Path: news.nzbot.com!not-for-mail
NNTP-Posting-Date: Sat, 18 Jun 2016 13:52:29 -0500
From: chattanooga@home.com (ChattanoogaKid)
Sender: chattanooga@home.com
Newsgroups: alt.binaries.sounds.mp3.1980s
Subject: "00 Rick Nelson - Memphis Sessions - Notes.txt" yEnc (1/1)
Organization: none@all
X-Newsposter: Camelsystem Powerpost (Modified POWER-POST http://powerpost.camelsystem.nl)
Message-ID: <part1of1.vAqDPU9qUdSxOQ3rv91x@camelsystem-powerpost.local>
Date: Sat, 18 Jun 2016 13:52:29 -0500
Lines: 95
X-Usenet-Provider: http://www.giganews.com
X-Trace: sv3-HVxiJO8tH1tQnoa+qNNbaB7wIzTyJeAFWVdZvOo5Ii8Es0TDK58axaVs+4ITKR8CYuXFpW+a3SCSQk/!5uN4jaK+iZEc4+5E4n9FObxiDAVSYtGUXEUBJZrlLpdVQPXdw1Dxc0oi8HwlbMA2NBYDSQMZSs2S!7XFCDMloJUGDoAw8
X-Complaints-To: abuse@giganews.com
X-DMCA-Notifications: http://www.giganews.com/info/dmca.html
X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers
X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly
X-Postfilter: 1.3.40
X-Original-Bytes: 13010
X-Received-Body-CRC: 651180096
X-Received-Bytes: 13286
Xref: news.nzbot.com alt.binaries.sounds.mp3.1980s:656
00 Rick Nelson - Memphis Sessions - Notes.txt
This post will include 2 Rick Nelson LPs and a 4 song EP. I will
post them in both a.b.s.mp3.1970s and a.b.s.mp3.1980s groups. It
will consist of a vinyl rip and a CD rip. I intend to post par files
and an nzb but I have had problems with PowerPost not creating an nzb
file even though I have the box checked. If you don't find an nzb
file you can always connect your web browser to binsearch.info and
create one of your own by searching for Rick Nelson posts and click
the "Create nzb file" button.
The vinyl portion of the post is from the 1986 Rick Nelson Epic Records
album: Memphis Sessions. I ripped the album using Adobe Audition
(formerly Cool Edit) and applied a fairly low level of noise reduction
using the captured surface noise level (FFT) from the record. After noise
reduction I put approximately a .45 sec silent fade-up at the start of
each track and faded the end of each track when the song was more than
-40dB. Because I didn't really care what the label listed as the song
length some tracks might be slightly less in duration than listed. I then
used the click and pop tool to eliminate as many of the remaining clicks
that I could. I think I got most of them but don't bother to tell me if
you find any; I'm OK with what I'm posting. I used EZ CD File Converter
to make the 320kpbs MP3 files. The only song that has appreciable LP
surface noise is Dream Lover as the song fades out.
I also scanned the LP cover front and back and used Photoshop to clean
up the images. These files will be included in a separate RAR file.
Memphis Sesssions was released shortly after Rick died in a plane
crash but the album had essentially been in the vaults for over five
years. The album was recorded in Memphis in 1978 with the working title:
Rockabilly Renaissance. Originally scheduled for a 1979 release the
album was shelved by Epic like Rick's previous effort: Back To Vienna.
Other than the single: (Feb 1979 Epic 850674) Dream Lover / That Ain't
The Way Love's Supposed To Be the tracks were destined for the vaults.
It wasn't until Feb. 1981, a year after Rick signed with Capitol Records,
that any more of these tracks were released and then on an experimental
sized 10" EP: Epic (Nu-Disk) 3E 36868 titled: Four You. The EP
contained: 1. Almost Saturday Night 2. Lay Back in the Arms of Someone
3. That's All Right Mama 4. Rave On. All the songs except That's All
Right Mama were remixed by Steve Buckingham from the original mixes by
Larry Rogers. Rave On had crowd noise added to make it sound like a live
recording. Rick was reportedly really upset that his music had been
tampered with but was no longer on the label so he couldn't do anything
about it. After Rick's death Epic apparently decided that the album
might have commercial value so they retitled the album to Memphis
Sessions and released the Steve Buckingham remixed album.
The Steve Buckingham produced album wasn't that bad in my opinion, but
it was certainly different from the Larry Rogers mixes. If Germany's
Bear Family Records hadn't decided to rerelease all of Rick's music the
original mixes would probably never have been heard; but because of
their efforts it is possible to reconstruct Rockabilly Renaissance. The
ricknelson.com website has the track list for Rockabilly Renaissance as:
1. Rave On 2. That's All Right (Mama) 3. True Love Ways 4. Send Me
Somebody To Love 5. Almost Saturday Night 6. Sleep Tight Good Night Man
7. Lay Back In The Arms Of Someone 8. It's All Over Now 9. Stuck In The
Middle With You 10. Dream Lover 11. That Ain't The Way Love's Supposed
To Be (ricknelson.com) Another website had 2 additional songs listed
for the LP: 12. It Shall Remain 13. In My Heart. All these songs were
part of the Bear Family Records 2010 release: Last Time Around (1970
-1982) in the original Larry Rodgers mixes. So I decided to resequence
the tracks from the 7-CD Last Time Around mega-album to recreate the
unissued Rockabilly Renaissance. These are not my rips; they were posted
about 2 years ago and I found them using binsearch.info a while back.
I'm going to post the 13 songs above and the Dream Lover single as
Rockabilly Renaissance and also post the Four You EP songs from the Last
Time Around. (I'll also include the covers for the EP with the artwork;
--these are not my scans as I don't have the EP --I found them with a
Google search. Naturally the Rockabilly Renaissance album is sans cover
art as it was never issued [though Epic probably did design covers],)
************************************
Liner notes from the back of the MEMPHIS SESSIONS LP:
The Longer I listen To Music and write about those who create it, the
more admiration I gain for that special few who possess, not only a
unique style, but an undefinable magic that distinguishes them as
legends in their own time. Rick Nelson had that special kind of talent;
his voice had that special kind of magic.
For some reason, while reflecting on Rick's Memphis Sessions, recorded
during the winter of '78-'79, my mind flashed back to a statement made by
rock 'n' roll's visionary forefather, Sam Phillips. "Rosie," said Sam in
one of his super philosophical moods, "music, any form of it, is the
closest thing we have to heaven on earth." Maybe Sam is right. At its
I Believe Rick Nelson would have liked Sam's assessment of music as much
as he enjoyed hearing stories about his Sun idols -particularly, Carl
Perkins and Elvis Presley.
I don't know what force brought Rick to Memphis to record during that
exceptionally cold winter the year after Elvis' death. I never heard
anyone say. I did hear that he rode out to Graceland one snowy morning
about 2 a.m. and parked outside its famous gates. And, I do know that
there is something extraordinary about Rick's vocals on the Memphis
Sessions -an empathy or soulfulness that I personally feel more strongly
than ever before.
To a generation that too briefly experienced the sensitivity of James
Dean and respected him as the epitome of "cool", Rick was hip. He was
great finesse, without violating its integrity.
Both Rick Nelson and Elvis Presley greatly admired the talent of primo
guitarist James Burton, and since neither one of the singers could pick
like James, they kept hiring him away from each other. Once in a
discussion with some members of Elvis' band about James' contribution to
both men's sound, I made the astute observation that I thought Rick
Nelson sounded like the Everly Brothers in one body. I thought that was
a heavy-duty compliment until someone spoke up and said, "Elvis said if
James Dean could sing, he would probably sound like Rick Nelson." After
hearing Elvis' compliment, no one in the group dared ever question
Rick's talent again.
Rick's Memphis Sessions were cut at Lyn-Lou Recording Studio in a rugged
North Memphis neighborhood in a converted brick building that had once
served as a grocery store with a house attached. Memphis is famous for
converting anything that remotely looks like it might sound good into a
studio, and Lyn-Lou was no exception.
The decor there is something called "southern funk." It's a style that
results from collectors bringing home anything that looks as though it
might have good vibes. There's a traffic light in the cutting room and
an authentic barber's chair where the vocalist may just have a seat if
he feels like it. The atmosphere is cozy and good-natured, providing
an ideal setting for a uniquely different experience. Rick seemed to
like it just fine. The session produced an EP* for Epic released in 1979
with the chart single "Dream Lover" and the album was scheduled to be
completed in the spring of '79.**
The last time I saw Rick was September 20, 1985. He was rushing into
American Studios, former home of the 827 Thomas St. Band that had cut
Elvis' famous Comeback Sessions. Rick was eager to meet Carl Perkins
for the first time. Bobby Neal, the talented Lyn-Lou staff guitarist
Rick had hired after the Memphis Sessions to be leader of the Stone
Canyon Band, was with him.
Bobby and I had tried to arrange for Carl and Rick to meet several
times over the years, but something had alwavs prevented it. I guess
fate had reserved that meeting for this night. It was a session for
a reunion album of Memphis Sun artists, and already present with Carl
were most of the label's other greats -Roy Orbison, Jerry Lee Lewis,
Johnny Cash, even Sam Phillips, himself. Rick's good friend John
Fogerty had come along, as had Dave Edmunds. All were set to join in
on the jam of the session's finale, "Big Train (From Memphis)."
I've been waiting on this moment all my life," Rick told TV reporters
outside the studio. "I'm a big fan of all the guys in there." Carl
saw Rick when he entered the crowded toom and moved towards him. The
two legends met with a handshake and big smiles, "Man, I've been
looking forward to "this for a long time, I'm Carl..."
"You don't have to tell me who you are," Rick interrupted. "It's an
honor to meet you." Rick and Carl continued to converse as the other
"stars" around them swapped autographs. Rick withdrew after that,
choosing to stand on the sidelines, content to watch the action so
as not to intrude.
Some argue that Rick was timid to maintain stardom -that he had failed
to reach his potential-never achieved his destiny. One writer reported,
following Rick's tragic death, that after he became a teen idol, he
rebelled against that image and strove for recognition as a pop star;
but disappointed and disillusioned, he came to terms with his past,
performing nearly 200 shows a year, mostly as part of an "Oldies"
package with Fats Domino.
I chose to see Rick's life differently. To me, Rick's music and
personality were in sync. He experienced fame and kept what mattered
the most to him. He seemed, through my limited observations and
conversations with him, to be peacefully in contact with his complete
self.
I see Rick Nelson as an outwardly gentle, inwardly strong man, who had
accepted himself and learned to adapt his career to its best niche in
the marketplace for the current time. He was not complacent, in fact
maybe ahead of what was musically happening, but facing the truth that
each man has his time in the sun and in the shadows.
As I listen to Rick singing the tunes on this album, I sense Sam
Phillips' meaning more deeply. I believe these Memphis Sessions were
very special for Rick -one of those rare times when emotions are
totally in accord with an experience -a time Rick might have remembered
as "the closest thing we have to heaven on earth."
ROSE CLAYTON
April, 1986
Rose Clayton is a Memphis-based writer whose credits include Billboard,
Rolling SlOne, Entertainment Tonight, and CNN.
************************************
*The EP Rose refers to was Four You, but it was released in Feb. 1981.
Curiously the single Dream Lover wasn't on the EP. Rose Clayton's notes
make it seem that Dream Lover was included on the EP but Dream Lover was
a separate release in Feb. 1979 as Epic single 850674.
**The album was obviously not released in 1979 as discussed above.
|
|