John Cale (vocals, electric viola, organ, bass); Maureen Tucker (percussion). Personnel: Lou Reed (vocals, guitar, piano, keyboards); Sterling Morrison (vocals, guitar, bass guitar); John Cale (vocals, viola, electric viola, organ, keyboards, bass guitar); Maureen Tucker (percussion).

From Elvis in Memphis buy CD music Includes liner notes by David Nathan and original release liner notes by Jon Landau. Aretha's Franklin's position as soul music's premier female vocalist was consolidated by this album. Her strident reading of Don Covay's 'Chain Of Fools' set the tone for a collection on which the singer unveiled several stellar original compositions and reinterpreted a batch of classic songs. Franklin's gospel roots were clearly displayed on the anthem-like 'People Get Ready' while her interpretation of 'Natural Woman' showed both vulnerable and assertive qualities. Lady Soul captures a performer at the peak of her power, restating her ability to take material and make it uniquely her own. Boasting both 'Chain Of Fools' and '(You Make Me Feel) Like A Natural Woman,' this 1968 tour de force is one of the absolute pinnacles of the Queen's incredible artistic legacy. Remastered to perfection with all new liner notes plus 4 bonus tracks, 'Chain Of Fools' (Unedited Version), '(You Make Me Feel Like) A Natural Woman' (Mono Single Version), 'Since You've Been Gone (Sweet Sweet Baby)' (Mono Single Version) & 'Ain't No Way' (Mono Single Version). 14 tracks in all. Rhino. 2003. Recorded at Atlantic Recording Studios, New York between February 16 and December 20, 1967. Personnel: Aretha Franklin (vocals, piano); Carolyn Franklin (vocals, background vocals); Cissy Houston (vocals); Jimmy Johnson , Eric Clapton, Joe South, Bobby Womack (guitar); Seldon Powell (flute, tenor saxophone, horns); Frank Wess (flute, tenor saxophone, wind); King Curtis (saxophone, tenor saxophone); Haywood Henry (saxophone, baritone saxophone); Joe Newman , Bernie Glow, Melvin Lastie (trumpet); Tony Studd (trombone, bass trombone); Spooner Oldham (electric piano, keyboards); Warren Smith (vibraphone, background vocals); Gene Chrisman, Roger Hawkins (drums); Ellie Greenwich, Erma Franklin, The Sweet Inspirations (background vocals). Recording information: Atlantic Recording Studios, New York, NY. Personnel: Aretha Franklin (vocals, piano); Ralph Burns (conductor); Jimmy Johnson (guitar); Frank Wess (flute, tenor saxophone); Seldon Powell (tenor saxophone); Haywood Henry (baritone saxophone); Mel Lastie, Joe Newman, Bernie Glow (trumpet); Tony Studd (bass trombone); Spooner Oldham (piano, electric piano, organ); Warren Smith (vibraphone); Tommy Cogbill (bass); Roger Hawkins, Gene Chrisman (drums); Cissy Houston, Carolyn Franklin, Erma Franklin, Ellie Greenwich (background vocals).

From Elvis in Memphis songs When Elvis first broke on the national scene, nobody--not RCA, not Elvis' manager Colonel Tom Parker, and certainly not Elvis himself--had any idea how long his popularity would last. Most assumed that rock and roll was a passing fad and that Presley would soon be relegated to the "where are they now?" bin. Unsurprisingly, RCA rushed Presley's first album to market before Elvis had recorded enough new material for an entire record. The result, ELVIS PRESLEY, is a cut-and-paste job consisting of seven RCA recordings and five older tracks licensed from Sun Records, Presley's first label. Still, this is a monumental record in the history of rock and roll, from its iconic cover (which The Clash later paid homage to on the cover of LONDON CALLING) to the twelve great tracks to its unprecedented sales figures (it topped the Billboard album charts for 20 weeks). The RCA material includes Elvis' arrangement of "Blue Suede Shoes" and covers of R&B hits "Money Honey," "Tutti Frutti," and "I Got a Woman." The record is short (29 minutes) and the material it contains is available on lots of other discs, but if you must have the record that started a revolution, this is the one to get. The March 1956 release that brought Elvis to the masses. Includes the bonus tracks Heartbreak Hotel; I Was the One; Lawdy, Miss Clawdy; Shake, Rattle and Roll; My Baby Left Me , and I Want You, I Need You, I Love You . Includes six bonus tracks. Personnel: Elvis Presley (guitar); Elvis Presley (vocals); Shorty Long (piano); Chet Atkins, Scotty Moore (guitar); Floyd Cramer, Marvin Hughes, Shorty Long (piano); Bill Black (double bass); D.J. Fontana, Johnny Bernero (drums); Ben Speer, Gordon Stoker, Brock Speer (background vocals). Liner Note Author: Colin Escott.

From Elvis in Memphis album for sale Recorded between 1966 and 1968. Includes liner notes by Colin Escott. The history books say that in 1968, the King had made a major comeback, singing good and great songs with a newfound conviction in a Memphis setting. Yet before that, in 1966 and 1967, Elvis had recorded some sessions in Nashville that heralded his mighty return--yet nobody knew it, for the songs were all scattered over albums both great and lousy. TOMORROW IS A LONG TIME collects them, and this compilation stands as one of the best in Presley's massive catalog. From the nervy, scintillating take on Chuck Berry's "Too Much Monkey Business," to the salacious celebration of carnality that is "Down in the Alley," to the sublime, beautiful love song "Tomorrow Is a Long Time" (its writer, Bob Dylan, said it was his favorite cover version of one of his songs), Presley sings with a sensitivity and passion that recalls his mid-'50s recordings. These 1966-1968 recordings have never been grouped together, so chalk this up as another album that should have been, but wasn't-until now! His hits Love Letters; Big Boss Man; U.S. Male , and Indescribably Blue are here with the Bob Dylan-penned title song and 13 more tracks! All tracks have been digitally remastered. Compilation producers: Ernst Mikael Jorgensen, Roger Semon. Engineers: James Malloy, Al Pachucki, Bill Vandervort. Personnel: Dolores Edgin, June Page, The Imperials, The Jordanaires, Millie Kirkham (vocals); Charlie McCoy (guitar, harmonica, organ); Chip Young, Harold Bradley, Jerry Reed, Scotty Moore (guitar); Pete Drake (steel guitar); Homer Randolph, Rufus Long, Boots Randolph (saxophone); Ray Stevens (trumpet); Floyd Cramer, David Briggs (piano, organ); Henry Slaughter, Hoyt Hawkins (organ); D.J. Fontana, Buddy Harman (drums). Liner Note Author: Colin Escott. Personnel: Elvis Presley (vocals, guitar); The Jordanaires, The Imperials, Millie Kirkham, June Page, Dolores Edgin (vocals); Charlie McCoy (guitar, harmonica, organ, bass); Scotty Moore, Chip Young, Harold Bradley, Jerry Reed (guitar); Pete Drake (steel guitar); Homer "Boots" Randolph, Rufus Long (saxophone); Ray Stevens (trumpet); Floyd Cramer, David Briggs (piano, organ); Henry Slaughter, Hoyt Hawkins (organ); Bob Moore, Henry Strzelecki (bass); Buddy Harman, D.J. Fontana (drums). Producer: Felton Jarvis.