From Elvis In Nashville

[YDKM]

My set just arrived today and (annoyingly) it was listed as "sold out" at every cheap JB- HI FI shops; so i paid more and bought online. Still it is a MUST HAVE set. I Have found each cd 'extremely tight' to get out of the sleeve; but otherwise a fine set and outstanding sound! What impresses me the most is the individual separate instrumentation- that often you did not clearly hear before that makes a superior listening experience on a familiar song.However i was VERY Surprised by the enourmous amount of swearing left in a general public release!(mostly on disc 4)

[minkahed]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?

I understand that the Stax moniker, and even the Jungle Room release, more than likely played a factor in their modest chart success, respectively, but the 2 albums that came out of these Nashville sessions, not only were commercially successful, but as an artistic, historical result coming from Elvis into perspective, yet, no acknowledgment, chart wise and in sales.

A pity.

[iplayastrat]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

You do know that they will hold a copy for you, right?

[emjel]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?

I understand that the Stax moniker, and even the Jungle Room release, more than likely played a factor in their modest chart success, respectively, but the 2 albums that came out of these Nashville sessions, not only were commercially successful, but as an artistic, historical result coming from Elvis into perspective, yet, no acknowledgment, chart wise and in sales.

A pity.

Why can’t you just order a copy in the shop when you go in there?

As regard the charting thing,, I wasn’t aware that the Stax set charted and the Jungle Room release charted for just one week and was a smaller/cheaper set that also contained the masters. I do not see the general public being that interested in a box set where so much contains outtakes and undubbed masters and the price is not favourable to the average person.

There is no true historical interest attached to this set - outside of the fanbase, it is perceived as just Elvis songs from another recording session in Nashville and It’s is more of a fans/collectors kind of release. The general public will not make a connection to the two albums you mention as whilst they were successful, they do not stand out in any big significant way....they are not regarded as something like Thriller, Dark Side of the Moon, Hotel California, Pepper or Rumours to name just a few, that are still recognised and still sell, even today. And that is one of the big problems with Elvis’ albums....they are not strong enough to get re-released in a deluxe version under the name of the original album.

[ck1]

And that is one of the big problems with Elvis’ albums....they are not strong enough to get re-released in a deluxe version under the name of the original album.

You're absolutely spot on.
The policy of the Col. & RCA to throw any old tracks together for an album as long as it made a buck has massively damaged Elvis' long-term legacy.
He is absent from most "all-time greatest albums" lists that young people are familiar with nowadays.

[Ryan73]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?

I understand that the Stax moniker, and even the Jungle Room release, more than likely played a factor in their modest chart success, respectively, but the 2 albums that came out of these Nashville sessions, not only were commercially successful, but as an artistic, historical result coming from Elvis into perspective, yet, no acknowledgment, chart wise and in sales.

A pity.

Why can’t you just order a copy in the shop when you go in there?

As regard the charting thing,, I wasn’t aware that the Stax set charted and the Jungle Room release charted for just one week and was a smaller/cheaper set that also contained the masters. I do not see the general public being that interested in a box set where so much contains outtakes and undubbed masters and the price is not favourable to the average person.

There is no true historical interest attached to this set - outside of the fanbase, it is perceived as just Elvis songs from another recording session in Nashville and It’s is more of a fans/collectors kind of release. The general public will not make a connection to the two albums you mention as whilst they were successful, they do not stand out in any big significant way....they are not regarded as something like Thriller, Dark Side of the Moon, Hotel California, Pepper or Rumours to name just a few, that are still recognised and still sell, even today. And that is one of the big problems with Elvis’ albums....they are not strong enough to get re-released in a deluxe version under the name of the original album.

Really excellent observation and a spot on post. As always, I enjoy your insight that you bring to the board.

[bajo]

I think we somehow must cut back to the time when single records were the thing of the day! Because Elvis recorded songs in no particular order it somehow seemed. The few exceptions we have, still stand as good albums, at least. But, when it comes to songs, it is another story. And I think that in our modern time, it somehow confirms that for an individual song and/or performance, which people may just pick and choose for themselves, there is still a place for Elvis Presley!

[rockinrebel]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?

I understand that the Stax moniker, and even the Jungle Room release, more than likely played a factor in their modest chart success, respectively, but the 2 albums that came out of these Nashville sessions, not only were commercially successful, but as an artistic, historical result coming from Elvis into perspective, yet, no acknowledgment, chart wise and in sales.

A pity.

Why can’t you just order a copy in the shop when you go in there?

As regard the charting thing,, I wasn’t aware that the Stax set charted and the Jungle Room release charted for just one week and was a smaller/cheaper set that also contained the masters. I do not see the general public being that interested in a box set where so much contains outtakes and undubbed masters and the price is not favourable to the average person.

There is no true historical interest attached to this set - outside of the fanbase, it is perceived as just Elvis songs from another recording session in Nashville and It’s is more of a fans/collectors kind of release. The general public will not make a connection to the two albums you mention as whilst they were successful, they do not stand out in any big significant way....they are not regarded as something like Thriller, Dark Side of the Moon, Hotel California, Pepper or Rumours to name just a few, that are still recognised and still sell, even today. And that is one of the big problems with Elvis’ albums....they are not strong enough to get re-released in a deluxe version under the name of the original album.

Really excellent observation and a spot on post. As always, I enjoy your insight that you bring to the board.

I don't disagree with this, but there are much more obscure albums (by other artists) than TTWII & Elvis Country which continue to get upgraded / deluxe re-issues, so there is a market for lesser known, original titles too.

Of course a number of Elvis' best albums (including the masters from the June 1970) sessions have already been issued in their original incarnations as Legacy Editions.

I have no idea how successful these releases were, but I always felt the decision to issue two complete original albums as part of one Legacy title was a poor one, and in some respects Sony are now readdressing the balance here, by compiling session themed sets, rather than expanded versions of the original albums. (An opportunity they missed the first time around).

Another factor is the 'use it or lose it' element of the 50 year copyright rule, which is why we are seeing an abundance of 50th anniversary sets from both Elvis and other major artists.

I think it's also worth considering that whilst a title like Abbey Road resonates with the general public much more than say TTWII or Elvis Country, prior to the deluxe 50th anniversary edition of the former, Apple had only issued two CD versions of the original album since the advent of the CD in the '80's. The original issue and the 2009 remaster, neither of which offered any bonus material, so the expanded CD and deluxe box set were way overdue.

In comparison, we have already had the following CD re-issues of the TTWII album prior to the release of From Elvis In Nashville:

Original album - Elvis In The '90's series
3 disc Special Edition
8 CD / 2 DVD box set (the focus here was live material, but the set still used the branding of the original album)
2 CD expanded Legacy Edition
2 CD FTD edition (not a commercial release, but probably bought by most of the target audience for the new Nashville set).

So, whilst I would agree that Elvis doesn't have an original album with the popularity and appeal of Dark Side of the Moon or Sgt Pepper, the fact that Elvis' best albums have also been subjected to different levels of market saturation with their previous CD releases, could also be cited as a factor as to why the respective recordings are now being rebranded with the focus on specific sessions, rather than the original album titles.

[YDKM]

Great detailed review put up on E.I.N. today

[Ryan73]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

[emjel]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

Now where have I read those thoughts before

[Ryan73]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

Now where have I read those thoughts before

Ha probably from my pm on the matter!

[emjel]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?

I understand that the Stax moniker, and even the Jungle Room release, more than likely played a factor in their modest chart success, respectively, but the 2 albums that came out of these Nashville sessions, not only were commercially successful, but as an artistic, historical result coming from Elvis into perspective, yet, no acknowledgment, chart wise and in sales.

A pity.

Why can’t you just order a copy in the shop when you go in there?

As regard the charting thing,, I wasn’t aware that the Stax set charted and the Jungle Room release charted for just one week and was a smaller/cheaper set that also contained the masters. I do not see the general public being that interested in a box set where so much contains outtakes and undubbed masters and the price is not favourable to the average person.

There is no true historical interest attached to this set - outside of the fanbase, it is perceived as just Elvis songs from another recording session in Nashville and It’s is more of a fans/collectors kind of release. The general public will not make a connection to the two albums you mention as whilst they were successful, they do not stand out in any big significant way....they are not regarded as something like Thriller, Dark Side of the Moon, Hotel California, Pepper or Rumours to name just a few, that are still recognised and still sell, even today. And that is one of the big problems with Elvis’ albums....they are not strong enough to get re-released in a deluxe version under the name of the original album.

Really excellent observation and a spot on post. As always, I enjoy your insight that you bring to the board.

I don't disagree with this, but there are much more obscure albums (by other artists) than TTWII & Elvis Country which continue to get upgraded / deluxe re-issues, so there is a market for lesser known, original titles too.

Of course a number of Elvis' best albums (including the masters from the June 1970) sessions have already been issued in their original incarnations as Legacy Editions.

I have no idea how successful these releases were, but I always felt the decision to issue two complete original albums as part of one Legacy title was a poor one, and in some respects Sony are now readdressing the balance here, by compiling session themed sets, rather than expanded versions of the original albums. (An opportunity they missed the first time around).

Another factor is the 'use it or lose it' element of the 50 year copyright rule, which is why we are seeing an abundance of 50th anniversary sets from both Elvis and other major artists.

I think it's also worth considering that whilst a title like Abbey Road resonates with the general public much more than say TTWII or Elvis Country, prior to the deluxe 50th anniversary edition of the former, Apple had only issued two CD versions of the original album since the advent of the CD in the '80's. The original issue and the 2009 remaster, neither of which offered any bonus material, so the expanded CD and deluxe box set were way overdue.

In comparison, we have already had the following CD re-issues of the TTWII album prior to the release of From Elvis In Nashville:

Original album - Elvis In The '90's series
3 disc Special Edition
8 CD / 2 DVD box set (the focus here was live material, but the set still used the branding of the original album)
2 CD expanded Legacy Edition
2 CD FTD edition (not a commercial release, but probably bought by most of the target audience for the new Nashville set).

So, whilst I would agree that Elvis doesn't have an original album with the popularity and appeal of Dark Side of the Moon or Sgt Pepper, the fact that Elvis' best albums have also been subjected to different levels of market saturation with their previous CD releases, could also be cited as a factor as to why the respective recordings are now being rebranded with the focus on specific sessions, rather than the original album titles.

Interesting comments, but the question posed was more about why this new set hasn’t charted "I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?" as opposed to the reasons why Sony have released it. Around 50% of this set contains stuff that fans have been clamouring for i.e., un-dubbed masters plus a few unreleased takes, so a valid purchase for fans and for the general public, everything would be brand new to them, regardless of those earlier releases you list. Yet nothing is happening in a reasonable way let alone a significant one.

So I do not believe that those earlier releases you list would have impacted on the sales of this new Nashville set, because as far as the public go, everything would effectively be unreleased to them, so why is there a lack of interest in this set? Probably because the public are not that interested in paying the asking price for un-dubbed masters and a load of outtakes which to my mind makes this kind of release one for the fans and under the FTD umbrella. We are now in a situation of whether FTD will give this session the treatment within their new Complete Sessions series or whether this is all we are going to get.

Regarding your comment that there are much more obscure albums (by other artists) being re-released, I'm sure there are, but the thing to remember is that a lot of those obscure titles have been deleted from the respective catalogue and not available commercially for many decades, so that is where the market is, regardless of whether it is a smallish one or a bigger one.

[rockinrebel]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

[r&b]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

[Marc]

This is a brilliant release.
The Song selection, the mixing/mastering and the heavy ovebuds left out makes a really interesting listening experience.
I can seat listening to the whole set without being bored or annoyed a second.
I'm definitively done with this session (and ... i don't need another future release covering it).
It would be great if they could revisited the dec 1973, march 1975 and the jungle room (1976) recordings and do the work in the same vein.

That said, i'm not sure that the Elvis In Nashville will meet a great interest by the general public.

[rockinrebel]

Again, (starting to repeat myself) went back to Barnes and Noble right down the street and they had one more Nashville set come in and sold the same day. Tf ???

These sets seem to come and go quick and although I've been listening via Spotify, I would love to have a physical copy. I didn't want to order online, but it seems I no longer have a choice.

I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?

I understand that the Stax moniker, and even the Jungle Room release, more than likely played a factor in their modest chart success, respectively, but the 2 albums that came out of these Nashville sessions, not only were commercially successful, but as an artistic, historical result coming from Elvis into perspective, yet, no acknowledgment, chart wise and in sales.

A pity.

Why can’t you just order a copy in the shop when you go in there?

As regard the charting thing,, I wasn’t aware that the Stax set charted and the Jungle Room release charted for just one week and was a smaller/cheaper set that also contained the masters. I do not see the general public being that interested in a box set where so much contains outtakes and undubbed masters and the price is not favourable to the average person.

There is no true historical interest attached to this set - outside of the fanbase, it is perceived as just Elvis songs from another recording session in Nashville and It’s is more of a fans/collectors kind of release. The general public will not make a connection to the two albums you mention as whilst they were successful, they do not stand out in any big significant way....they are not regarded as something like Thriller, Dark Side of the Moon, Hotel California, Pepper or Rumours to name just a few, that are still recognised and still sell, even today. And that is one of the big problems with Elvis’ albums....they are not strong enough to get re-released in a deluxe version under the name of the original album.

Really excellent observation and a spot on post. As always, I enjoy your insight that you bring to the board.

I don't disagree with this, but there are much more obscure albums (by other artists) than TTWII & Elvis Country which continue to get upgraded / deluxe re-issues, so there is a market for lesser known, original titles too.

Of course a number of Elvis' best albums (including the masters from the June 1970) sessions have already been issued in their original incarnations as Legacy Editions.

I have no idea how successful these releases were, but I always felt the decision to issue two complete original albums as part of one Legacy title was a poor one, and in some respects Sony are now readdressing the balance here, by compiling session themed sets, rather than expanded versions of the original albums. (An opportunity they missed the first time around).

Another factor is the 'use it or lose it' element of the 50 year copyright rule, which is why we are seeing an abundance of 50th anniversary sets from both Elvis and other major artists.

I think it's also worth considering that whilst a title like Abbey Road resonates with the general public much more than say TTWII or Elvis Country, prior to the deluxe 50th anniversary edition of the former, Apple had only issued two CD versions of the original album since the advent of the CD in the '80's. The original issue and the 2009 remaster, neither of which offered any bonus material, so the expanded CD and deluxe box set were way overdue.

In comparison, we have already had the following CD re-issues of the TTWII album prior to the release of From Elvis In Nashville:

Original album - Elvis In The '90's series
3 disc Special Edition
8 CD / 2 DVD box set (the focus here was live material, but the set still used the branding of the original album)
2 CD expanded Legacy Edition
2 CD FTD edition (not a commercial release, but probably bought by most of the target audience for the new Nashville set).

So, whilst I would agree that Elvis doesn't have an original album with the popularity and appeal of Dark Side of the Moon or Sgt Pepper, the fact that Elvis' best albums have also been subjected to different levels of market saturation with their previous CD releases, could also be cited as a factor as to why the respective recordings are now being rebranded with the focus on specific sessions, rather than the original album titles.

Interesting comments, but the question posed was more about why this new set hasn’t charted "I really can't fathom that, finally, a high quality Elvis release, has not charted at all !?" as opposed to the reasons why Sony have released it. Around 50% of this set contains stuff that fans have been clamouring for i.e., un-dubbed masters plus a few unreleased takes, so a valid purchase for fans and for the general public, everything would be brand new to them, regardless of those earlier releases you list. Yet nothing is happening in a reasonable way let alone a significant one.

So I do not believe that those earlier releases you list would have impacted on the sales of this new Nashville set, because as far as the public go, everything would effectively be unreleased to them, so why is there a lack of interest in this set? Probably because the public are not that interested in paying the asking price for un-dubbed masters and a load of outtakes.

Regarding your comment that there are much more obscure albums (by other artists) being re-released, I'm sure there are, but the thing to remember is that a lot of those obscure titles have been deleted from the respective catalogue and not available commercially for many decades, so that is where the market is, regardless of whether it is a smallish one or a bigger one.

Maybe the serious collectors market is smaller than we think? Some of the comments on this board prior to the album's release were along the lines of, 'do I really need this if I have all the FTD's?' And I have seen similar comments on social media, although because someone follows Elvis on Facebook, it doesnt necessarily mean that they actually buy physical product, or seek out the 'new' releases.

Perhaps the combined effects of people being unable to work due to the pandemic, and the rise of streaming services has also had an impact on sales?

My point about the previous releases of TTWII material, was more of a comparison to to The Beatles' 50th anniversary sets which, Anthology series excepted, offer the first official releases of out takes from the respective sessions.

I agree that the material on From Elvis In Nashville is significantly different to what has been issued before, but sadly, it seems that this has still not been enough to tempt the casual buyer, and perhaps some of the more serious collectors. This is why I alluded to market saturation, despite the differences between the new set and the previous releases.

[Ryan73]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Oh I too am glad that Felton had the presence of mind to not only keep the machine running but to also preserve those jams and not erase them. You can see though with the releases of these 'session' type releases that there was still a lot under the hood of Elvis and it's unfortunate that Felton wouldn't push him further and to explore them more as master takes. Oh well, he did get Burning Love out of him.

[Mona Lisa]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

Think he was being self depreciating ....regarding the 'Mojo' comment .....

Sent from my ANE-LX1 using Tapatalk

[bajo]

As years have gone by, I actually don't bother if Elvis releases get in the charts or not! But, while simply sitting down and listening to this beautiful, good sounding release, I simply am glad that I for one got a copy! So, if it was the only set available, then good for me, at least! FTD and Legacy releases have made me another happy Elvis fan! We are still a few around!

[rockinrebel]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

It's a bit of a paradox really. We know Elvis went for the overall feel, rather than the flawless take (although sometimes he achieved both in one take, with Reconsider Baby being a prime example). But if we look at Faded Love, whilst Elvis did try out a short country version at an earlier point in the session, I don't think what he actually produced with the studio band could have been bettered by going for multiple takes, and the same could probably be said for I Washed My Hands In Muddy Water, and even Whole Lotta Shakin' Goin' On.

However, his takes on Mojo or the later Don't Think Twice would certainly have benefitted from further rehearsal and acces to the lyric sheets, but sadly Felton never encouraged this.

As much as I enjoy the June 1970 recordings, I think it was fortunate that the Elvis Country album evolved due to Elvis' dissatisfaction with some of the new material on offer, as this lifted the overall standard of what was eventually recorded.

When Elvis returned to Nashville during 1971, less inspired than he had been the previous year, the alarm bells really should have been ringing though, as any enthusiasm Elvis may have had for a folk themed album doesn't appear to have been encouraged, and the secular material on offer was uneven at best.

So, Felton's approach gave us rough cut diamonds in the piano songs and the jam on Don't Think Twice, but none of these were really commercial enough to build an album around that would have been a worthy follow up to Elvis Country.

It was business as usual from that point onwards though, with the publishing companies providing the majority of the material, and Felton hoping that Elvis was either inspired enough to elevate it, or that he would dip back into that songbook of his old favourites that ultimately provided the highlights to a number of his sessions.

[r&b]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

It's a bit of a paradox really. We know Elvis went for the overall feel, rather than the flawless take (although sometimes he achieved both in one take, with Reconsider Baby being a prime example). But if we look at Faded Love, whilst Elvis did try out a short country version at an earlier point in the session, I don't think what he actually produced with the studio band could have been bettered by going for multiple takes, and the same could probably be said for I Washed My Hands In Muddy Water, and even Whole Lotta Shakin' Goin' On.

However, his takes on Mojo or the later Don't Think Twice would certainly have benefitted from further rehearsal and acces to the lyric sheets, but sadly Felton never encouraged this.

As much as I enjoy the June 1970 recordings, I think it was fortunate that the Elvis Country album evolved due to Elvis' dissatisfaction with some of the new material on offer, as this lifted the overall standard of what was eventually recorded.

When Elvis returned to Nashville during 1971, less inspired than he had been the previous year, the alarm bells really should have been ringing though, as any enthusiasm Elvis may have had for a folk themed album doesn't appear to have been encouraged, and the secular material on offer was uneven at best.

So, Felton's approach gave us rough cut diamonds in the piano songs and the jam on Don't Think Twice, but none of these were really commercial enough to build an album around that would have been a worthy follow up to Elvis Country.

It was business as usual from that point onwards though, with the publishing companies providing the majority of the material, and Felton hoping that Elvis was either inspired enough to elevate it, or that he would dip back into that songbook of his old favourites that ultimately provided the highlights to a number of his sessions.

Seriously Felton's approach sucked. He was simply a yes man and guy in place to keep things as peaceful and upbeat as possible. Words from Lacker himself. Think about it, we actually are thanking a producer for keeping a tape machine rolling to capture studio moments, Great, but big deal. His job as producer should have been to inspire these moments into full blown masters, and as you say get lyrics sheets, encourage genre type albums after 1970 especially since Elvis Country was so well received. I think if anyone needed a good producer with a vision after 1970 it was Elvis. Felton was imply not in the class of other 70's producers, who probably would have given anything for that chance. Elvis had no vision either as recording artist, so all the blame cant go to Felton.

[Ryan73]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

It's a bit of a paradox really. We know Elvis went for the overall feel, rather than the flawless take (although sometimes he achieved both in one take, with Reconsider Baby being a prime example). But if we look at Faded Love, whilst Elvis did try out a short country version at an earlier point in the session, I don't think what he actually produced with the studio band could have been bettered by going for multiple takes, and the same could probably be said for I Washed My Hands In Muddy Water, and even Whole Lotta Shakin' Goin' On.

However, his takes on Mojo or the later Don't Think Twice would certainly have benefitted from further rehearsal and acces to the lyric sheets, but sadly Felton never encouraged this.

As much as I enjoy the June 1970 recordings, I think it was fortunate that the Elvis Country album evolved due to Elvis' dissatisfaction with some of the new material on offer, as this lifted the overall standard of what was eventually recorded.

When Elvis returned to Nashville during 1971, less inspired than he had been the previous year, the alarm bells really should have been ringing though, as any enthusiasm Elvis may have had for a folk themed album doesn't appear to have been encouraged, and the secular material on offer was uneven at best.

So, Felton's approach gave us rough cut diamonds in the piano songs and the jam on Don't Think Twice, but none of these were really commercial enough to build an album around that would have been a worthy follow up to Elvis Country.

It was business as usual from that point onwards though, with the publishing companies providing the majority of the material, and Felton hoping that Elvis was either inspired enough to elevate it, or that he would dip back into that songbook of his old favourites that ultimately provided the highlights to a number of his sessions.

Seriously Felton's approach sucked. He was simply a yes man and guy in place to keep things as peaceful and upbeat as possible. Words from Lacker himself. Think about it, we actually are thanking a producer for keeping a tape machine rolling to capture studio moments, Great, but big deal. His job as producer should have been to inspire these moments into full blown masters, and as you say get lyrics sheets, encourage genre type albums after 1970 especially since Elvis Country was so well received. I think if anyone needed a good producer with a vision after 1970 it was Elvis. Felton was imply not in the class of other 70's producers, who probably would have given anything for that chance. Elvis had no vision either as recording artist, so all the blame cant go to Felton.

Excellent post. Elvis had the 'goods' but his finest work was most often produced when he had someone to guide him and he benefitted greatly from collaborative efforts. Without that collaborative effort, Elvis was limited to whatever songs were kicking around in his head which was usually gospel or country. It is a shame that he viewed Mojo as medicore....heck as the Doc pointed out even RCA was considering it as the best of the bunch and was considered for single release, despite it being just a jam session that happened to be caught on tape. That says a lot.

[rockinrebel]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

It's a bit of a paradox really. We know Elvis went for the overall feel, rather than the flawless take (although sometimes he achieved both in one take, with Reconsider Baby being a prime example). But if we look at Faded Love, whilst Elvis did try out a short country version at an earlier point in the session, I don't think what he actually produced with the studio band could have been bettered by going for multiple takes, and the same could probably be said for I Washed My Hands In Muddy Water, and even Whole Lotta Shakin' Goin' On.

However, his takes on Mojo or the later Don't Think Twice would certainly have benefitted from further rehearsal and acces to the lyric sheets, but sadly Felton never encouraged this.

As much as I enjoy the June 1970 recordings, I think it was fortunate that the Elvis Country album evolved due to Elvis' dissatisfaction with some of the new material on offer, as this lifted the overall standard of what was eventually recorded.

When Elvis returned to Nashville during 1971, less inspired than he had been the previous year, the alarm bells really should have been ringing though, as any enthusiasm Elvis may have had for a folk themed album doesn't appear to have been encouraged, and the secular material on offer was uneven at best.

So, Felton's approach gave us rough cut diamonds in the piano songs and the jam on Don't Think Twice, but none of these were really commercial enough to build an album around that would have been a worthy follow up to Elvis Country.

It was business as usual from that point onwards though, with the publishing companies providing the majority of the material, and Felton hoping that Elvis was either inspired enough to elevate it, or that he would dip back into that songbook of his old favourites that ultimately provided the highlights to a number of his sessions.

Seriously Felton's approach sucked. He was simply a yes man and guy in place to keep things as peaceful and upbeat as possible. Words from Lacker himself. Think about it, we actually are thanking a producer for keeping a tape machine rolling to capture studio moments, Great, but big deal. His job as producer should have been to inspire these moments into full blown masters, and as you say get lyrics sheets, encourage genre type albums after 1970 especially since Elvis Country was so well received. I think if anyone needed a good producer with a vision after 1970 it was Elvis. Felton was imply not in the class of other 70's producers, who probably would have given anything for that chance. Elvis had no vision either as recording artist, so all the blame cant go to Felton.

Excellent post. Elvis had the 'goods' but his finest work was most often produced when he had someone to guide him and he benefitted greatly from collaborative efforts. Without that collaborative effort, Elvis was limited to whatever songs were kicking around in his head which was usually gospel or country. It is a shame that he viewed Mojo as medicore....heck as the Doc pointed out even RCA was considering it as the best of the bunch and was considered for single release, despite it being just a jam session that happened to be caught on tape. That says a lot.

Whilst there were some questionable single choices from the June / September 1970 recordings, I don't think Mojo was ever considered the best of the bunch.

It was actually passed over for two albums, and only appears to have been considered for single release when RCA started compiling the session leftovers for the release of the Love Letters album in the summer of 1971.

So, it might well have been the best performance on the Love Letters album, but certainly not from the entire sessions.

I'd still be interested to know whether a mono single edit of Mojo was ever prepared too, as for me, the track as it appeared on the Love Letters album would have needed a tighter edit for any proposed single release.

[Ryan73]

I'm personally grateful that they had this producer rework all of these nashville recordings. Honestly its been ages since i've ever heard a real improvement in any Elvis mixes that actually made an impression upon me. With that being said, I do think sales wise it would have benefitted by being a singular cd similar to the stax release. As fan though, I'm really impressed with the work he did on the country numbers and I actually wound up liking a few of the ttwii tracks.
One thing that struck me here and on various 70s releases is how some of his best work were the result of Elvis picking something from that songbook in his brain and just jamming. It shouldn't be a surprise I guess because that type of spontaneity lead to That's all right mama. The difference being is that Philps or Moman were able to see the value in that and push for a master take, whereas felton basically just hit record and threw some sweeteners on top.

I guess we should be grateful to Felton that he did keep the tapes rolling at all times, as I agree that some of the one take jams were amongst Elvis' best later work. The new release also proves that the 'sweeteners' were not really necessary. I never really understood the love for Got My Mojo Working, particularly with the overdubs added, but the new mix on this set really brings the performance to life.

I'm going off topic a little here, but I have written in the past that when Elvis had both Dylan & The Beatles on his mind during the 1971 sessions, it's disappointing that Felton didn't encourage Elvis to get copies of the lyrics and work out proper arrangements. So, what we are left with are just unfinished glimpses of what might have been.

The one take jams are pure Elvis though, and even with Chips at the helm, whilst the likes of I'll Hold You In My Heart and Stranger In My Own Hometown were not representative of the contemporary hit material that Elvis went to American to record, they are certainly wonderful performances and session highlights.

Yes and isnt that a sad testament to his 70's catalog, when un-rehearsed jams are among his best work, so at least I thank Felton for that. One of telling things about this new set is Mojo, when at the end Elvis says we grew up on this mediocre sh*t or something like that. Sad, if he only realized the greatness of that simple stuff and that it may have been the best thing recorded that day. Lets move onto 'Life' now!

It's a bit of a paradox really. We know Elvis went for the overall feel, rather than the flawless take (although sometimes he achieved both in one take, with Reconsider Baby being a prime example). But if we look at Faded Love, whilst Elvis did try out a short country version at an earlier point in the session, I don't think what he actually produced with the studio band could have been bettered by going for multiple takes, and the same could probably be said for I Washed My Hands In Muddy Water, and even Whole Lotta Shakin' Goin' On.

However, his takes on Mojo or the later Don't Think Twice would certainly have benefitted from further rehearsal and acces to the lyric sheets, but sadly Felton never encouraged this.

As much as I enjoy the June 1970 recordings, I think it was fortunate that the Elvis Country album evolved due to Elvis' dissatisfaction with some of the new material on offer, as this lifted the overall standard of what was eventually recorded.

When Elvis returned to Nashville during 1971, less inspired than he had been the previous year, the alarm bells really should have been ringing though, as any enthusiasm Elvis may have had for a folk themed album doesn't appear to have been encouraged, and the secular material on offer was uneven at best.

So, Felton's approach gave us rough cut diamonds in the piano songs and the jam on Don't Think Twice, but none of these were really commercial enough to build an album around that would have been a worthy follow up to Elvis Country.

It was business as usual from that point onwards though, with the publishing companies providing the majority of the material, and Felton hoping that Elvis was either inspired enough to elevate it, or that he would dip back into that songbook of his old favourites that ultimately provided the highlights to a number of his sessions.

Seriously Felton's approach sucked. He was simply a yes man and guy in place to keep things as peaceful and upbeat as possible. Words from Lacker himself. Think about it, we actually are thanking a producer for keeping a tape machine rolling to capture studio moments, Great, but big deal. His job as producer should have been to inspire these moments into full blown masters, and as you say get lyrics sheets, encourage genre type albums after 1970 especially since Elvis Country was so well received. I think if anyone needed a good producer with a vision after 1970 it was Elvis. Felton was imply not in the class of other 70's producers, who probably would have given anything for that chance. Elvis had no vision either as recording artist, so all the blame cant go to Felton.

Excellent post. Elvis had the 'goods' but his finest work was most often produced when he had someone to guide him and he benefitted greatly from collaborative efforts. Without that collaborative effort, Elvis was limited to whatever songs were kicking around in his head which was usually gospel or country. It is a shame that he viewed Mojo as medicore....heck as the Doc pointed out even RCA was considering it as the best of the bunch and was considered for single release, despite it being just a jam session that happened to be caught on tape. That says a lot.

Whilst there were some questionable single choices from the June / September 1970 recordings, I don't think Mojo was ever considered the best of the bunch.

It was actually passed over for two albums, and only appears to have been considered for single release when RCA started compiling the session leftovers for the release of the Love Letters album in the summer of 1971.

So, it might well have been the best performance on the Love Letters album, but certainly not from the entire sessions.

I'd still be interested to know whether a mono single edit of Mojo was ever prepared too, as for me, the track as it appeared on the Love Letters album would have needed a tighter edit for any proposed single release.

Sorry, I meant 'bunch' in the broader sense that out of the slew of recordings he did, RCA was looking at it for a possible single release as opposed to so many other songs that he had cut during that session. My fault in the generalization. However, I still feel it says a lot that execs, (not Elvis who figured it was mediocre nor Felton who didn't push for a master) felt that this loose jam session would be more suitable for single release than an actual master recording.