Budget-priced compilation featuring 20 of The King's best loved religious melodies, including 'Take My Hand', 'I Believe', 'It Is No Secret' and 'Amazing Grace'. 1999 release.
Limited edition Japanese reissue of 1970 album by The King, digitally remastered using 24 bit technology & in a miniaturized LP sleeve with the original artwork intact. 2000 release.
Even more than his "waist up" appearance on The Ed Sullivan Show, the "sit down" segment of Elvis's 1968 comeback special was by far his most powerful appearance on television. Proof that Elvis could still rock, it was also only his third live performance since 1957. This seminal rock & roll moment, with Elvis surrounded by Scotty Moore and DJ Fontana, was actually two separate sessions taped two hours apart. The first session, along with rehearsals, appears on Memories: The `68 Comeback Special. However, it's always been the second session, the 8 p.m. show, unreleased in its entirety until the appearance now of Tiger Man, that's lived in popular legend as one of the great undiscovered treasures of his oeuvre. An again confident Elvis really cuts loose here, launching into scorching versions of early classics. "That's All Right," "Heartbreak Hotel" (where he has to stop to catch his breath and remember the lyrics), and "Blue Suede Shoes" have all the fire that first made him such an arresting phenomenon. But it's the title cut, which was spliced into the TV special's second showing in August 1969, that is the showstopper. This disc instantly becomes one of the cornerstones of any Elvis collection. --Robert Baird
Elvis Presley changed the world when he spontaneously kicked an obscure blues number called "That's All Right" into high gear, providing as likely a starting point for rock & roll as anyone will ever be able to pinpoint. Spontaneity became harder to come by as Presley's career progressed, which makes this four-disc assortment of outtakes, alternate takes, and live recordings such a treat. Dating from the 1954 date that produced "That's All Right" to February '76 Graceland sessions, Today, Tomorrow & Forever captures every phase in Elvis's career--frequently from lesser-explored vantage points. Here's the super-charged hep cat of the '50s charging through versions of "Heartbreak Hotel," "I Got a Woman," and "Hound Dog" before a rollicking Little Rock, Arkansas, audience. Here's the matinee idol trying to breathe life into increasingly moribund material. Finally, here's the comeback kid of the late '60s and the flailing Vegas attraction of the '70s. Indeed, late-period Presley benefits particularly well when it's stripped down to its alternate-take essence. Colin Escott's rewardingly frank liner notes ("Elvis had good reason to sleepwalk through 'The Love Machine,'" he notes of one mid-'60s soundtrack throwaway) and a generous assortment of vintage photos complete a package that will certainly appeal to aficionados and will win over more than its share of non-devotees. --Steven Stolder
Assembled from tracks Elvis Presley recorded in Nashville between 1966 and '68, this, like the similar Such a Night, is an album that probably should have been, but because it was the policy of his label and his management to scatter Presley's non-soundtrack '60s recordings out as singles, bonus tracks, and additions to low-budget compilations, it never happened--until now. Instead of rougher alternate takes, these are finished masters, many of which will be recognizable to Presley fans. The material here is a mix of tunes supplied by the star's publishing company and selections he wanted to record. Jerry Reed, who plays guitar on several tunes, is also represented as a songwriter via two highlights, "Guitar Man" and the similarly fast-talking "U.S. Male." Another Reed, bluesman Jimmy, gets his due in a cover of "Big Boss Man." The soaring, almost religious "Indescribably Blue" points in the direction that Elvis would follow--often with unfortunate results--for the rest of his career. Overall, Tomorrow provides a revealing look at Presley's studio recordings during his pre-comeback period. --Robert Baird
'Too Much Monkey Business-Guitar Man Sessions' The 1981 Guitar Man sessions that Felton Jarvis overdubbed, with additional songs that were not on the original LP! Among the unreleased tracks: 'Burning Love', 'I'll Be There', 'I'll Hold You in My Heart', 'In the Ghetto' and more. From the Follow That Dream Series.
From the Follow That Dream series out of Europe, this is an unreleased 'live' show from June 1, 1976! All songs were recorded June 1, 1976 at the Community Center Arena, Tucson, Arizona except See See Rider (recorded in Odessa May 30 1976, afternoon show) and Love Letters (recorded in Odessa May 30, 1976, evening show).
Elvis Presley's music in the 1970s is often dismissed as the bombastic, half-hearted hack work of an overweight, pill-addicted, badly dressed has-been. In the liner notes to this five-CD set, Dave Marsh argues that Presley, in fact, created a more impressive body of work in the '70s than almost any other pop act. And the music on this massive anthology backs Marsh up. Stripping away all the garish live recordings and album filler, the package concentrates on a core of 120 songs--the A- and B-sides of every single Presley recorded in the '70s, 46 other studio tracks (including 13 previously unreleased performances), and 27 live tracks (including another 13 unreleased tracks)--that feature a still-magnificent singer collaborating with one of the funkiest bands of its time. This body of work certainly doesn't match Presley's breakthroughs in the '50s, nor does it equal the achievements of Al Green, Neil Young, and Van Morrison in the '70s, but it does stack up well against the work of Bob Dylan and the ex-Beatles in the same decade. Even in his laziest moments, Presley was a master of intonation and phrasing, delivering his rich baritone with a disarming naturalness. And when he caught a spark from his great T.C.B. Band (anchored by guitarist James Burton and drummer Ron Tutt), Presley could still out-sing anyone in American pop. You can hear it here on inspired versions of Tony Joe White's "Polk Salad Annie," Bob Dylan's "Don't Think Twice, It's All Right," Muddy Waters' "Got My Mojo Working," Wayne Carson's "Always on My Mind," Chuck Berry's "Promised Land," Paul McCartney's "Lady Madonna," Percy Mayfield's "Stranger in My Own Hometown," Dennis Linde's "Burning Love," and Joe South's "Walk a Mile in My Shoes." --Geoffrey Himes
Budget-priced compilation featuring 20 of The King's best loved religious melodies, including 'Take My Hand', 'I Believe', 'It Is No Secret' and 'Amazing Grace'. 1999 release.
Limited edition Japanese reissue of 1970 album by The King, digitally remastered using 24 bit technology & in a miniaturized LP sleeve with the original artwork intact. 2000 release.
Even more than his "waist up" appearance on The Ed Sullivan Show, the "sit down" segment of Elvis's 1968 comeback special was by far his most powerful appearance on television. Proof that Elvis could still rock, it was also only his third live performance since 1957. This seminal rock & roll moment, with Elvis surrounded by Scotty Moore and DJ Fontana, was actually two separate sessions taped two hours apart. The first session, along with rehearsals, appears on Memories: The `68 Comeback Special. However, it's always been the second session, the 8 p.m. show, unreleased in its entirety until the appearance now of Tiger Man, that's lived in popular legend as one of the great undiscovered treasures of his oeuvre. An again confident Elvis really cuts loose here, launching into scorching versions of early classics. "That's All Right," "Heartbreak Hotel" (where he has to stop to catch his breath and remember the lyrics), and "Blue Suede Shoes" have all the fire that first made him such an arresting phenomenon. But it's the title cut, which was spliced into the TV special's second showing in August 1969, that is the showstopper. This disc instantly becomes one of the cornerstones of any Elvis collection. --Robert Baird
20 Bit Remastered Reissue.
Elvis Presley changed the world when he spontaneously kicked an obscure blues number called "That's All Right" into high gear, providing as likely a starting point for rock & roll as anyone will ever be able to pinpoint. Spontaneity became harder to come by as Presley's career progressed, which makes this four-disc assortment of outtakes, alternate takes, and live recordings such a treat. Dating from the 1954 date that produced "That's All Right" to February '76 Graceland sessions, Today, Tomorrow & Forever captures every phase in Elvis's career--frequently from lesser-explored vantage points. Here's the super-charged hep cat of the '50s charging through versions of "Heartbreak Hotel," "I Got a Woman," and "Hound Dog" before a rollicking Little Rock, Arkansas, audience. Here's the matinee idol trying to breathe life into increasingly moribund material. Finally, here's the comeback kid of the late '60s and the flailing Vegas attraction of the '70s. Indeed, late-period Presley benefits particularly well when it's stripped down to its alternate-take essence. Colin Escott's rewardingly frank liner notes ("Elvis had good reason to sleepwalk through 'The Love Machine,'" he notes of one mid-'60s soundtrack throwaway) and a generous assortment of vintage photos complete a package that will certainly appeal to aficionados and will win over more than its share of non-devotees. --Steven Stolder
Assembled from tracks Elvis Presley recorded in Nashville between 1966 and '68, this, like the similar Such a Night, is an album that probably should have been, but because it was the policy of his label and his management to scatter Presley's non-soundtrack '60s recordings out as singles, bonus tracks, and additions to low-budget compilations, it never happened--until now. Instead of rougher alternate takes, these are finished masters, many of which will be recognizable to Presley fans. The material here is a mix of tunes supplied by the star's publishing company and selections he wanted to record. Jerry Reed, who plays guitar on several tunes, is also represented as a songwriter via two highlights, "Guitar Man" and the similarly fast-talking "U.S. Male." Another Reed, bluesman Jimmy, gets his due in a cover of "Big Boss Man." The soaring, almost religious "Indescribably Blue" points in the direction that Elvis would follow--often with unfortunate results--for the rest of his career. Overall, Tomorrow provides a revealing look at Presley's studio recordings during his pre-comeback period. --Robert Baird
'Too Much Monkey Business-Guitar Man Sessions' The 1981 Guitar Man sessions that Felton Jarvis overdubbed, with additional songs that were not on the original LP! Among the unreleased tracks: 'Burning Love', 'I'll Be There', 'I'll Hold You in My Heart', 'In the Ghetto' and more. From the Follow That Dream Series.
2lps on One CD --This text refers to an out of print or unavailable edition of this title.
Elvis Presley's music in the 1970s is often dismissed as the bombastic, half-hearted hack work of an overweight, pill-addicted, badly dressed has-been. In the liner notes to this five-CD set, Dave Marsh argues that Presley, in fact, created a more impressive body of work in the '70s than almost any other pop act. And the music on this massive anthology backs Marsh up. Stripping away all the garish live recordings and album filler, the package concentrates on a core of 120 songs--the A- and B-sides of every single Presley recorded in the '70s, 46 other studio tracks (including 13 previously unreleased performances), and 27 live tracks (including another 13 unreleased tracks)--that feature a still-magnificent singer collaborating with one of the funkiest bands of its time. This body of work certainly doesn't match Presley's breakthroughs in the '50s, nor does it equal the achievements of Al Green, Neil Young, and Van Morrison in the '70s, but it does stack up well against the work of Bob Dylan and the ex-Beatles in the same decade. Even in his laziest moments, Presley was a master of intonation and phrasing, delivering his rich baritone with a disarming naturalness. And when he caught a spark from his great T.C.B. Band (anchored by guitarist James Burton and drummer Ron Tutt), Presley could still out-sing anyone in American pop. You can hear it here on inspired versions of Tony Joe White's "Polk Salad Annie," Bob Dylan's "Don't Think Twice, It's All Right," Muddy Waters' "Got My Mojo Working," Wayne Carson's "Always on My Mind," Chuck Berry's "Promised Land," Paul McCartney's "Lady Madonna," Percy Mayfield's "Stranger in My Own Hometown," Dennis Linde's "Burning Love," and Joe South's "Walk a Mile in My Shoes." --Geoffrey Himes
