Three unrelated comments/questions (TIM JOYCE): 1) I've been listening to the alternate takes of “Not Dark Yet” on Fragments and I've been truly amazed by how different the song is. Often with Dylan one thinks "oh, this version is so much better he should have used it on the album," etc. But in this case I feel like the alternate versions—and the one that made its way on to the album—sound almost like different songs and any of them can stand alone, could have been used in that format on
Maybe my favorite live album is from a 1980s-era Chicago band called Insiders. They released an album on Epic that was filled with catchy root rock tunes and had modest success. They recorded a follow-up album that Epic didn't release and decided to independently release "Live At Fitzgerald's." They were one of the best live bands I've ever seen and I spent the mid-late 70s hanging at the Whiskey A-Go-Go. I've described them to people as the "Big Star of Midwestern 80s rock," and I think it's pretty accurate. Their live album is on Spotify, although their Epic album has never been available on streaming (and has been out of print since the early 90s).
Elvis’ version of “It Hurts Me” is even better on the ‘68 Special. But in no way is Vol. 4 a dud. Devil In Disguise, A Mess Of Blues, Ain’t That Loving You Baby, Love Letters are all good tracks.
I mostly agree with your critique of "Elvis Golden Records, Vol.4" but I think "It Hurts Me" is one of his best vocals. I don't know how I missed it, but I was surprised recently to notice how similar his vocal and even the arrangement of "If I Can Dream" is to "It Hurts Me". Since "it Hurts ME" was in the 68 special, do you know if Earl Brown modelled "If I Can Dream" on the earlier song? Funny, but I had always assumed Earl Brown was black because of the name and subject matter. I also really like " Marie's the name(His Latest Flame)" from that period because he doesn't seem to rely on any Elvis mannerisms on that record. It's almost like he's any other vocalist of that time, like Gene Pitney or someone like that.
A comment for Tim Joyce: I was born in 1981 and first heard "Count on Me" in the '90s during one of those VH1 '70s programs, loved the song right away, have listened to it a hundred times since then, and then never saw the video again until a few years ago. My memory of the song was very much influenced by the video, although I was surprised to discover that the performance in the video is not of the studio version, which was weird to realize after more than 25 years. (video here: https://www.youtube.com/watch?v=CB-T2j-iumw)
I don't know what it is about this song, but it's EASILY the one Starship record I have no trouble tolerating. (I don't dislike the Airplane, although I also don't love them.) Maybe it's that it's unusually modest for this band? Or maybe my sense of its relative modesty is entirely a product of the living room vibe of the video? Whatever it is, I'm powerless to resist.
Agree with you, Greil, about the Stones following James Brown on the T.A.M.I Show. Every time I watch it, I say, how can you follow James Brown at an early peak? I imagine the Stones catching their breath, taking a little more time to muster to the courage to go out there (the audience, and time, was on their side). In that moment, when they had to follow James Brown, they elevated their game to become the band they had to become.
Historically, the Blind Willie McTell released in 1991 with Mark Knopfler was not a rehersal but a "give in one more shot" attempt on the last day of the Infidels recording sessions. ( I won't plug my book), Knopfler left the sessions and immediately was driven to JFK and Europe for the start of a Dire Straits tour leg.
Maybe my favorite live album is from a 1980s-era Chicago band called Insiders. They released an album on Epic that was filled with catchy root rock tunes and had modest success. They recorded a follow-up album that Epic didn't release and decided to independently release "Live At Fitzgerald's." They were one of the best live bands I've ever seen and I spent the mid-late 70s hanging at the Whiskey A-Go-Go. I've described them to people as the "Big Star of Midwestern 80s rock," and I think it's pretty accurate. Their live album is on Spotify, although their Epic album has never been available on streaming (and has been out of print since the early 90s).
Of course I would use Gene Pitney as an example...maybe the most mannered vocalist ever...but I think you know what I mean
Elvis’ version of “It Hurts Me” is even better on the ‘68 Special. But in no way is Vol. 4 a dud. Devil In Disguise, A Mess Of Blues, Ain’t That Loving You Baby, Love Letters are all good tracks.
I mostly agree with your critique of "Elvis Golden Records, Vol.4" but I think "It Hurts Me" is one of his best vocals. I don't know how I missed it, but I was surprised recently to notice how similar his vocal and even the arrangement of "If I Can Dream" is to "It Hurts Me". Since "it Hurts ME" was in the 68 special, do you know if Earl Brown modelled "If I Can Dream" on the earlier song? Funny, but I had always assumed Earl Brown was black because of the name and subject matter. I also really like " Marie's the name(His Latest Flame)" from that period because he doesn't seem to rely on any Elvis mannerisms on that record. It's almost like he's any other vocalist of that time, like Gene Pitney or someone like that.
A comment for Tim Joyce: I was born in 1981 and first heard "Count on Me" in the '90s during one of those VH1 '70s programs, loved the song right away, have listened to it a hundred times since then, and then never saw the video again until a few years ago. My memory of the song was very much influenced by the video, although I was surprised to discover that the performance in the video is not of the studio version, which was weird to realize after more than 25 years. (video here: https://www.youtube.com/watch?v=CB-T2j-iumw)
I don't know what it is about this song, but it's EASILY the one Starship record I have no trouble tolerating. (I don't dislike the Airplane, although I also don't love them.) Maybe it's that it's unusually modest for this band? Or maybe my sense of its relative modesty is entirely a product of the living room vibe of the video? Whatever it is, I'm powerless to resist.
Agree with you, Greil, about the Stones following James Brown on the T.A.M.I Show. Every time I watch it, I say, how can you follow James Brown at an early peak? I imagine the Stones catching their breath, taking a little more time to muster to the courage to go out there (the audience, and time, was on their side). In that moment, when they had to follow James Brown, they elevated their game to become the band they had to become.
Historically, the Blind Willie McTell released in 1991 with Mark Knopfler was not a rehersal but a "give in one more shot" attempt on the last day of the Infidels recording sessions. ( I won't plug my book), Knopfler left the sessions and immediately was driven to JFK and Europe for the start of a Dire Straits tour leg.