CDs

REVIEW: Elvis – The Complete Masters Collection (Part 5)

/ TY

This is Part 5 of an ongoing series reviewing Elvis: The Complete Masters Collection. Read Part 4.

I’m planning to significantly scale back this review series. I’m actually up to Volume 17 now in listening, as I gave up trying to review them as I go. This is mostly because I was not patient enough to wait. The process was just going too slow and taking away from the enjoyment. However, since I already had a draft of the below review for weeks now, I figured I might as well share it with you.

CD Vol. 7: Complete 1968 Comeback Special

This volume of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents songs recorded for the ELVIS television special in June 1968.

Elvis: The Complete Masters Collection - Volume 7

01. Trouble/Guitar Man: This was the perfect way to open both the ELVIS special and the accompanying soundtrack album. Culled from 1958’s King Creole, “Trouble” has never sounded better than it does in this performance a decade later.

In the setting of the special, “Guitar Man” bares little resemblance to Elvis’ 1967 country recording. This version rocks.

Though true to the original album, I would have preferred that the overdubbed applause at the end of this studio track had been omitted for this release. Exceptions were made for other recordings on this set, including on this very CD, and this is another exception I would have welcomed.

02. Lawdy, Miss Clawdy [Live]: In the live, “sit down” segment of the show, Elvis tears into “Lawdy, Miss Clawdy.” This is a terrific rendition that helps set the tone for the entire album. Elvis is back.

Baby, What You Want Me To Do [Live]: Elvis performs a brief snippet of “Baby, What You Want Me To Do” and then launches into a fun bit of reminiscing.

Heartbreak Hotel/Hound Dog/All Shook Up [Live]: The album then transitions to the “stand up” segment with a rocking “Heartbreak Hotel,” combined with strong versions of “Hound Dog” (I love the Native-American-inspired percussion) and “All Shook Up.”

This is the best live version of “Heartbreak Hotel.” Too bad it is part of a medley and incomplete. Years ago, I made an edit of this recording and the one at his first sit down show in order to create a “complete” version for my own personal use (inspired by a similar edit of “Blue Suede Shoes” on This Is Elvis, except mine began with the stand up show and ended with the sit down show).

Sound quality is so excellent on Complete 1968 Comeback Special that it makes a recording flaw in this medley more obvious – a microphone or amplifier feedback sound is present in the background through much of the medley, beginning with “Hound Dog.” When I went back to check, I was surprised to find that this actually existed on previous release sources as well – though not as obvious.

Can’t Help Falling In Love [Live]:  Hands-down, this is the best live version of “Can’t Help Falling In Love.” Absolutely beautiful. Again, here we have excellent sound quality, but that feedback tone is also present at times in the background. I fear it is one of those things where, now that I have heard it, I will not be able to “un-hear” it.

Jailhouse Rock [Live]: For my money, there are really only two killer versions of “Jailhouse Rock.” The 1957 original and this 1968 live recording. Even just a year later, Elvis had lost the raw edge to this song.

Unfortunately, there is noticeable distortion near the end of “Jailhouse Rock,” almost like garbled tape (not the feedback tone discussed earlier). What a disappointment. Not present on previous releases, this issue was first introduced on 2008’s ELVIS: The Complete ’68 Comeback Special boxed set (Disc 3, Track 21). Also on that set, the same version of “Jailhouse Rock” can be heard without the distortion on Disc 1 – which presents the original ELVIS-TV Special album. However, the overall recording is in much lesser sound quality. I understand that tapes can be damaged, but surely a better effort could be made for one of the pivotal moments of Elvis’ career? As this also affected The Complete Elvis Presley Masters, a pricier incarnation of the complete masters [7], Sony should be embarrassed.

Love Me Tender [Live]: I have to admit, though some may not be able to comprehend this, I am not a big fan of Elvis’ original 1956 recording of “Love Me Tender.” It bores me to tears. I definitely prefer his 1968 live versions. As with “Can’t Help Falling In Love” earlier in the show, I love the velvet sound of his voice on this.

03. Where Could I Go But To The Lord/Up Above My Head/Saved: This track begins with Elvis discussing the gospel and rhythm & blues origins of rock ‘n’ roll at one of the sit down shows. It then segues into a medley of studio-recorded inspirational songs. In the actual television special, the medley is a huge production number with Elvis surrounded by dancers while the Blossoms, including Darlene Love, provide backing vocals. Though the recording is great, I find this one much more interesting to watch than only hear.

04. Blue Christmas [Live]: In both the original broadcast version of the ELVIS special and its accompanying soundtrack, creative editing inspired a myth. “I’d like to do my favorite Christmas song, of all the ones I’ve recorded,” Elvis says. He then launches into “Blue Christmas.” For years, people justifiably believed that “Blue Christmas” was Elvis’ favorite Christmas song.

It was not until the 1998 release of Tiger Man, containing the unedited version of the sit down show from which the recording was taken, that the truth became known to a wider audience. It turned out that Elvis did not sing “Blue Christmas” as his favorite but “Santa Claus Is Back In Town.” In fact, though he could not remember some of the words, he sang a bluesy version that was a highlight of that particular show. Not only that, but when he did finally launch into “Blue Christmas,” it was an extended version compared to the original master. So, not only did the TV special and original album create the “Blue Christmas” as Elvis’ favorite Christmas song myth, they even artificially shortened said song.

True to the original master as released in Elvis’ lifetime, the recording here on Complete 1968 Comeback Special matches that of the original album. Elvis performs a terrific version of “Blue Christmas,” far exceeding his 1957 studio recording. I’ll stick to the real story and full-length version on Tiger Man, though.

One Night [Live]: “I think I’ll put a strap around this and stand up,” Elvis says near the end of the first sit down show, but there is no strap to be found for the electric guitar he has borrowed from Scotty Moore. Drummer DJ Fontana announces the next song as “No Strap” and Charlie Hodge, also on stage, sings “No strap today. . .” which Elvis immediately turns into a brief parody of “One Night” by picking up with “. . . is what I’m now looking for, the things I did and I saw, would make the dream . . . where, where, where, where’s the strap?”

He then launches into the song proper, including some of the original “One Night Of Sin” lyrics that had been too risque for 1957. He soon stands up, placing one foot on his chair to prop the guitar on his knee, while Charlie (and later Lance LeGault) holds the microphone for him. While some of the “ad-libs” earlier in the night were indeed scripted, Elvis wanting to stand up with the guitar during the sit down show is not one of them. For the second sit down show, though the guitar still had no strap, it was obvious they had worked out more of the logic – including how to adjust the microphone stand, allowing Elvis to stand up a few times. It is this off-the-cuff moment in the first show that holds the real magic, though. All the fun aside, it is also a great, raw performance of “One Night.”

05. Tiger Man [Live]: Though it originally appeared neither on the ELVIS-TV Special album nor the broadcast, “Tiger Man” was actually the first recording released from those made for the 1968 ELVIS special, on the album Singer Presents Elvis Singing Flaming Star And Others. “Tiger Man” was originally slated for the special, but was replaced by “Blue Christmas” at the insistence of Elvis’ manager due to the December air date. “Tiger Man” is another wonderful performance that Elvis drives with the electric guitar. The compiler made a good choice placing it back in context with other songs from the special rather than saving it for a separate disc.

[Side note: Elvis only performed “Tiger Man” on the second sit down show. Near the end of the first sit down show, Elvis states, “We’d like to do one more song for you because we have another audience waiting to come in” and then proclaims, “Man, I just work here,” when the audience sounds disappointed. He then starts looking for the guitar strap as described with “One Night” above. While he was apparently not referring to the closer “Memories” as the “one more song,” I wonder if it was actually “Tiger Man” that he was planning to sing before being inspired to do the impromptu reprise of “One Night”? Most of the renditions on the first sit down show are superior to those of the second, so a first show “Tiger Man” might have been quite the performance if the proper guitar strap had been available.]

06. Memories [Stereo Version]: Though Elvis performed two live versions of “Memories” during the special tapings, they were not nearly as good as his studio master. Rather than use the live recording featured on the television broadcast, the ELVIS-TV Special soundtrack album featured a mono version of the studio recording with overdubbed applause. RCA sure did love faking live versions with overdubbed applause in the late 1960s and early 1970s.

In this instance, the compiler makes an exception and uses a stereo version of the studio recording, fortunately without the fake audience. Technically, this mix was never released in Elvis’ lifetime, though, for even his 1968 single of the studio version was in mono.

Written by Mac Davis, “Memories” is a beautiful song and this is, by far, my favorite version. 1968’s “Memories” would go on to play over the closing credits of 1972’s Elvis On Tour, as well as posthumous documentaries – including This Is Elvis.

07. Nothingville/Big Boss Man: I have often wondered if “Nothingville” was slamming Nashville or Hollywood (“phony little two-bit town where nothing’s real”). If “Nothingville” is about Hollywood and the movies, that puts an interesting spin on this segment of the special – which is more than a little reminiscent of Elvis’ movies anyway.  In any event, the song fits within the context of one of the show’s production numbers, but it is almost too short to really matter. Next up is a carny barker inviting passers-by to experience an exotic dancer. Elvis launches into an altered version of “Big Boss Man” where the one being worked to death is actually the dancer rather than the singer. The song loses most of its blues roots here, but the arrangement is still effective.

Guitar Man/Little Egypt/Trouble/Guitar Man: To be honest, all of track 7 is really a letdown compared to the quality of the rest of the special.

08. If I Can Dream [Stereo Version]: Always a contender for his greatest performance, “If I Can Dream” caps off the special just right – with Elvis moving forward. As with “Memories,” a stereo mix is used here that was not released during Elvis’ lifetime. The album version was in mono and included overdubbed applause on the studio recording, while the single version of the studio recording was in mono as well.

All-in-all, due to the sound issues on “Jailhouse Rock,” and, to a lesser extent, “Hound Dog,” “All Shook Up,” and “Can’t Help Falling In Love,” Complete 1968 Comeback Special turns out to be the most disappointing volume of this set thus far. A real travesty since this is some of his best material. Does anyone bother to listen to Elvis CDs prior to release?

Though a minor issue, the CD also has a misleading title, for it would take several CDs to truly represent the “complete” 1968 “Comeback Special” recordings. This is but a small sampling. Even a few Comeback recordings released during Elvis’ lifetime, if restricted to that, have been left out.

Sources

(7) “Complete Masters compared/contrasted with Franklin Mint” by elvissessions, For Elvis CD Collectors Forum, 2010.

Read Part 6.

Prince From Another Planet highlights an unreachable star

/ TY / 7 Comments

Sony released three new Elvis titles to US stores on Tuesday, all of them related to his 1972 appearances at Madison Square Garden. While I commend Sony for bringing these releases to market, they have also brought along with them much confusion over the similar contents.

I’m no miracle worker, but I’ll try to clear this up for you as best I can.

Prince From Another Planet: As Recorded At Madison Square Garden is a 2-CD/1-DVD boxed set. CD 1 is a 2012 mix by Michael H. Brauer of Elvis’ June 10, 1972, afternoon show at the Garden, mastered by Vic Anesini. CD 2 is a 2012 mix by Brauer of Elvis’ June 10 evening show at the Garden, mastered by Anesini. The DVD contains a new documentary (Like A Prince From Another Planet), footage from Elvis’ June 9 press conference in New York, and fan-shot 8-millimeter footage of the June 10 afternoon show. Also included is a 50-page book, featuring liner notes by Lenny Kaye.

Elvis Presley's 1972 New York press conference

Elvis at his June 9, 1972, press conference

Elvis As Recorded At Madison Square Garden: Legacy Edition is a 2-CD set. CD 1 is a vintage 1972 mix of Elvis’ June 10 evening show at the Garden, mastered by Anesini in 2007. This represents the 1972 album Elvis As Recorded At Madison Square Garden, which hit store shelves only a week after the actual show. Due to Anesini’s mastering, which was first released on 2009’s Elvis: The Complete Masters Collection and 2010’s The Complete Elvis Presley Masters, the sound quality is improved over the 1992 CD release. CD 2 is a vintage 1997 mix of Elvis’ June 10 afternoon show at the Garden, mastered by Anesini for this 2012 edition. This represents the 1997 album An Afternoon In The Garden.

Sony has also released a new vinyl version of Elvis As Recorded At Madison Square Garden. This 2-LP release of the June 10 evening show is a newly mastered version of the vintage 1972 mix. Despite the fact that it is now two records, this does not contain the afternoon show. The original 1972 vinyl issue of this album was only one record, but the two record format is for better sound quality.

As you can see, fans of Elvis in 1972 have a nice selection from which to choose. As for me, I went with the deluxe Prince From Another Planet set because I wanted to hear the 2012 mixes. The Legacy Edition was not appealing to me because I already have the vintage As Recorded At Madison Square Garden mix as mastered by Anesini on The Complete Masters Collection, and I was not interested in a new mastering of the 1997 mix of An Afternoon In The Garden. I may eventually pick up the vinyl, though I tend to gravitate more towards records produced while Elvis was alive.

Prince From Another Planet (2012)

I’m not going to do a formal review, but I can’t close out without saying that Prince From Another Planet is incredible. Brauer has done a fantastic job mixing these shows. Crank up your sound system and maybe, just maybe, you can be transported back to June 10, 1972, and experience Elvis at the Garden.

As you might expect, the difference is most striking on the evening show. To say that the 1972 mix was rushed would be an understatement. This new 2012 mix finally illuminates this show in the fashion it deserves.

The Like A Prince From Another Planet documentary is worthwhile. I would like to see more documentaries of this nature, highlighting specific points in Elvis’ career. It does “spoil” a lot of the fan-shot footage, though, so you may want to watch that first.

The amateur video of the June 10 afternoon show looks about as good as 8 millimeter footage can possibly appear. Do not go in expecting professional Elvis On Tour or Aloha From Hawaii quality, though. This understandably looks grainy on large television sets. Though the original footage was silent, Sony has meticulously synched the 2012 mix of the show’s audio with the footage. To put it mildly, the footage is stunning and makes for a terrific experience . . . almost.

Elvis on stage at the Garden

Elvis on stage at the Garden

Only about twenty minutes of footage from this sixty minute show actually exists. During parts of the show for which there is no footage, the screen goes black while the audio continues. There are several long stretches of songs with no footage at all. To be honest, I cannot imagine a member of the “general public” (i.e., someone who is not an obsessed Elvis fan) sitting through this. Even I became restless at times, afraid to take my eyes off the big blank screen for fear I would miss the video. Sony should have provided an option to “View All Footage” and skip over the blank portions. This is but a minor quibble, though. Keep in mind while watching this that Warner Home Video is sitting on hours of professionally-filmed 1972 tour footage of Elvis. Unfortunately, Sony has no control of that footage, so kudos to them for at least bringing us this grainy alternative.

My larger complaint with the set has to do with the packaging. It is beautiful, but fails miserably at its primary job – protecting the CDs and DVD. Good luck getting them out without scratching the discs and/or creasing the packaging. As it is, my DVD has a fault during the press conference, and I have no doubt that the packaging and my admittedly anxious hands are to blame.

Elvis and the music more than make up for these shortcomings, though. If you are a fan of Elvis in 1972, Prince From Another Planet is a must-have. If you are not a fan of Elvis in 1972, I do not think this release will change your opinion. That’s okay, though. Everyone is entitled to be wrong!

* * *

Coming so soon on the heels of the recent storm, this New York themed release also reminded me to think of those in New York and neighboring areas that are affected. I think it would be a great gesture, and certainly within the spirit of Elvis’ generosity, if Sony were to release a single from this set with proceeds to benefit disaster relief efforts. In any event, we fans can also help on our own by donating funds to the American Red Cross.

A Man From Elvis Presley Boulevard

/ TY

Readers,

I sincerely hope you like my new FTD Album review.

My best wishes,
TY

A review of the new FTD edition of From Elvis Presley Boulevard

The Original Album

The first ten tracks of FTD’s From Elvis Presley Boulevard, Memphis, Tennessee represent the original album that RCA released in May 1976. Recorded at Graceland in February of that year, this album is thematically the saddest ever released by Elvis. It also may be the most honest look at himself ever made available by the man living behind the gates of that home on Elvis Presley Boulevard. Despite the at times overblown production, From Elvis Presley Boulevard is a beautiful and moving album. Highlights include “For The Heart,” “Hurt,” “Never Again,” and “Love Coming Down.”
Today, Elvis is often spoken of as a singles artist rather than an album artist. Part of this comes from the admittedly mishmash quality of some of his albums. RCA had been hauling leftovers out from the vault since the very beginning when it included rejected SUN cuts like “I Love You Because” on the much-lauded Elvis Presley album in 1956. There is no question, though, that From Elvis Presley Boulevard two decades later is a coherent album through and through.
In fact, the twenty years that separate the albums Elvis Presley and From Elvis Presley Boulevard are quite evident – which is a good thing. Elvis did not devolve into an Oldies act looking to recapture past glories by singing the same types of songs over and over. As an artist, he changed over the years rather than stagnating with one style. That is not to say that From Elvis Presley Boulevard is superior to Elvis Presley – but that it is, quite rightly, an entirely different experience. It reflects the years of living the man did in those twenty years.
While Elvis Presley may be described as a bright, optimistic album, From Elvis Presley Boulevard is dark and moody. There are still bits of joy, but they are scattered and buried. Elvis had been intensely exploring “lost love” songs since at least 1972, and From Elvis Presley Boulevard represents the culmination of that often depressing but still worthwhile journey.  From Elvis Presley Boulevard is certainly among the twenty best albums that Elvis released during his lifetime.
That the Elvis of 1956 is different from the Elvis of 1960 or 1976 is one of the things that draws me to his music. No matter my mood or what is going on in my life, there always seems to be an Elvis that fits. This particular album has brought me comfort when I needed it. It is part of my journey.
Sound here on this 2012 edition is terrific. Listen to “Danny Boy”, a song Elvis had been fooling around with for decades, and you may imagine that he is singing in your den rather than his own.
The Alternate Album
Next up on disc 1 is an “alternate” version of the album using different takes of the same songs in the same sequence as the original album. I love this concept. As evidenced on A Life In Music and The Jungle Room Sessions, alternate takes of these songs can be quite revealing because they do not contain any of the post-session overdub work that either plagued or enhanced a given song.
Take 1 of “Hurt” falls apart after only a minute, though Elvis sounds great. The slightly weaker Take 2 made its debut on A Life In Music, but sound quality seems better here. I have not done A/B comparisons on any of these songs, though, so this is just based on an admittedly faulty memory.
Take 11 of “Never Again” first appeared on The Jungle Room Sessions. Again, the sound quality seems much improved to me. While I have long enjoyed The Jungle Room Sessions, there was always a muffled quality to the sound that I am not picking up here on this new release. In any event, this happens to be one of my favorite songs on the album, and this is a fine rendition.
Take 4 of “Blue Eyes Crying In The Rain” is a newly released version. Here’s a song that definitely benefits from the simpler sound compared to the released master. Check out that guitar solo at about the 1:45 mark. Unfortunately, Elvis’ voice is not quite up to par at times on this run-through – yet, it still works. “Baby, blue eyes cryin’ in the rain…” he sings near the end. Overall, he sounds much more engaged in the recording than we have been led to believe at this point of his life. This may be my new favorite version.
A Life In Music was also the debut of Take 9 of “Danny Boy,” though to my ears, this sounds different than that version. Perhaps it is only the apparent improved sound quality. Though foreboding, I love Elvis’ take on this song. At 41, that boy could still sing when he wanted!
The FTD producers get a little creative with “The Last Farewell” by creating a composite of takes 3 and 2. The master version from the original album itself was a splice of takes 5 and 3. Take 2 was previously released on The Jungle Room Sessions. As with the standalone Take 2, this new composite version is superior to the released master with overdubs. The interesting thing about this alternate album so far is that Elvis’ voice does not have as much of a depressing quality as evidenced on the released album. I am not sure why that is, whether it was a product of the subsequent overdubs or simply which takes were selected for use.
“For The Heart” is Take 1, as originally released on A Life In Music. Featuring rock ‘n’ roll infused with country, this is one of the hidden gems of the 1976 sessions. Terrific song.
Take 6 is previously unreleased for “Bitter They Are, Harder They Fall.” As with the original version, nothing really stands out about it. It is just an average album cut.
“Solitaire” always gets to me, especially the opening… “There was a man… a LONELY man…” This is take 3, previously released on The Jungle Room Sessions. How I love this song, though it can bring tears to my eyes. He was putting his pain right there on the record for all to hear.
The previously unreleased Take 3 of “Love Coming Down” is as genuine and effective as the superb master. In fact, in some ways, it may even be better – including a brief, unexpected spoken part on “and lookin’ back now…” early on in the song.
The previously unreleased Take 4 of “I’ll Never Fall In Love Again” falls apart within seconds, while Take 5 was first heard on The Jungle Room Sessions. Here is one where I definitely prefer the original album version. I cannot stand the piano work on this version. The piano portion sounds like it was intended for use at a retirement home, and it distracts me from the rest of the performance.
The Alternate Single
Every imaginary album deserves an imaginary single to promote it, and that is what FTD delivers here – mirroring the “Hurt”/”For The Heart” single released in March 1976.
Up first are previously unreleased versions of “For The Heart” — two false starts and then the complete Take 5B. It is an energetic and engaging performance.
Disc 1 concludes with a composite of Takes 4 and 3 of “Hurt.” Take 3 was previously released alone on The Jungle Room Sessions. This is a nice composite that will definitely get many spins by me.
The Making Of
Disc 2 consists of additional takes of the various songs from this album. Though I personally would have preferred a sequential presentation for this portion, reflecting the order in which Elvis recorded the songs, I can understand FTD’s decision to place entertainment considerations above historical ones. Besides, it is easy enough to re-order the songs if desired.
“For The Heart” kicks things off right with Takes 2 and 3A, previously released on The Jungle Room Sessions. Next up is Take 1 of “Bitter They Are, Harder They Fall.” This was first released on Made In Memphis, a CD I do not have. This is actually the first recording of the February session at Graceland. This is not a particularly compelling take. Elvis often sounds uncertain.
Next are two previously unreleased takes of “I’ll Never Fall In Love Again.” Take 1 is a false start, while Take 3 is complete – including that annoying piano. Elvis is hard to listen to on this one, yelling parts of the song. Between that and the piano, I found myself wishing for the song to end.
Take 3 of “Hurt” was previously issued on The Jungle Room Sessions. As with that album, it begins here with a false start and then the take is re-tried. A decent enough performance, though I prefer the master.
Take 1 of “The Last Farewell” is previously unreleased. It is okay, but certainly not a highlight. The take falls apart about three-fourths of the way through the song.
The next attempt, Take 2, of “The Last Farewell” follows. As noted above, this was originally released on The Jungle Room Sessions. I think I like the composite version from Disc 1 better.
“Never Again” features three false starts (Takes 1-3) before jumping ahead to the complete Take 9 – all previously unreleased. Take 9 is okay, but a disappointment compared to the versions on Disc 1.
“For The Heart” Take 4A first appeared on the excellent Today, Tomorrow & Forever. For those who have not been able to collect all of the individual releases, FTD’s Classic Album series does a commendable job bringing together previously released material such as this. Enjoyable, but I much prefer Take 1 from Disc 1.
Takes 6 and 7 of “Danny Boy” make their debut here, the earliest takes yet released of this song. Elvis sounds off on Take 6 and he eventually quits about a minute into the song. “Let’s take it up to E” he says before trying again on Take 7. When he once again struggles with the high notes, he quits again and states, “I liked it in C better. That’s how I’d like to do it, better.” [Interestingly, Ernst Jorgensen’s quote in A Life In Music, page 398, of Elvis saying, “I can’t make it. I’ve got too much sh-t in me, man…” when he blows take 7 has either been edited out or never actually happened.]
Take 8 is next, in C, and Elvis indeed does a better job this time, managing to complete the take – as previously released on The Jungle Room Sessions.
Made In Memphis included Take 4 of “Love Coming Down.” I find that I do not enjoy this take as much as the master or Take 3.
Take 1 of “Blue Eyes Crying In The Rain” is only a false start. Take 2, previously released on The Jungle Room Sessions, does not have the spark of Take 4. For all takes, a simpler arrangement would have greatly benefited this song. Imagine something similar to Elvis’ 1967 recording of “You’ll Never Walk Alone” as an example of what I mean. Instead, there is just too much going on here.
Take 5 of “Solitaire” is a previously unreleased false start. Take 7 was previously issued on Made In Memphis and, thus, is new to me. An okay version.
“Hurt” Take 6 is a previously unreleased false start. Take 5 is from Today, Tomorrow & Forever, a strong version.
As previously released on The Jungle Room Sessions, up next are takes 3, 4, and 5 of “Bitter They Are, Harder They Fall.” Takes 3 and 4 are false starts due to interruptions by a ringing phone and a barking dog. I guess that’s what happens when you try to record an album in your den. Take 5 manages to be complete, and Elvis puts in an enthusiastic performance.
Take 5A of “For The Heart” was first issued on Made In Memphis. Great version! This sounds pretty close to the master.
Take 4, a very brief false start, of “The Last Farewell” is previously unreleased. It is followed by the undubbed master of the song, which is superior to the album version.
I’m not exactly sure what a “master rough remix” is, but it turns out to be somewhat enjoyable for “I’ll Never Fall In Love Again” – except for that darn piano kicking it 1920s style every now and then.
For “Never Again,” we are treated to a “master remix” – this one is apparently not rough. (By the way, we are not talking JXL or Viva Elvis style remixes here, but simply changes to the original mixing channels – lest there be any confusion.)  And this one really is a treat. “Never Again” sounds wonderful like this. I would have been interested to hear the whole album receive this kind of treatment.
Finally, FTD’s From Elvis Presley Boulevard closes out with a “master rough remix” of “Danny Boy.” A beautiful recording, it seems, no matter the mix.
Disc 1 is definitely the highlight of this release. I imagine I’ll be playing that one quite often. Disc 2, while not a total letdown, mostly features some of the lesser takes.
Packaging/Booklet/etc.
As usual, the front cover mimics the original album – though I really do not like the printed inclusion of what was actually a sticker applied to the shrink wrap on the original version. It makes for a cheap look. The back cover is FTD-designed, and they have chosen to include a relatively poor photo of Elvis. He looks tired. Certainly not something to include on a cover, but FTD does not exactly have a great track record when it comes to choosing appropriate images.
The inside gatefold includes the original back cover, which I prefer. It includes a letter from Elvis stating, “I sincerely hope you like my new RCA Album.” The CDs mimic the tan labels of the original album release.
The booklet is standard fare for the Classic Album series, including a timeline and a listing of takes. The vintage RCA communications around the cover art and album content are, as always, of interest, though I wish there could have been more in this case. Apparently, Graceland was at one time to be featured on the cover in addition to Elvis. Though no reason is given, this may have been dropped for looking too similar to 1974’s Recorded Live On Stage In Memphis album.
Communication related to recording at Elvis’ home would have also been interesting to read, but nothing is provided. Like the cover, most of the booklet’s Elvis photos were taken by Ed Bonja at Elvis’ June 10, 1975, concert at the Mid-South Coliseum in Memphis. Just about every photo inside the booklet would have been a better choice to use on the back cover.
Overall
Follow That Dream Records delivers a fantastic upgrade to From Elvis Presley Boulevard. This release, especially Disc 1, will be stuck in my CD player for quite awhile. I eagerly await FTD’s take on the concluding chapter of the Graceland sessions, Moody Blue.

 

REVIEW: Elvis – The Complete Masters Collection (Part 4)

/ TY

This is Part 4 of an ongoing series reviewing Elvis: The Complete Masters Collection. Read Part 3.

CD Vol. 6: Heartache

Elvis: The Complete Masters Collection - Volume 6This volume of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents songs falling under the theme of “Heartache.” The booklet describes this disc as “Twenty haunting melodies that reveal Elvis’ familiarity with the darker side of love.”

Heartache is certainly a theme Elvis revisited often in his recordings over the years. Many of my favorite Elvis songs would probably fit into this category, so I’m excited to give Heartache a spin.

01. That’s When Your Heartaches Begin: Elvis actually first recorded “That’s When Your Heartaches Begin” as a demo at the Memphis Recording Service in 1953. This is his professional version, though, recorded four eventful years later for RCA. He does a masterful job with the song, including the spoken-word recital in the middle – a technique that he would perfect even further a few years later with the similar “Are You Lonesome Tonight.” (Recorded: 1957)

02. Don’t: If you listen too closely to the words to “Don’t,” it can actually sound creepy from a modern perspective:

“Don’t, don’t,” that’s what you say each time that I hold you this way. When I feel like this and I want to kiss you, baby don’t say “don’t.”

This song should be judged within the context of innocence from which it sprang, though. The Jerry Leiber & Mike Stoller song features masterful lyrics, indicative of the quality of material Elvis lost out on when his association with that team ended. “Don’t” includes a quite beautiful and sincere love pledge:

I’m your love and yours I will stay. This you can believe, I will never leave you, Heaven knows I won’t.

Oddly, this track has about ten seconds of extra silence at the end once the song concludes – not reflected in the runtime on the CD sleeve, either. (1957)

03. Are You Lonesome Tonight?: “Are You Lonesome Tonight” is an Elvis masterpiece, recorded shortly after the end of his stint in the US Army. Listen to that voice. He was back, better than ever. (1960)

04. Starting Today: “Starting Today” is the first of four songs written by Don Robertson that appear on Heartache. This is a quiet, likable song. (1961)

05. (Marie’s The Name) His Latest Flame: “His Latest Flame” is one of three Doc Pomus songs on this disc. “His Latest Flame” is fantastic and includes a much-needed increase in tempo over the opening songs of Heartache. (1961)

06. Anything That’s Part Of You: Another Don Robertson song, “Anything That’s Part Of You” is as relevant to broken relationships today as it was when first recorded. This is a perfect, subtle performance by Elvis. (1961)

07. Just Tell Her Jim Said Hello: It’s hard for me to believe this weak number is from Leiber & Stoller, yet it is. “Just Tell Her Jim Said Hello” sounds like it should be a movie tune. (1962)

08. Suspicion: Doc Pomus delivers the goods again, this time with the fantastic “Suspicion.” I first heard this song on a cassette variant of Elvis Country and have loved it ever since. (1962)

09. She’s Not You: “I’d trade all of someone new for anything that’s part of you,” lamented Elvis in “Anything That’s Part Of You.” On “She’s Not You,” though the writers are different, he continues that theme: “She’s everything a girl should be, but she’s not you.” For this song, Doc Pomus teamed up with Leiber & Stoller, ensuring a sure-fire hit when also combined with another great performance by Elvis. The original pressing of Franklin Mint’s Elvis: The Complete Masters Collection contained an error on this track – the last several seconds were missing. They issued replacement discs and subsequent pressings (including mine) have not had this error [6]. (1962)

10. They Remind Me Too Much Of You: More from the pen of Don Robertson, “They Remind Me Too Much Of You” again continues the theme of “Anything That’s Part Of You” and “She’s Not You,” except now the singer has reached the stage where he wants all reminders of the love gone wrong wiped away. Robertson’s lyrics are masterful at portraying the anguish: “Must I evermore be haunted, day after day my whole life through, by the memory of each moment that I spent alone with you?” (1962)

11. What Now, What Next, Where To: “What Now, What Next, Where To,” while still lamenting a lost love, manages to strike some hopeful tones as well. This is the fourth and final Robertson composition on Heartache, wrapping up this mini-storyline as the singer finally moves on. I have to give the compiler credit for putting all of these songs together, actually making for a coherent album of sorts. (1963)

12. Blue River: I can’t stand this song and hardly ever play it. The sooner “Blue River” ends, the better. (1963)

13. It Ain’t No Big Thing (But It’s Growing): I had to go and say that, didn’t I? As soon as “Blue River” ends, an even worse song begins, “It Ain’t No Big Thing.”  While Elvis’ June 1970 marathon recording session in Nashville produced some of the best songs of his career, it also produced junk like “It’s Ain’t No Big Thing.” Nearly unlistenable. (1970)

14. I’ve Lost You [Live]: After two duds in a row, Elvis’ live version of “I’ve Lost You” is a welcome reprieve. While not as interesting as the studio version, this is still a fine performance in its own right. I love how his voice nearly blends with the Sweet Inspirations as the chorus repeats at the song’s end. (1970)

15. When I’m Over You: Like most songs, “When I’m Over You” is better than “It Ain’t No Big Thing,” but it is still one of the weaker songs from the 1970 Nashville sessions. I do enjoy the gospel sound that the background vocalists bring to the song. (1970)

16. I Will Be True: Accompanying himself on piano, Elvis takes on the Ivory Joe Hunter song “I Will Be True.” A decent performance, with much conviction. (1971)

17. Love Me, Love The Life I Lead: Elvis did not write this song, but it sure sounds like he could have:

If you’re gonna love me, love the life I lead. Need the things I need. Don’t try to change me. If you’re gonna take me, take me for what I am. I can’t be another man. I can’t be free from the life I lead.

Unfortunately, though Elvis must have connected with the lyrics, the song never really develops – a good song that probably could have been better. (1971)

18. Thinking About You: Featured on the Promised Land album and recorded at Stax Studio in Memphis, “Thinking About You” is one of Elvis’ best country songs. Wow, does it sound great on this set. Nice to have the original mix back. (1973)

19. Mr. Songman: “Mr. Songman” is a decent album cut that also served well as the flip-side to 1975’s “T-R-O-U-B-L-E.” (1973)

20. Woman Without Love: “Woman Without Love” is the worst of the songs Elvis recorded at his March 1975 Hollywood session that produced the very solid Today album. Unless I’m listening to the entire album in context, I always skip this dreadful song. (1975)

Though it contains a few duds (this is a complete masters collection, after all), Heartache is overall a stellar collection of songs. The early 1960s tracks in particular are real highlights.

Sources

(6) “Complete Masters compared/contrasted with Franklin Mint” by elvissessions, For Elvis CD Collectors Forum, 2010.

Read Part 5.

From Elvis Presley Boulevard to your CD player

/ TY / 5 Comments

From Elvis Presley Boulevard (1976)I’ve been a little behind on Elvis news lately, so I just found out that one of my favorite albums is getting an FTD release in October. From Elvis Presley Boulevard, Memphis, Tennessee, recorded at Graceland in 1976, will now be an expanded, 2-CD edition. This marks yet another exciting release for 2012.

September 20, 2012, Update: Back In Memphis, the lesser of the two resulting albums of his 1969 American Sound Studio sessions, will be the FTD Classic Album release for December. Also to be released by FTD that month is a 2-CD package consisting of a 1972 rehearsal tape and an August 1972 Las Vegas show.

REVIEW: Elvis – The Complete Masters Collection (Part 3)

/ TY

This is Part 3 of an ongoing series reviewing Elvis: The Complete Masters Collection. Read Part 2.

CD Vol. 5: Complete Aloha From Hawaii Concert

Volume 5 of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents the 1973 concert album Aloha From Hawaii via Satellite as well as bonus songs recorded for insertion into the NBC version of the Elvis: Aloha From Hawaii TV special.

Elvis: The Complete Masters Collection - Volume 5

This disc features the original mix of the 1973 double album. In 1998, BMG/RCA released a CD with a new mix and mastering by Dennis Ferrante. At that time, I tried to keep my Elvis CD collection consolidated. Since I much preferred the new mix, I gave away my older Aloha From Hawaii via Satellite CD with the original mix. Therefore, I do not have anything to make fair sound comparisons against for this CD. These days, I put more stock into owning the original mixes as released during Elvis’ lifetime than I did back then.

Elvis recorded all songs on the Complete Aloha From Hawaii Concert on January 14, 1973. Though it aired live in some parts of the world, Aloha From Hawaii did not air in the United States until April 4 of that year. To this day, many Americans wrongly believe they saw the special live. In reality, it had an even longer “tape delay” than NBC’s abysmal Summer Olympics 2012 coverage.

01. Also Sprach Zarathusta/02. See See Rider: “Also Sprach Zarathustra” (used as the theme for 2001: A Space Odyssey) was the perfect way to open Elvis concerts in the 1970s. This is a particularly fine version, beginning with low rumbles and building into a fantastic crescendo as Elvis appears on stage and quickly rocks into “See See Rider.” Listen to James Burton’s guitar work on the solo, sounding better than I remember it.

03. Burning Love: Elvis moves right into another rocker, “Burning Love.” The sound on this CD is so incredible, I can already tell I may go back to this mix when I want to listen to Aloha, over the 1998 version. Elvis just kills the song on the end during the “Hunka’ hunka’ burnin’ love” segment. What a fantastic opening to the live broadcast. Sounding sheepish, Elvis quietly tells the audience after the song, “Good evening, and I hope you enjoy our show tonight. We’re gonna try to do all the songs you wanna hear, you know.”

04. Something: For this third song of the international event, Elvis launches into a Beatles number, “Something.” The performance is okay, but a bit of a letdown after the concert’s stellar opening. Wow, this CD sure does sound awesome, though. It can make an okay song sound a little better.

05. You Gave Me A Mountain: Elvis had first tackled Marty Robbins’ “You Gave Me A Mountain” while on tour in 1972, including one performance used in the 1972 documentary Elvis On Tour. While this version is a step down from that one, Elvis still sounds great here.

06. Steamroller Blues: Next up, Elvis takes on James Taylor with “Steamroller Blues,” adding some much-needed energy back into the show. Elvis earned a top 20 hit when RCA released this performance as a single (backed with the 1972 studio cut “Fool”). Authentic to the original album (the end of side 1), the CD fades on the applause after the song ends.

07. My Way: As with the original album, “My Way” begins with the piano strains, leaving out Elvis’ introduction of the song. This is a fine, though not very compelling, version of the Frank Sinatra hit. In the first six songs of his live event, Elvis has already tackled the blues, rock ‘n’ roll, the Beatles, country, James Taylor, and Frank Sinatra.

08. Love Me: Before the song, Elvis mentions that he’s planning to do a medley of his records later in the show, to which an audience member shouts, “Do all of them!” Elvis hears this and replies, “Okay, I’ll do it, all 429 of ’em. I’ll do it.” He then dips back into his own catalog for a disappointing version of 1956’s “Love Me.” The song borders on being a throwaway, which is a shame.

09. Johnny B. Goode: James Burton carries this Chuck Berry classic on guitar, as Elvis forgets some of the lyrics early on (the song was added to fill time when a rehearsal revealed the planned show was too short). Still, Elvis rocks the song and the show benefits from its inclusion.

10. It’s Over: “I’ll watch you walk away somehow, I have to let you go, because it’s over,” Elvis sings in what must have been another heart-wrencher for him, as his own marriage was ending at this time. Unfortunately, “It’s Over” is otherwise forgettable.

11. Blue Suede Shoes: It’s back to rock ‘n’ roll, this time with a rousing but short rendition of Carl Perkins’ “Blue Suede Shoes.”

12. I’m So Lonesome I Could Cry: Elvis introduces the Hank Williams classic “I’m So Lonesome I Could Cry” as “the saddest song I’ve ever heard” and proceeds to do a commendable job.

13. I Can’t Stop Loving You: Next, Elvis moves right into “I Can’t Stop Loving You.” Though the arrangement is the same, Elvis sounds much more subdued here compared to the rocking version found on the previous year’s As Recorded At Madison Square Garden.

14. Hound Dog: Elvis then launches into a perfunctory version of “Hound Dog,” lasting a mere 45 seconds and leaving me to wonder, “Why bother?” As with the record, the CD fades out shortly after the song ends, leaving out Elvis’ joke about first performing that song when he was twelve-years-old.

15. What Now My Love: Elvis gets serious again and puts more effort into “What Now My Love” than his own hit material. This is one of the highlights of the show, and the sound quality on this CD makes it shine even more.

16. Fever: Maybe it’s because I heard this one first, but I’ve always preferred this live version of “Fever” over Elvis’ 1960 recording of the song for the Elvis Is Back! album. The song just works better in a concert setting. I also see this as the point in Aloha From Hawaii where Elvis finally shakes off the rest of his nerves and really loosens up – making for a better second half to the show.

17. Welcome To My World: This is a lightweight song that serves as a breather for Elvis between “Fever” and “Suspicious Minds.”

18. Suspicious Minds: Growing up, the first versions I heard of “Suspicious Minds” were on this album and the similar one released on As Recorded At Madison Square Garden. It took me a long time to become accustomed to the studio version. While I now prefer the studio and early live versions best, I still enjoy the 1972 and 1973 versions. Great to hear Elvis rocking on one of his more contemporary hits.

19. Introductions By Elvis: I’m not going to start reviewing band introduction tracks, but I will point out that this is the edited version as released on the original album (i.e., Elvis calling Charlie Hodge a “general flunky” and later mentioning Hawaii Five-O star Jack Lord have been omitted).

20. I’ll Remember You: Also omitted is Elvis explaining that proceeds from the concert would benefit the Kui Lee Cancer Fund. “I’ll Remember You,” first recorded by Elvis in 1966, was written by Kuiokalani Lee, who passed away from cancer that same year. The lyrics take on even more signficance if you listen with that in mind: “I’ll remember you long after this endless summer is gone. I’ll be lonely, oh so lonely, living only to remember you.” Though a decent live version that matches the mood of the show, “I’ll Remember You” really does not live up to Elvis’ 1966 recording – both in terms of the vocals and the percussion.

21. Long Tall Sally/Whole Lotta Shakin’ Goin’ On: The closest thing the show gets to the promised medley is this combination of Little Richard’s “Long Tall Sally,” which Elvis recorded in 1956, and “Whole Lotta Shakin’ Goin’ On,” popularized by Jerry Lee Lewis in 1957 and recorded by Elvis in 1970. While the medley works in the show and picks up the pace as needed, both songs pale next to Elvis’ studio efforts. “Whole Lotta Shakin’ Goin’ On” in particular has a completely different, watered-down arrangement compared to Elvis’ version from less than 3 years earlier.

22. An American Trilogy: Reportedly, when asked what kind of costume he wanted for the live broadcast, Elvis noted that he wanted something that said “America.” The custom-designed American Eagle jumpsuit fit the bill visually, while “An American Trilogy” sealed the deal on the musical side. This is both the climax of the show and the most impressive performance on the album. An argument could even be made that this moment was the climax of his career as well. Though not evident on the record, Elvis throws his jewel-studded belt into the audience shortly after this song.

23. A Big Hunk O’ Love: Serving as a bookend of sorts with the similar “Burning Love,” Elvis reaches back to 1958 for this hit and serves up a great rendition. If only he had treated his other classics with this respect for this show. “A Big Hunk O’ Love” provides a powerful rock ‘n’ roll ending for the live broadcast.

24. Can’t Help Falling In Love: Finally, Elvis closes out the show with a quick version of “Can’t Help Falling In Love.” It is not in the same league as his 1968 or 1969 live versions, but it almost does not matter at this point. The power of the overall concert wins out, and it ends in utter excitement. What a performer.

25. Blue Hawaii [Re-recording]: For the NBC version of the special, Elvis recorded several “insert” songs without an audience to extend the length of the special. This is a fine version of the title song to his 1961 movie Blue Hawaii.

26. Ku-U-I-Po [Re-recording]: The remaining songs on this CD were first released after Elvis’ death, on the 1978 album Mahalo From Elvis. Though they are technically outside of the parameters of Franklin Mint’s Elvis: The Complete Masters Collection, I am happy to have them as bonuses. This is a great re-recording of “Ku-U-I-Po” from Blue Hawaii.

27. No More [Re-recording]: Though recorded for the NBC version of the show, “No More” actually went unused. The visual portion of this performance was first released on DVD in 2004. This is another strong re-recording of a song from Blue Hawaii.

28. Hawaiian Wedding Song [Re-recording]: “Hawaiian Wedding Song” was featured in the finale of Blue Hawaii. Elvis does another good job on this re-recording. Perhaps he should have performed one or two of these Blue Hawaii songs during the actual concert. Why not drop “Welcome To My World” or “It’s Over” for one of these? (Other than the fact that the other two songs had never been released before by Elvis.)

29. Early Mornin’ Rain [Re-recording]: Though Elvis had first recorded it only two years earlier, this re-recording of “Early Mornin’ Rain” has a different vibe. I enjoy both versions. Again, this would have made a great number for the actual concert.

The sound is terrific, and so is the show. This will now become my go-to edition of Aloha From Hawaii.

* * *

I was about 13-years-old before my older brother would allow me to touch his record collection. As a small child, I had a bad habit of accidentally destroying his stuff (Star Trek posters, a trumpet, and pretty much anything else I could get my curious little hands on), so his records were off limits for a long time.

Of his fifty or sixty Elvis albums, the one I considered the most special was Aloha From Hawaii via Satellite. I was sure at the time that this was the greatest Elvis concert ever. Though I could name dozens of live recordings now that would top it, I did relive some of that youthful exuberance when listening to the Complete Aloha From Hawaii Concert. While I do not have the older release to compare, I am sure this album has never sounded better on CD.

* * *

With thirty-one CDs still to go, continue to look for future installments here on The Mystery Train.

Read Part 4.

REVIEW: Elvis – The Complete Masters Collection (Part 2)

/ TY / 1 Comment

This is Part 2 of an ongoing series reviewing Elvis: The Complete Masters Collection. Read Part 1.

We haven’t finished the summer yet, folks, but why not take a break from the heatwave to enjoy a Christmas-themed review?

CD Vol. 4: Christmas With Elvis

Elvis: The Complete Masters Collection - Volume 4This volume of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents nearly all of the Christmas songs that Elvis released during his lifetime (a live version of “Blue Christmas” appears on a later disc).

Christmas With Elvis contains each of the Christmas songs featured on Elvis’ Christmas Album (1957), his 1966 Christmas single, and Elvis Sings The Wonderful World Of Christmas (1971).

01. Blue Christmas: I think of “Blue Christmas” as the “Hound Dog” of Elvis Christmas songs. It’s the one the general public most associates with him. It is an okay recording and certainly appropriate to kick off this CD. I wish it had less or no backing vocals, though. I much prefer his live versions from 1968. (Recorded: 1957)

02. White Christmas: “Blue Christmas” does not transition very well into “White Christmas,” but the compiler has once again taken the easy way out and confined the song sequencing of this disc to recording order. I’m actually not a huge fan of “White Christmas” by Elvis. For this one, my go-to versions tend to be those by The Drifters (whose 1954 recording inspired the Elvis one) or Burl Ives (1965). Incidentally, this track differs from the one released during Elvis’ lifetime in that a finger-snap near the beginning of the song has been omitted (5). I must admit, I would never have noticed such a small detail on my own. That’s the wonder of the For Elvis CD Collectors Forum. (1957)

03. Here Comes Santa Claus (Right Down Santa Claus Lane): You’ll be happy to know that no finger-snapping has been omitted from this terrific version of “Here Comes Santa Claus.” I love how Elvis swings some of the lyrics. (1957)

04. Silent Night: I probably would have saved “Silent Night” for the closer, but what a beautiful recording. For the gentle voice of a 22-year-old to convey this kind of passion and conviction speaks volumes about the faith of Elvis Presley. (1957)

05. O Little Town Of Bethlehem: On the other hand, Elvis’ version of “O Little Town Of Bethlehem” tends to wear on me a bit. Like “White Christmas,” it is an okay performance, but nothing special. Nat King Cole’s 1960 recording tends to be my go-to version of this one. (1957)

06. Santa Bring My Baby Back (To Me): It’s more finger-snapping fun on “Santa Bring My Baby Back.” What’s not to love? (1957)

07. Santa Claus Is Back In Town: Here it is, not only Elvis’ best Christmas song, but also one of his best blues numbers – right up there with 1960’s “Reconsider Baby.” When it comes to Elvis performances, they do not get much better than “Santa Claus Is Back In Town.” Incredible. (1957)

08. I’ll Be Home For Christmas: Elvis delivers yet another stunning performance on his classic version of “I’ll Be Home For Christmas.” This also would have worked as a great album closer. Sound quality is noticeably cleaner here than it was on 1994’s If Every Day Was Like Christmas CD, my previous source. (1957)

09. If Every Day Was Like Christmas: Recorded just a couple of weeks after the session that produced the How Great Thou Art album, the unique “If Every Day Was Like Christmas” makes me wish Elvis had recorded a few more Christmas tunes at this time. This one seems to have slightly more reverb than my previous source on the same 1994 CD. As I’ve not seen any experts make note of this, I assume this reflects the original release. (1966)

10. It Won’t Seem Like Christmas: Flash forward five years now to May 1971 and the sessions that produced Elvis Sings The Wonderful World Of Christmas, my favorite of his Christmas albums. I used to write off “It Won’t Seem Like Christmas” as too depressing for a Christmas song, but it has definitely grown on me over the years. (1971)

11. If I Get Home On Christmas Day: Though it covers much the same theme as “It Won’t Seem Like Christmas,” “If I Get Home On Christmas Day” sounds much more hopeful. A very enjoyable performance. (1971)

12. Holly Leaves And Christmas Trees: Written by Elvis’ longtime friend Red West, “Holly Leaves And Christmas Trees” takes its place among the best of Elvis’ Christmas recordings. (1971)

13. Merry Christmas Baby [Album Master]: While it does not quite meet the stature of “Santa Claus Is Back In Town,” “Merry Christmas Baby” is another solid blues take on the holiday season by Elvis. This studio jam ran for well over eight minutes, about 5:45 of which appeared on the Elvis Sings The Wonderful World Of Christmas album. The single version, edited to 3:15, does not appear in The Complete Masters Collection. (1971)

14. Silver Bells: Elvis delivers a fine rendition of “Silver Bells,” a Christmas classic. (1971)

15. I’ll Be Home On Christmas Day: Written by Michael Jarrett (“I’m Leavin'”), “I’ll Be Home On Christmas Day” is a perfect Christmas song for Elvis. I put this one just below “Santa Claus Is Back In Town” as his best Christmas recording ever. Really, one of his best-ever songs, period. It is always a highlight of any album on which it appears. (1971)

16. On A Snowy Christmas Night: Though it does not often get mentioned, I love “On A Snowy Christmas Night,” especially the reminder to “Give thanks for all that you’ve been blessed with and hold your loved ones tight.” (1971)

17. Winter Wonderland: For some reason, many Elvis fans criticize this performance of “Winter Wonderland.” Even Thomas over at Elvis Today Blog, with whom I almost always agree, called it “spiritless.” I don’t hear it that way at all. Perhaps some feel this song should remain in the territory of a performer like Johnny Mathis, whose 1958 version is horrible. For me, Elvis owns “Winter Wonderland” – particularly by adding on his signature ending style. This sounds exactly like “Winter Wonderland” as interpreted by Elvis should: Perfect. (1971)

18. O Come All Ye Faithful: “O Come All Ye Faithful” is the “Silent Night” of the second Christmas album and is just as effective. This is a great arrangement, too. I love the percussion leading into “Sing choirs of angels…” (1971)

19. The First Noel: While I would not call it “spiritless,” Elvis does begin to sound a bit tired on “The First Noel.” To continue the comparison, “The First Noel” is the “O Little Town Of Bethlehem” of the 1971 album. Good, but not great. (1971)

20. The Wonderful World Of Christmas: It is strange that “The Wonderful World Of Christmas,” the weakest song of the 1971 Christmas album session, became the title track. It also does not serve very well as the closing track here. (1971)

As I stated last time, since The Franklin Mint has chosen to theme their CDs anyway, I would have preferred the compiler put more thought into the sequencing. It is much easier to intermingle Elvis’ Christmas music from different decades than many of his other recordings (also true of his gospel music), so this is a missed opportunity on this CD.

However, Christmas With Elvis at least gathers his Christmas masters in one place. It’s really hard to go wrong with an Elvis Christmas CD and this one is no exception. With upgraded audio, I’m all set for the Christmas season in a few months.

* * *

In Part 1 of this review, I mentioned that I was planning to frame the reproduction of the 1954 SUN 45 “That’s All Right” b/w “Blue Moon Of Kentucky” that came with this set. Here are the results, and it looks beautiful.

SUN 209 Reproduction - Framed

I’ve just obtained an RCA vintage-1977 edition of “Way Down” b/w “Pledging My Love” to hang beneath it. Just waiting for the frame to arrive.

Well, that’s four CDs down and … wow … thirty-two to go. Continue to look for future installments here on The Mystery Train. I hope to finish within the next eight or nine years.

Sources

(5) “Re: Complete Masters compared/contrasted with Franklin Mint” by Claus, For Elvis CD Collectors Forum, 2010.

Read Part 3.