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 HEY JUDE (Elvis')~40th Anniv: 1969~2009 -, The picture When ELVIS Received his COPY's +Memphis Session Review
 
REX
post Apr 1 2009, 10:22 PM
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HEY JUDE ~ 40th Year Anniversary THIS YEAR !!!

22nd January 1969: It was 40 years ago this past January, that Elvis Recorded this Beatles Song..
19th March... 1969: The Overdubs were done at American Sound -Memphis (added Violins/Viola/Cello)
March~April 1969: Felton Jarvis received the tapes, and worked on the Mixing..
27th APRIL... 1969: ELVIS IS SEEN WITH HIS ADVANCE COPY of the Remixed HEY JUDE. for the 1st time.

See Photo in plain white sleeve below.

Attached File  HeyJude001.jpg ( 194.95K ) Number of downloads: 33


[b] Taken in LA.Calif: on 27th April 1969

Did Elvis already have it in mind to work on a Medley of HEY JUDE for his forthcoming First Vegas season??

on the 14th April IN THE GHETTO is released in the USA.
on the 15th April Elvis had just signed the Official Contract for the International
two days after this picture the 29th April 1969 ~ Elvis Is released from the final filming on CHANGE OF HABIT.
I think this song meant more to him than has previously been thought....
[/b]

LETTERS FROM CALIFORNIA FANS LIKE "VIRGINIA COONS" and others in 1969, When this photo was first available
Informed me about the contents of this ALBUM !!! If you saw a photo of Elvis holding a Vinyl Record, wouldn't
YOU ask the person who sent the photo WHAT IS ON THAT RECORD ELVIS IS HOLDING, but I didn't have to ask
because they had already told me..!


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ben
post Apr 1 2009, 10:40 PM
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WOW, very good photo Rex, it's new to me.

How are you sure it's Hey Jude??


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REX
post Apr 1 2009, 11:59 PM
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The LYRICS for HEY JUDE

Attached File  HEYJUDElyrics.jpg ( 69.91K ) Number of downloads: 2


HEYJUDE
John Lennon's 1968 divorce from Cynthia Lennon was a rather messy affair, and their son, Julian, was greatly affected by it. While driving to see Julian, Paul McCartney began improvising a song to console him. Originally, the song began, "Hey, Jules, don't make it bad." He later changed the name to Jude because he thought it sounded better. In a 1980 Playboy interview, John Lennon revealed that he believed the song was about him.

"Hey Jude" (Apple 2276) was the first release on the Beatles' Apple Records label. It entered Billboard's Hot 100 chart at #10 in September 1968. Two weeks later it was number one, where it stayed for nine weeks— longer than any other Beatle single. "Hey Jude," which had worldwide sales of over six million copies, is the longest record, at 7 minutes, 11 seconds, ever to become number one on the Hot 100 chart. In addition to the Beatles, backing instrumentation included a 40-piece orchestra conducted by George Martin.

An instrumental track for Elvis's version was recorded on January 22, 1969, at American Sound Studios in Memphis. Elvis recorded a vocal track at a later date. He would sometimes sing "Hey Jude" in concert in a medley with "Yesterday."

LPs:
• ELVIS Aron Presley (Las Vegas; August 1969) (in medley with "Yesterday")
• Elvis Now

Bootleg LPs:
• Superstar Outtakes (Las Vegas; August, 1969) (in medley with "Yesterday")
• The Legend Lives On (Las Vegas; August 1969) (in medley with "Yesterday")
• The Monologue LP. (Las Vegas; August 14, 1969)


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J
post Apr 3 2009, 12:29 PM
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I'm going to derail the thread a bit now, but to be honest, "Hey Jude" is one of the very few song from the January/February 1969 American Sound Studio session I don't like... nevertheless it's nice to know that Elvis is holding an 'advance' copy of that particular song on the picture. ..... Now, for the rest of the sessions... it's one of the highlights of Elvis' career. Of all the great songs, I have to mention a few personal favourites -- the extremely cool "Power Of My Love", the funky "Stranger In My Own Home Town", a song which Elvis revisited later on during the TTWII rehearsals with yet another great ('alternate') version... and finally "I'll Hold You In My Heart"... the whole song is pure Elvis magic from start to finish... I never get tired of listening to it.

The sessions produced two magnificent albums -> "From Elvis In Memphis" and "Back In Memphis" ... now being the 40th anniversary of the sessions, it would be nice to see FTD tackle both of these on the "classic album" series... but if they decide not to... we have the excellent "Memphis Sessions" (FTD) CD to ease the pain, not to mention the "American Way" (bootleg)series, which is at the moment, in my opinion, the ultimate compilation of the sessions... excellent soundquality and great artwork throughout.
....... finally, a picture taken during the sessions... Elvis with the band.

Attached File  1969_01___02_.jpg ( 178.2K ) Number of downloads: 7
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REX
post Apr 3 2009, 02:01 PM
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QUOTE (Jouni @ Apr 3 2009, 01:29 PM) *
I'm going to derail the thread a bit now, AND WHY NOT January/February 1969 American Sound Studio session.... ~ Now, for the rest of the sessions... it's one of the highlights of Elvis' career. Of all the great songs, I have to mention a few personal favourites -- the extremely cool "Power Of My Love", the funky "Stranger In My Own Home Town", a song which Elvis revisited later on during the TTWII rehearsals with yet another great ('alternate') version... and finally "I'll Hold You In My Heart"... the whole song is pure Elvis magic from start to finish... I never get tired of listening to it. ME ALSO, A LANDMARK ELVIS RECORDING SESSON, STICKS WITH YOU, LIKE THE ELVIS IS BACK SESSION


Nothing much extra to say about Hey Jude, just thought the pictures, and Advance Demo, with 69 Vegas about to happen
was an interesting series of thoughts.. Not many from the Memphis sessions got included in the same way HEY JUDE was.

This from THE MEMPHIS RECORD BY Marty Lacker (Issue No # 5-vol.2 from Feb 1981) PART ONE
The Memphis Recording Session
by Marty Lacker



Attached File  AMERICANSTcHIPS.jpg ( 193.78K ) Number of downloads: 9

Elvis & Chips Moman, 1969


From the time I had left Elvis' payroll I had been very involved in the music business in Memphis. I worked with many of the people in the industry and had grown to respect their talents. They were tops in the nation as far as I was concerned.

Chips Moman, who owned American Recording Studios, had recorded over 125 chart records in five years with the same six-man rhythm section on all of them. I don't think there is another recording studio in the world with that kind of track record. They were cutting big name artists. Those guys in the rhythm section were really good.

I had become very close to Chips and knew he wanted to record Elvis but more important, I thought it would be good for Elvis and I often mentioned it to him. Mostly, he would say, "Well, I'll think about it," or, "One of these days soon we'll try it."

We were at Graceland one evening in January 1969 and Elvis was talking with the late Felton Jarvis, his RCA producer, about an upcoming recording session in Nashville. For some reason I must have been shaking my head in a negative way because Elvis turned to me and said, "What's wrong with you?" "Man," I said, "I just wish you would try recording in Memphis. I wish you would try Chips and American." "Someday soon, maybe." Elvis replied. About that time the maids told us dinner was ready. I had eaten before coming to Graceland, so I stayed in the den when the others went to the dining room. They were gone only a few minutes before Felton came back and said, "Elvis wants to record in Memphis." "Are you serious?" I asked. "It's true, he wants to talk to you about it." I went into the dining room and said to Elvis. "Are you going to do it?" "Yes," he said, "but you're going to have to make some fast arrangements. We have to start on Monday. Can you set it up in four days?" "Damn right, man. This is fantastic." "Okay," he said, "you and Felton work it out." When I called Chips at home and asked if he could be ready, he didn't believe at first that 1 was serious. He knew I was aware of a scheduled recording session he had with another big artist. When I told him I was serious but we had to begin Monday, he said, "We're just going to have to switch some schedules around but, damn, we can do it. You know how much I want to record Elvis." I called Felton to the phone and he and Chips worked out the financial arrangements. Elvis had an agreement with RCA which permitted him to record wherever he wanted, as long as he kept them informed, so all Felton had to do was call RCA about the change. We went back to the dining room and talked until everyone had finished eating. I had something on my mind but I wanted to wait until after dinner just in case it provoked an argument. Elvis was unpredictable and there were times when he would become very upset over something that was said or done.

I didn't want anything to spoil this new beginning, but I also felt it was necessary to talk with him about the type of songs he had been doing. When we were all settled down 1 said, "Elvis, will you do me a really big favor?" "What?" "Man, I answered, you have great musicians, those six guys are fabulous. You have two damn good producers in Chips and Felton. You have a really good studio. The sound in there is fantastic. We all know you can sing, so please, get some good songs! I waited for the ceiling to fall but Elvis answered quietly. I've got a few upstairs but I want all you guys to get me some more.

We went upstairs and began playing some of the demonstration records he had. These are records made by the songwriter, or published, which are then sent to the recording artists. Some of the records are good, especially those by Mac Davis who had written "Memories." His new ones included "In The Ghetto" and "Don't Cry Daddy." There was not, however, enough of what we would consider really good songs.

Lamar Fike, who was then representing Hill and Range Publishers in Nashville, came in with "Kentucky Rain," which was a damn good song.

(PART two TO follow SHORTLY, using the OCR convert program)..


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REX
post Apr 4 2009, 07:47 PM
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Part Two. (from Memphis RECORD magazine)

MEMPHIS RECORDING SESSIONS by Marty Lacker (continues......)


Attached File  memphis010.jpg ( 223.66K ) Number of downloads: 13

Roy Hamilton at American Sound- 13th Jan:'69



The musicians were great on Monday. All of them, Reggie Young, Gene Chrisman, Bobby Wood, Bobby Emmons, Tommy Cogbill and Mike Leech admired Elvis and were pleased to have the chance to work with him. We were on our way home after the first night of recording, it was 6 a.m. and the Memphis morning sun was coming up. Most of us in the car had a good feeling about what had gone down that night. We were all silent for awhile when Elvis said, "It felt good man, and those musicians are good. I really want this session to turnout. I just want to prove I can do it again, record some good hits, number one records." I was overjoyed. What Elvis was really saying was that he again cared about recording. He was presenting himself with a challenge. Fate, however, was to join the session and cause a delay. Elvis can down with a cold and had to stay home for several days. During his absence the rhythm section continued to work. They laid down some tracks, that is, they recorded some of the songs and Elvis listened to them at home. At one point, in the beginning of the session, Elvis was concerned about recording "In the Ghetto." He had never done what might be considered a message song and had often said he did not want to get into this type of music. We discussed the matter quite thoroughly and I finally said to Elvis "I really don't think it will hurt you." "It's a good song." Chips agreed and Elvis agreed, and "In the Ghetto" was recorded in the session.

Attached File  memphis009.jpg ( 503.54K ) Number of downloads: 15

Mary Holiday~Jeannie Greene~Elvis~Donna Thatcher~Ginger Holladay:(22nd Jan:'69)

Chips had a demo record which had been made of a new song by Mark James, "Suspicious Minds." Elvis thought it was great, we all did. We began listening to the other demos to see if we could find some more that were good. Several of the guys were in the suite with Elvis that night. Joe and I would play the demos and Elvis would say, "Yes," "No," or "Maybe," to signify what he wanted done with them. We didn't have to listen to the entire song; usually just a few lines were enough for us to know if the song was good.

When we finished the entire stack, there was just one record in the "Yes" stack. This did not, of course, include those songs previously discussed like "In the Ghetto" and "Suspicious Minds." Elvis said, "Man I really want to cut some hit records but these songs are just not worth a good damn."
The time had come to continue my talk about good music so I said, “Elvis, there's a reason you don't hear the good songs first anymore." "Why?" "Because they don't need you anymore. Now, before you get upset, let me explain what I'm saying. There was a time when you were the only sure thing for a million seller but there are a lot of artists now who are selling damn good. There are a lot of good songs which never get to you anymore because they don't need to pay you the twenty-five percent your publishing company demands from each writer.

The room was absolutely silent and I thought Elvis was going to blow. He looked at each of us and said, "I want everybody in this room to hear what I'm going to say. From now on I want to hear every demo, every new song, and I'll be the one to decide if I want to record it. I'll make the decision. I want you guys to let it be known that I'll listen to the demo and I'll personally make the decision about recording it."

That was a turning point. From then on he began again to do the good songs. There is a footnote to this; we found Elvis meant business when he said he would make the decisions.
Chips was the publisher of "Suspicious Minds." which as I said, Elvis really liked. As a Matter of fact, he had recorded it and was rehearsing something else when Freddie Bienstock and Tom Diskin, a couple of guys who worked for Elvis' publishing company and the Colonel began talking with Chips about the percentage. It was their job, of course, to get as much as possible for Elvis, but Chips was a man who didn't ask for any extras and didn't give any. He just told these fellows that he didn't do business like that and he would not give up any of his or the writer's percentage of "Suspicious Minds" and that was final.

Well, the two guys kept after him until Chips finally told them they could take all the tapes and get the hell out if they wanted but he was not giving up a percentage.

Harry Jenkins, an executive from RCA, was at the session and he spoke up and said, "Gentlemen, the man is right. This is a good song. It will be a hit record and that's what we're here to cut."

Diskin was still not ready to give up and he went to Elvis and told him what had happened. I went along to be sure the story didn't become distorted. It would have been stupid to allow such a minor incident to ruin the sessions when Elvis was enjoying it so much and the results were so good. Elvis told Diskin "I know you're just doing your job, but leave it to Chips and me. It's okay."

The Memphis session was the first time we used what we then called the new way of recording. This is the system where the rhythm section would lay down the rhythm track and Elvis would sing along with them, but that would not be the final vocal. Later, we would do what is called sweetening or over-dubbing of horns or string or background voices. Then Elvis would come back and over dub his voice. He would be the only one recording at the time. He said liked the old way better with the whole thing being recorded at the same time but the new way allowed us to get a better balance on the records.

Attached File  memphis011.jpg ( 104.24K ) Number of downloads: 6

Elvis & Felton at American Studios ~Jan:'69


It was a super session. Elvis cut thirty-six sides in twelve days. They were released over a period of a year-and-a-half. Four were released as singles and all four were number one, gold records. The two albums which were part of this session were also gold albums.


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REX
post Apr 6 2009, 10:53 PM
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QUOTE (REX @ Apr 1 2009, 11:22 PM) *
HEY JUDE ~ 40th Year Anniversary THIS YEAR !!!

21st January 1969: It was 40 years ago this past January, that Elvis Recorded this Beatles Song..
19th March... 1969: The Overdubs were done at American Sound -Memphis (added Violins/Viola/Cello)
March~April 1969: Felton Jarvis received the tapes, and worked on the Mixing..
27th APRIL... 1969: ELVIS IS SEEN WITH HIS ADVANCE COPY of the Remixed HEY JUDE. for the 1st time.

See Photo in plain white sleeve below.

Attached File  HeyJude001.jpg ( 194.95K ) Number of downloads: 33


[b] Taken in LA.Calif: on 27th April 1969

Did Elvis already have it in mind to work on a Medley of HEY JUDE for his forthcoming First Vegas season??

on the 14th April IN THE GHETTO is released in the USA.
on the 15th April Elvis had just signed the Official Contract for the International
two days after this picture the 29th April 1969 ~ Elvis Is released from the final filming on CHANGE OF HABIT.
I think this song meant more to him than has previously been thought....
[/b]


This is another picture from the same time as above
(from KWIMPER in the Elvis LOOK Topic)

Attached File  HEYJUDEtimeExtra.jpg ( 21.83K ) Number of downloads: 6


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REX
post Apr 8 2009, 09:21 AM
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This is another picture from the same time as above when Elvis was holding the Hey Jude demo.

Attached File  heyjudex3005.jpg ( 95.59K ) Number of downloads: 18


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NightRider
post Apr 8 2009, 09:43 AM
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Never quite understood why people knock Elvis' version. Sure...it's not his best effort....but kinda cool IMO.

The song is so over-rated anyway. I don't see what all the fuss is about regarding the song. It's just an ok track that becomes very repetitive to me....nothing more.

Nice pics tho Rex (IMG:http://elvis-tkc.com/forum2/style_emoticons/default/thumbup.gif)


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as the day comes to an end.........

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Bazza
post Apr 8 2009, 12:33 PM
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Agree with Chris that the song, no matter who sings it, is overrated. I really don't care for it, basically one line repeated ad nauseum, McCartney must have really been suffering from "writer's block" when he penned this.


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post Apr 8 2009, 03:55 PM
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Yes while full of gems this stage (69-70) in Elvis's career involved a lot of songs repeating the same thing over and over again. Some which drive me nuts when listening are: Hey Jude, Suspicious Minds, What'd I Say and the absolute abysmmal unmitigatedly attrocious pits "Patch It Up"


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C.C.Rider
post Apr 9 2009, 02:34 PM
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FC, your nuts !! (IMG:http://elvis-tkc.com/forum2/style_emoticons/default/LSHIC.gif)

I like the song, but suppose i would agree that it is a touch on the repetitive side. Then again, alot of Beatles songs are over-rated. I like some of their material, but some is just so average. Elvis' version of Hey Jude, i don't think was ever meant to be taken seriously. Even having said that, it's not something i would skip on an Elvis Cd. It's ok.

Superb info and pictures too Rex ! Thank you once again. (IMG:http://elvis-tkc.com/forum2/style_emoticons/default/notworthy.gif)


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He was as big as the whole country itself, as big as the whole dream. He just embodied the essence of it and he was in mortal combat with the thing. Nothing will ever take the place of that guy.
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REX
post Apr 9 2009, 05:04 PM
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QUOTE (C.C.Rider @ Apr 9 2009, 03:34 PM) *
FC, your nuts !! (IMG:style_emoticons/default/LSHIC.gif)
I like the song, but suppose i would agree that it is a touch on the repetitive side. Then again, alot of Beatles songs are over-rated. I like some of their material, but some is just so average. Elvis' version of Hey Jude, i don't think was ever meant to be taken seriously. Even having said that, it's not something i would skip on an Elvis Cd. It's ok.Superb info and pictures too Rex ! Thank you once again. (IMG:style_emoticons/default/notworthy.gif)


I DIDN'T RUN THE "WORLDWIDE ELVIS NEWS SERVICE WEEKLY"
FOR NOTHING YOU KNOW !!!

Attached File  HEYJUDE.png ( 316.36K ) Number of downloads: 10


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Keith_F
post Apr 10 2009, 02:29 PM
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QUOTE (REX @ Apr 1 2009, 11:22 PM) *
HEY JUDE ~ 40th Year Anniversary THIS YEAR !!!

21st January 1969: It was 40 years ago this past January, that Elvis Recorded this Beatles Song..
19th March... 1969: The Overdubs were done at American Sound -Memphis (added Violins/Viola/Cello)

Although the session started at 8pm on the 21st Elvis didn't actually record it until the early hours of January 22nd, as shown in the session logs

(IMG:http://www.keithflynn.com/recording-sessions/session-logs/69-01-22.JPG)

(IMG:http://www.keithflynn.com/recording-sessions/session-logs/69-03-1901od.JPG)

All can be found here (IMG:http://elvis-tkc.com/forum2/style_emoticons/default/cool.gif)


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colonel snow
post Apr 10 2009, 09:29 PM
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on the LP Memphis Memories a version without the female backing vocals can be heard; this a different version as released on American rejects & American way vol. 5.



colonel snow


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REX
post Apr 28 2009, 10:16 PM
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Picture taken in LA Calif: on 27th April 1969
Elvis may already have it in mind to work on a Medley of HEY JUDE for his forthcoming '69 Vegas

Attached File  ZZZZZZ_HEYjude.jpg ( 11.99K ) Number of downloads: 2


This is a bit of a mystery ?

Attached File  HEYJUDE001.jpg ( 125.78K ) Number of downloads: 20


This picture shows an Acetate of HEY JUDE with SOMETHING.
Did Elvis ask for another copy in 1970, as SOMETHING wasn't
recorded until the TTWII rehearsals (July) and the Vegas August Season.

Also no USA release of these 2 Beatles songs ever happened in the States.


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Keith_F
post Apr 29 2009, 08:20 PM
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QUOTE (REX @ Apr 28 2009, 11:16 PM) *
This is a bit of a mystery ?

Attached File  HEYJUDE001.jpg ( 125.78K ) Number of downloads: 20


This picture shows an Acetate of HEY JUDE with SOMETHING.
Did Elvis ask for another copy in 1970, as SOMETHING wasn't
recorded until the TTWII rehearsals (July) and the Vegas August Season.

Another mystery is why 'Hey Jude' is listed as "2 / 69" on the acetate?

'Something' is correct being listed as "8 / 70"



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REX
post Apr 29 2009, 09:34 PM
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QUOTE (Keith_F @ Apr 29 2009, 09:20 PM) *
Another mystery is why 'Hey Jude' is listed as "2 / 69" on the acetate?

'Something' is correct being listed as "8 / 70"


I know Keith, but the topic started about the Photo and what was Elvis holding, and I was told it was HEY JUDE and at that time thought that was the
only song on it, so this must be a different Acetate to the one Elvis has in the Car.

Maybe the 2/69 for Hey Jude is just the date they made the 1st Acetate. The 2nd one I think might have come from the Colonels collection!!
Its still interesting they made one of the Two Beatles songs, when no single was planned.

Hope you can come up with some answers???



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Keith_F
post Apr 29 2009, 10:48 PM
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QUOTE (REX @ Apr 29 2009, 10:34 PM) *
Maybe the 2/69 for Hey Jude is just the date they made the 1st Acetate. The 2nd one I think might have come from the Colonels collection!!

Yes, that would make sense Rex

The same happened with 'Suspicious Minds' on the old "Behind Closed Doors" bootleg box set - The date wrote on the acetate was "February 16th 1970" so for years it was thought that this performance was from that date. It eventually turned out that the 'Suspicious Minds' on "Behind Closed Doors" was spliced from the August 22 1969 Dinner Show and an as yet "Unreleased" performance of the song, but the acetate was cut in February 1970.


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poormansgold
post Apr 30 2009, 12:52 AM
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Hey guys
I put Red mark You can see real date that record was made in April 1971 That's a clue There might Be was a Single With thoses Songs in Late 1971 or early 1972, We know That Hey Jude Was Release On Elvis Now
It's Some Thing we can Think About It
Tom
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