CDs

Memories of yesterday, dreams of today

/ TY

The Huffington Post today published in-depth interviews with Ernst Jorgensen on The Complete Elvis Presley Masters and Erich van Tourneau on Viva Elvis: The Album. The first run of the 30-disc Complete Elvis Presley Masters is sold out, with more to be available next year. The single disc Viva Elvis: The Album hits stores tomorrow. While both projects feature Elvis, one release focuses on preserving the past in a historically accurate fashion, while the other uses modern techniques to speculate on what might have been if Elvis recorded in 2010.

Van Tourneau oversaw Viva Elvis: The Album and mixed five of the release’s twelve main tracks. “[M]y mandate was to first, really contemporize the Elvis catalog and bring him into ’10. The idea was to recreate the music as if Elvis were recording the song in ’10, so I’ve created new beats, new chord changes, or new instrumental changes for each and every song,” he says. The interview also reveals that a second volume of Viva Elvis recordings may be in the works.

Ernst Jorgensen has been the man behind Elvis Presley music releases for the last two decades. Somewhere between working on a dozen FTD Elvis collectors label releases a year, not to mention Elvis projects for the main Sony label, he managed to find time to oversee the restoration work that went into The Complete Elvis Presley Masters. “It’s like everything you hope would one day happen when you do what I do–when you compile records and you write books–to be able to put all your favorite artist’s master recordings in one box set, and be given the privilege to do a two-hundred forty page book with text and illustrations describing the entire career. It doesn’t get better than that,” says Jorgensen. It does not get much better than the work Jorgensen has done for Elvis’ musical legacy, either.

Read the full interviews at the Huffington Post.

Complete Elvis masters collections put focus where it belongs – on the music

/ TY

This week, fans began receiving The Complete Elvis Presley Masters – Sony’s limited edition 30-CD set containing 711 master recordings and 103 rarities (alternates, informal recordings, rehearsals, etc.). The first run of 1,000 copies sold out, but Sony reports there will be additional sets available next year. Sony’s premium release is a luxurious and finely packaged collection of Elvis’ music. It also includes a 240-page book and a display case. For the most part, songs are sequenced in the order in which they were recorded.

Still available is Elvis: The Complete Masters Collection, Franklin Mint’s 36-CD set that contains essentially the same 711 master recordings, but with none of the “rarities.” It includes a 24-page booklet, a record-player style display case, and a reproduction of Elvis’ first single, the Sun record “That’s All Right” backed with “Blue Moon of Kentucky.” Songs are arranged thematically by CD, so they often appear in a non-standard order.

Perhaps the packaging and sequencing of the Franklin Mint set are chintzy in comparison with the Sony version, but it does check in at about half the price. It also includes individual sleeves for the CDs, while the Sony version has them inserted into the cardboard of the display case.

Which set is better? That depends on your preferences and your budget. No full-scale reviews of the Sony set are available yet. It is, after all, over 35 hours of music. However, I have been following several threads on the subject over at the For Elvis CD Collectors Forum. As with most message board forums for passionate fans of any subject, there is a lot of drama. If you can get past that, though, it is a great resource for learning more about Elvis.

Here are links to some of the relevant threads for the new Sony set:

I have to give a special mention to frequent FECC poster ElvisSessions, who has provided in depth coverage of the box set in many of the threads above.

For me, the most important thing about either of these sets is that they shine the spotlight on Elvis’ music. Forget potato heads dressed in so-called tribute, collector plates, rubber duckies, mugs, and all of the other junk that clutters up his legacy. Elvis is about music, and that is what deserves to be showcased.

[Updated 11/9/2010 with additional thread links. The folks on FECC are hard to keep up with, boy! Also, thanks to LuckyJackson1 for his Complete Masters track reviews and for providing a link to this blog.]

REVIEW: Boston Garden CD (FTD)

/ TY

Elvis As Recorded At Boston Garden ‘71 CD (Follow That Dream Records, 2010)

Yesterday’s dream

You have been an Elvis fan for 15 years, through the ups and downs since 1956. When the Beatles came to Boston seven years ago, you stayed home. Now, finally, the one you were really waiting for is here.

You forget about the borrowed camera you are clutching as Elvis appears, as if out of magic.

Fans erupt in screams. You do not even realize that you are yelling, too, as Elvis grabs the microphone.

“Well, that’s all right little mama, that’s all right with you. That’s all right little mama, just any way you do,” he sings. Are you dreaming? Is this really happening?

By the middle of the show, you suddenly remember the camera. You only make it a little closer before the police and security guards push you back. You have never used this camera before, but you snap away, hoping it is close enough to preserve this moment, this feeling, forever.

Then, all too soon, it comes to an end.

Before you know it, Elvis is gone, and 39 years have passed by.

You would have never believed back then that photos you snapped in 1971 would appear in an official release of the Elvis concert you witnessed that day at Boston Garden. You even write the liner notes, filling them with your memories of this unforgettable event.

Like the idle daydream of an Elvis fan, it sounds too good to be true. Yet, this is exactly what happened for Cathi Avenell, who supplied photographs and liner notes for FTD’s latest release, Elvis As Recorded At Boston Garden ’71.

Bridging the gap

While the best concerts of the 1969-1977 Elvis era undoubtedly took place in the hot Vegas summers of 1969 and 1970, this November 1971 show stands out among the others. For this time period, it represents the earliest recording yet released of Elvis on the road in the 1970s—rather than in a Las Vegas showroom. It also serves to bridge the gap between his 1970 and 1972 live recordings.

Though this show only precedes his 1972 Vegas engagement by three months, the difference is sometimes striking. This late 1971 Elvis still has some of the 1969 and 1970 fire in him, as opposed to the subdued performances of the early 1972 engagement.

This late 1971 Elvis interacts with the crowd and still apparently enjoys himself, while the early 1972 Elvis seems to do little of either.

If anything, the Boston show often feels like a bizarre crossbreed of August 1970’s That’s The Way It Is concerts and June 1972’s Madison Square Garden shows.

Quick tour of the tracks

Track 01 “Also Sprach Zarathustra”/Track 02 “That’s All Right”: Elvis experimented with various show openers over the years, but the ultimate was “Also Sprach Zarathustra” (theme from 2001: A Space Odyssey) segueing into “That’s All Right,” his first record. Elvis really rocks “That’s All Right” here, the first sign that this will be a great show.

Track 03 “I Got A Woman/Amen”: What sometimes feels like a throwaway version of “I Got A Woman” early on eventually tightens up. “Amen” here is relatively short, not the endless repeats of later years.

Track 04 “Proud Mary”: Though it sometimes has more energy, this sounds like Elvis’ 1972 versions.

Track 05 “You Don’t Have To Say You Love Me”: I have still yet to hear a worthwhile version after 1970.

Track 06 “You’ve Lost That Lovin’ Feelin’”: Disappointing. Elvis sounds distracted throughout.

Track 07 “Polk Salad Annie”: Here is a perfect example of why As Recorded At Boston Garden ’71 is so cool, a hybrid between the 1970 and 1972 variations of “Polk Salad Annie.” While the overall vibe matches 1972, the talking portion is still present at the beginning. Elvis jokes his way through the “little story” though, perhaps an indicator of boredom that resulted in its eventual removal. After the jokes, this is a strong version of the song.

Track 08 Instrumental: You’ll recognize this one as “Comin’ Home Baby,” the instrumental often played while Elvis introduced his band and other stage performers. No introductions on this track, though, making it a rare stand-alone version of the song.

Track 09 “Love Me”: Already sounding like 1972 and beyond throwaway versions, this “Love Me” lacks the spark of the 1970 versions.

Track 10 “Heartbreak Hotel”: Speaking of throwaways, one of the worst versions of this song I have heard by Elvis. I like the bluesy take on it he first introduced in 1969, but Elvis fools around too much on this one for my taste. Maybe it was a ‘You had to be there’ moment.

Track 11 “Blue Suede Shoes”: Rushed, 1972-style. Better than “Heartbreak Hotel,” at least.

Track 12 “One Night”: Right after he sings, “Just call my name. . .,” someone with an irritating voice yells out “ELVIS!” and spoils an otherwise great version, reminiscent of 1970.

Track 13 “Hound Dog”: The typical bluesy slow start into a fast rocking ending, 1972-style. I never cared for this arrangement.

Track 14 “How Great Thou Art” (incomplete): We get about two-thirds of the song here before an artificial fade. Hard to judge without the big ending, but it probably would have been a contender for best song on the album had the performance been intact.

Track 15 Introductions (incomplete): “Comin’ Home Baby” plays again as Elvis introduces the band (joined in progress).

Track 16 “I’m Leavin’”: A true highlight, the best live version released so far. This was only six months after he recorded the song in RCA’s Nashville studio.

Track 17 “Bridge Over Troubled Water”: A stunning performance, especially considering that it sounds average at the beginning. Do not miss this one, best track on As Recorded At Boston Garden ’71.

Track 18 “I Can’t Stop Loving You”: A tad slower, but otherwise sounds like a 1972 version. Enjoyable.

Track 19 “Love Me Tender”: Annoying that this becomes a throwaway with ad-libbed lyrics, because Elvis sounds in such good voice.

Track 20 “Suspicious Minds”: By far, the biggest disappointment of the album. Perhaps the worst live version I have heard, due to jokes and distractions. Arrangement is 1972-style.

Track 21 Elvis Talks: For the third time, “Comin’ Home Baby” plays. Elvis does his traditional request to turn the house lights up so that he can better see the audience. It is fun hearing Elvis thanking the crowd in a mellow kind of way as the music goes on behind him. It almost sounds like he is about to leave on the spot but instead he launches into. . . .

Track 22 “Funny How Time Slips Away”: Like “Polk Salad Annie,” this version is interesting as a previously missing evolutionary step for the song. The softened lyric “In time, it’s all gonn’ be okay” has already replaced the original “In time, you’re gonna pay,” but the finale is still “Ain’t it surprising how time slips away.” Probably the best post-1970 version.

Track 23 “Can’t Help Falling In Love”/Track 24 Closing Vamp: “Let’s take it home,” Elvis announces, then launches into a decent 1972-style version of “Can’t Help Falling In Love,” and the show is soon over.

Final verdict

Taken as a whole, Elvis As Recorded At Boston Garden ’71 is a strong release. Concerts probably should not be picked apart song-by-song as I have done here, as it is the overall experience that counts. Elvis more than delivers a fantastic show. This is one of many concerts where I find myself wishing that I could have somehow been there.

Sound quality is impressive, considering that it is a soundboard recording. I love how FTD tied in the album art with the Elvis As Recorded At Madison Square Garden album. The liner notes and photos by Avenell give this release a personal feel and warmth.

A must-have for fellow fans of the era.

The official Elvis On Tour video outtake releases

/ TY / 2 Comments

Elvis On Tour Countdown: 2 weeks to theater event, 19 days to Blu

The Graceland/Elvis Presley Enterprises communications department must have loved me back in the early 1990s. I was 15 or 16 years old and somehow got into the habit of sending them letters through the mail with questions about Elvis.

As I started to build my Elvis music collection, I also began reading whatever material I could get my hands on about him. Among these were tribute magazines collected by my brother celebrating Elvis’ 50th birthday in 1985 and commemorating the tenth anniversary of his death in 1987.

In one of those magazines, I read an article titled something like “The Elvis Movies: Have We Really Seen Them All?” It mentioned Bill Randle’s infamous Pied Piper of Cleveland short film (1955), but it also focused on potential outtakes from the documentaries That’s The Way It Is (1970) and Elvis On Tour (1972).

As a huge fan of both of the documentaries, I had to know if there was more footage in the vaults. So, I did what any self-respecting Elvis fan would do – I fired off a letter to Graceland and asked them about it. I had been to Graceland, and I was pretty sure that if anyone would know, it would be the people who worked there.

To his or her credit, and my surprise, someone there actually took the time to write me back. (I was unable to dig up the letter in time for this entry, but I know I still have it somewhere in my archives.) Receiving a letter from Graceland was quite the thrill.

Even more thrilling, though, was their answer. Not only did such footage exist, but Turner Entertainment had even compiled it together for video release. Unfortunately, the release was on hold as to not conflict with the 1990 Elvis: The Great Performances videos.

Not understanding the marketing and contractual issues behind the delay, I quickly resented The Great Performances for holding up the outtake footage. Though it contained two or three newly released numbers, most of The Great Performances was just a slightly modernized re-hash of 1981’s This Is Elvis.

Promotional flyer for Elvis: The Lost Performances (1992)

Promotional flyer for Elvis: The Lost Performances (1992)

It seemed like decades later to me, but 1992 arrived, and there were two big Elvis releases that year – which marked the 15th anniversary of his death. One was ELVIS: The King of Rock ‘n’ Roll – The Complete 50s Masters, the now legendary 5-CD boxed set that chronicled his studio recordings from that era. Until I had a little help the following year, that one was temporarily out of my financial reach.

It did not matter one bit to me, though, for it was the other big release of 1992 about which I was most excited. Released the same day as the CD set, Elvis: The Lost Performances was a one-hour VHS videotape that finally delivered those promised outtakes from That’s The Way It Is and Elvis On Tour.

Watching Elvis: The Lost Performances for the first time was, perhaps, the best hour of my entire Elvis fan experience – including all the way up until the present day. I remember coming to the end of the tape, rewinding it impatiently, and immediately starting it over again. I must have watched it at least three times that first day, maybe even four.

The majority of the video focused on incredible material filmed for That’s The Way It Is, but it also included a few songs filmed for Elvis On Tour:

  • All Shook Up
  • Teddy Bear/Don’t Be Cruel
  • Are You Lonesome Tonight
  • I Can’t Stop Loving You
  • How Great Thou Art
  • Release Me

The Lost Performances was actually not the first time that Elvis On Tour outtakes became available to Elvis fans, though. Back in 1981, a couple of songs were prominently featured in the movie This Is Elvis:

  • Always On My Mind (rehearsal)
  • An American Trilogy

That movie also included some miscellaneous outtake footage, such as the recently separated Elvis boisterously indulging in guy talk with his entourage.

Thursday, July 29, will offer fans another chance to see Elvis outtakes, as previously unreleased footage will be shown as part of a special screening event in US theaters. Elvis On Tour: 75th Anniversary Celebration will also feature the newly restored Elvis On Tour.

Go to Fathom Events to find out if a theater is showing the event near your area. On August 3, Elvis On Tour will make its DVD and Blu-ray debuts. All of us who can need to be there in both cases to support Elvis and encourage future releases of additional Elvis On Tour and That’s The Way It Is footage.

Elvis: The Lost Performances never made it to DVD, so let’s make sure that these and dozens of other hours of Elvis footage from the two films are not lost forever.

Elvis On Tour Countdown

  • 14 days until Elvis On Tour 75th Anniversary Celebration theater event
  • 19 days until Elvis On Tour Blu-ray and DVD releases

* * *

For more information (official sites):

Selected posts about Elvis On Tour from The Mystery Train:

Defending FTD’s Release Strategy

/ TY / 2 Comments

As a fan of Elvis Presley and various other pop culture touchstones, one of the things I’ve noticed over the years that ties all of them together is that their various fandoms are never quite satisfied.

Take the recent announcement of upcoming Follow That Dream Records releases, consisting of a half dozen interesting – even exciting – CD and vinyl releases on the horizon for the rest of this year, thirty-three years after Elvis’ death. Among them are a 1971 soundboard recording of a concert at Boston Garden and a Classic Album re-issue of a 1973 album and associated alternates.

Predictably, the reaction on various Elvis message boards and forums across the web is lukewarm at best. FTD’s decision to release the Boston Garden show gets criticized because some fans have already bought that one on bootleg once or twice.

Hey, if you bought bootlegs, that’s your problem!

I don’t want FTD to take bootlegs into account when deciding their releases. I fully support their decision to officially release the Boston Garden show. If FTD has access to great Elvis material that has already hit the bootleg market, then bring it on.

If you have bought the bootleg release and now have to either re-buy it or decide not to buy it when it comes out on FTD, then, again, I say that is your problem.

As for 1973’s Elvis (“Fool”) album, there is the typical whining that this album was not a worthy follow-up to his Aloha From Hawaii success and, thus, is undeserving of the Classic Album treatment. Sometimes, I’m not sure to which Elvis Presley these people are listening. Elvis is a great album, with several performances that are not to be missed – including Elvis at the piano on “It’s Still Here.”

Another argument goes that while Elvis may indeed be worthy of an FTD, there are other albums of higher priority that should have come first – Promised Land, Jailhouse Rock: Volume 2, and Ernst Jorgensen’s mysterious Sun project being the oft-cited examples.

This makes no sense to me. FTD is supposed to structure its releases in order of priority? That would mean that they would front-load all of the best releases. Eventually, you would hit a point where all that was left was stuff like Double Trouble and Roustabout. All the good stuff would be gone, and we’d have nothing left to be excited about.

Instead, they have to vary things up. All-in-all, I think FTD does a fantastic job of that – particularly in the last two or three years.

There are also complaints that a tie-in to this year’s Elvis On Tour Blu-ray/DVD/theatrical event was not announced. FTD is the collectors label. Whether it comes this year or next, any corresponding audio releases for Elvis On Tour will likely debut on the main Sony label, with a related FTD release at some point after that.

So, stop all the whining, will you? You’re starting to sound like a bunch of Trekkies.

1971 Boston Concert among Upcoming FTD Releases

/ TY / 4 Comments

Elvis performed exactly one time in Boston, on November 10, 1971. “By the time he finished you knew that underneath the control and the lightness of most of the evening’s music there stood a man with more natural ability, talent, and soul than I expect to see on the stage at any rock concert,” said Jon Landau in Rolling Stone of the show.

According to Elvis Matters, Sony’s Follow That Dream Records, a collectors label for Elvis fans, will release a soundboard recording of the Boston show on CD September 14. This one has apparently appeared in bootleg format before, but as someone who sticks to official releases, I can’t wait to hear this concert.

Also set for release in September is the Classic Album version of 1973’s Elvis (“Fool”), a two-CD set that will contain the original album and alternate takes.

Here is the tentative FTD schedule for the rest of the year. Note that the US releases of these albums tend to be a few weeks behind. Italicized descriptions are quoted from Elvis Matters.

August 8, 2010

King Creole: The Music (book & CD)

KING CREOLE-THE MUSIC is a 200-page book with images exclusively designed to complement the music from the film. It consists of two main sections; the recording sessions on January 16, 1958 and song scenes from the filming of the movie (including behind-the scenes shots). The images are classic and well-known shots with the majority being previous unpublished and taken by the original still photographers on the set (no freeze-frames).

The accompanying CD consists of the masters and the well-known alternative masters (no unreleased session reels have been found). As always, the music has been re-mastered.

Good Times: The Outtakes (2 vinyl LPs)

Following on from the previous strictly Limited Edition series, FTD is pleased to announce the release of a special 2-disc 180-gram vinyl set of GOOD TIMES – THE OUTTAKES. Supplied in a deluxe gatefold sleeve, it features the superb original draft artwork design that was superseded prior to release. UNIQUE!

September 14, 2010

Boston Garden (CD, no official title yet)

FTD will release the soundboard of the November 10, 1971, BOSTON GARDEN Show (previously released on bootleg) as this is the only available show from the early tours of the seventies. We believe that this is of such historical importance, that it should be available to everyone. This will be a 5” digipack with a photo booklet.

Elvis (“Fool”) (2 CDs)

On the same date, a 2-CD set of ELVIS (FOOL) in the CLASSIC ALBUM series. This will feature a 7” digi-pack with an 8-page booklet.

September 2010

  • Soundboard CD – Concert not yet announced

November 2010

  • Classic Album 2-CD – Content not yet announced
  • Vinyl 2-LP – Content not yet announced

FTD releases are available from ShopElvis.com and other online Elvis retailers.

[7/11/2010 Update: ElvisNews.com has a posted a longer version of the comments from the FTD team:

Recently, we’ve had several frustrated e-mails from some customers about information getting out about our releases, prior to circulation of the official FTD announcement. Ideally, it shouldn’t be like that, but at the same time with so many people helping us in advance with our product origination, there is a good chance that word will spread before exact release plans can be chosen due to manufacturing and distribution issues. The nature of being involved in the ‘Elvis‘ industry dictates that the sharing of new information is a thrill to most people, so leaks will occur.

In an effort to improve the situation, we will try to announce our schedule further up front. The downside to this is that there will be times when unforeseen production problems cause releases to slip”

I think this is a huge step in the right direction for FTD. Maybe it’s time for them to finally get a small but informative website up and running?]

Other links

“Anyone could lose his heart like me”

/ TY / 2 Comments

Don’t you love when an Elvis song that you previously paid little attention to comes out and smacks you across the forehead? You suddenly realize that it’s a great song. That’s what happened to me just now with 1963’s “Anyone” from the Kissin’ Cousins soundtrack.

I had iTunes on shuffle, using a smart playlist. It was “There Goes My Baby” by the Drifters, then “I Just Call You Mine” by Martina McBride, “Irreplaceable” by Beyoncé, Elvis foolin’ around on “The Cattle Call,” and then, BOOM, “Anyone.”

Why have I never noticed this beautiful song before? I had it rated as a measly two stars. I’ve bumped it up to four.

* * *

My pal Thomas over at the Elvis Today blog seems a little down in his latest post about the forthcoming Follow That Dream Records releases. Up next will be a book and CD combo for 1958’s King Creole.

Unfortunately, the CD contains only previously released material, and misses being comprehensive by leaving out a couple tracks that were available on Hits Like Never Before. After that, there will be a vinyl release capturing highlights from the Classic Albums series version of Good Times.

Cheer up, Thomas. What’s the best thing about FTD? Variety. 1950s releases are few and far between on FTD, and perhaps the King Creole book (and potential sound upgrades) will be good enough to make this underdog a special release.

In the US, I have a slight advantage because I’ll be able to read some of the reviews from around the world before our pre-order period is over.

The other releases we’re waiting for, such as Promised Land, will come eventually. As you said, Elvis On Tour is on the way. We can’t have everything at once now, can we? We don’t want to be spoiled.