Elvis Back In Nashville (4 cd Box Set)

[JeroenNL]

Anyone noticed some new information yet regarding the 'He Is My Everything' recording session on the pictured tape box/tape legend to be found on the fold out that holds the cd's?

[bajo]

I haven't got the set myself yet! But, reading the comments, all I can add is: If the master have live vocal back up, they should be kept in! Remixed ok, but not leave something out that should have been there. And when you hear them bleed through, you actually want them back! To me, I would want them to keep the "master" leaving out additional overdubs done after the original sessions! We do have the final masters already! I want the undubbed master as it was recorded "live in the studio"!

[DobroMojo]

Removing the backing vocals on some tracks is just a pointless move. If Elvis had backing vocalists in the studio, then clearly he wanted them on the finished recording. Hearing songs as they were in the studio is one thing, removing parts of those recordings is something else entirely - and this seems to simply be a mixer with far too much time on his hands and with little respect for (to coin a phrase) "what Elvis would have wanted."

I totally agree with your review Shane. Echoing what you and a lot of other people are saying, removing the backing vocals from the original sessions on some songs is counter-intuitive. Elvis' session vocal is responding in real time to whatever the backing vocalists are contributing. I would suggest though that these creative decisions were made by Ernst as opposed to mix engineer Matt Ross-Spang. Matt is fundamentally a freelancer on the Sony/BMG payroll.

One possibility that effected the production of the set was COVID. The mix sessions for "From Elvis In Nashville" were conducted in person with both Ernst and Matt Ross-Spang present. The production for this set was probably conducted via Zoom.

The mix of "From Elvis In Nashville" is consistent from start to finish, whereas the new set isn't. For example, notice that the drums on the gospel undubbed masters are buried in the mix - but on the out-takes are nicely present. Yes there are some nice moments, but compared to last year's set, "Back In Nashville" is frustratingly disappointing.

[Markus K.]

With the help of Keith Flynn's wonderful seesion site, my own notes and the recent "Back in Nashville" set I compiled an overview of what should have been released with original backup vocals and marked what is (+) and what isn't (-) to be found on this set (not counting the vocal bleed in).
Those in red would be those that would benfit from a workover from those audi-buffs among you (looking at you elvisaliseller and luckyjackson )

March 15, 1971

All selections recorded with original live backup vocal (featuring Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock as The Nashville Edition, plus Mary and Ginger Holladay and Millie Kirkham)

The first Time ever I saw your Face (Duet with Ginger Holladay) [unreleased]
Amazing Grace (+)
Early Mornin' Rain (-)
(That's what you get) For loving me (-)

May 17/18, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo as The Imperials, plus Mary and Ginger Holladay and Millie Kirkham)

Don't think twice, it's all right (jam)
Help me make it through the Night (-)
Until it's Time for you to go (+)
Lady Madonna (jam)
Lead me, guide me (+)

May 18/19, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo as The Imperials, plus Mary and Ginger Holladay and Millie Kirkham)

Fools rush in (Where Angels fear to tread) (-)
He touched me (+)
Johnny B. Goode (Jam)
I've got Confidence (+)
An Evening Prayer(+)


May 19/20, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo as The Imperials, plus Mary and Ginger Holladay and Millie Kirkham) as well as overdub on "Miracle of the Rosary" after Elvis' harmony vocal overdub. Exceptions would be the three piano tracks, which were piano and Elvis singing only.

Seeing is Believing (+)
A Thing called Love () (partially removed backup vocals)

It's still here
I'll take you Home again, Kathleen
I will be true

May 20/21, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo as The Imperials, plus Mary and Ginger Holladay and Millie Kirkham)

I'm leavin' (-)
We can make the Morning (-)/(+) (available with and without backup vocals)
It's only Love (-)

May 21/22, 1971

"Love me, love the Life I lead" would inculde original live backup vocals (featuring Temple Riser, June Page and Millie Kirkham)

Love me, love the Life I lead (-)

The first Time ever I saw your Face (Duet with Temple Riser) [unreleased]

June 8/9, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo, Armond Morales as The Imperials, plus Carol Montgomery on "Put your Hand in the Hand" + "Reach out to Jesus" and Millie Kirkham on "Put you Hand in the Hand")

Until it's Time for you to go (Remake) (+) (backup vocals low in the mix though)
Put your Hand in the Hand (+)
Reach out to Jesus (+)

June 9/10, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo, Armond Morales as The Imperials, plus Millie Kirkham, Carol Montgomery and June Page) with the exception for the vocal overdubbed "The first Time ever I saw your Face"

He is my Everything (-)
There is no God but God (-)
I, John (+)
Bosom of Abraham (+)

The first Time ever I saw your Face (Vocal overdub by Elvis) [this features backup vocals, although pretty low in the mix]

June 10/11, 1971

Selections recorded during this session would inculde original live backup vocals (featuring Jimmie Murray, Terry Blackwood, Greg Gordon and Joe Moscheo, Armond Morales as The Imperials, plus Millie Kirkham, Carol Montgomery and June Page)

My Way (-) (in the last few seconds the backup vocals are back though very low in the mix)
I'll be Home on Christmas Day (Remake) (-)



The following songs were all recorded without original backup vocals:

May 15/16, 1971

Miracle of the Rosary
It won't seem like Christmas (without you)
If I get Home on Christmas Day
Padre
Holly Leaves and Christmas Trees
Merry Christmas Baby
Silver Bells

May 16/17, 1971

I'll be Home on Christmas Day
On a snowy Christmas Night
Winter Wonderland
Don't think twice, it's all right (jam)
O come, all Ye faithful (according to Keith Flynn there was an unknown backup vocal done on that track though)
The first Noel
The wonderful World of Christmas


If any errors should have crept in let me know and I will update this list.

[Gamma Master]

Removing the backing vocals on some tracks is just a pointless move. If Elvis had backing vocalists in the studio, then clearly he wanted them on the finished recording. Hearing songs as they were in the studio is one thing, removing parts of those recordings is something else entirely - and this seems to simply be a mixer with far too much time on his hands and with little respect for (to coin a phrase) "what Elvis would have wanted." Deleting Charlie Hodge on the TTWII set is bad enough, but to remove an entire backing group that is so essential to the Elvis sound by this point is just preposterous, and it damages the recordings. Artistically, nothing is achieved by doing so, especially in songs where there is a back and forth between Elvis and the group. We Can Make the Morning is the only recording that benefits from this approach, and perhaps the version without backing vocals should have appeared on disc 3, but not on disc 1. Meanwhile, even a gem like I'm Leavin' is bereft of much of its appeal, especially when much of the pleasure of the song is how Elvis's vocal blends with the backing vocalists.

I haven't had a chance to listen to the whole set yet, just a few select songs. I find myself agreeing very much with a lot of this paragraph. We Can Make The Morning really benefits from the loss of backing vocals however, I always found the original backing vocals to be far too intrusive, I would have been content (maybe even have preferred) lowered, but still present, backing vocals, but I appreciate their absence. The 'together' part of the song does seem a bit odd without the backing vocals however

[Fabbe]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

[JeroenNL]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

Again as noted many times now in this topic: the Christmas songs sessions were done WITHOUT backup singers present in the studio. What is not recorded can not be removed by Matt Ross-Spang.

The backup singers were recorded during OVERDUB sessions for the Christmas songs at a later time. This set deals with UNDUBBED masters and sometimes Matt has opted for leaving backup vocals out of the mix to shift the focus to Elvis and the musicians. However: 'We Can Make The Morning' - for instance - can be found with and without backup vocals on this set just with 'There Is No God But God' (the outtakes are with backup vocals). So there is something for everybody on this set.

Just enjoy the great playing by musicians and Elvis, sometimes to be heard properly for the first time on this set.

[Fabbe]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

Again as noted many times now in this topic: the Christmas songs sessions were done WITHOUT backup singers present in the studio. What is not recorded can not be removed by Matt Ross-Spang.

The backup singers were recorded during OVERDUB sessions for the Christmas songs at a later time. This set deals with UNDUBBED masters and sometimes Matt has opted for leaving backup vocals out of the mix to shift the focus to Elvis and the musicians. However: 'We Can Make The Morning' - for instance - can be found with and without backup vocals on this set just with 'There Is No God But God' (the outtakes are with backup vocals). So there is something for everybody on this set.

Just enjoy the great playing by musicians and Elvis, sometimes to be heard properly for the first time on this set.

Too many vocals (that were in the studio singing with him) missing for me. Backing vocals are a trademark of Elvis music (to obsession almost); can't take them out without altering his artistry. What is on this set might sound good to some but for a big part, to me, it is not Elvis' music. I will enjoy the original records. Can't support this conduct.

[eric c]

i've said this about myself before.
i'm too much of an Elvis-homer to be a critic.
i'm 2 discs in and i'm really enjoying it.
i do get the feel of a fly on the wall for these sessions.
push come to shove...i still prefer the masters...but some of these to me are better stripped of the over-dubs.
it's cool to "hear" the king and his excellent studio band.

[emjel]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

I do not believe the Christmas recordings were done with any backup singers in the studio at the time of recording. There is also a note in the booklet - "As the vocal interaction between Elvis and the backing singers is deemed fundamental to the gospel performances, they have been left as originally intended by Elvis and A&R man, Felton Jarvis". And listening to those gospel tracks, the backup singers appear to be there on both the masters and outtakes, so unless I am missing something, and not understanding your comments, not sure what you have heard via the streaming service.

[Fabbe]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

I do not believe the Christmas recordings were done with any backup singers in the studio at the time of recording. There is also a note in the booklet - "As the vocal interaction between Elvis and the backing singers is deemed fundamental to the gospel performances, they have been left as originally intended by Elvis and A&R man, Felton Jarvis". And listening to those gospel tracks, the backup singers appear to be there on both the masters and outtakes, so unless I am missing something, and not understanding your comments, not sure what you have heard via the streaming service.

That quote form the booklet does not match the reality of the disc (not all of it) ... for example
- He is my Everything
- There is no God but God
- o come all ye faithful

In the out-takes you can hear the backing but in the masters those are removed - it is also an offense to the back up singers as it implies, in the end. they were left out.
Same treatment to other songs as well.

[emjel]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

I do not believe the Christmas recordings were done with any backup singers in the studio at the time of recording. There is also a note in the booklet - "As the vocal interaction between Elvis and the backing singers is deemed fundamental to the gospel performances, they have been left as originally intended by Elvis and A&R man, Felton Jarvis". And listening to those gospel tracks, the backup singers appear to be there on both the masters and outtakes, so unless I am missing something, and not understanding your comments, not sure what you have heard via the streaming service.

That quote form the booklet does not match the reality of the disc (not all of it) ... for example
- He is my Everything
- There is no God but God
In the out-takes you can hear the backing but in the masters those are removed - it is also an offense to the back up singers as it implies, in the end. they were left out.
Same treatment to other songs as well.

Yes I see what you mean now although I thought you meant all of the gospel and Xmas recordings. I’ve only listened to the gospel songs, including those two songs you mention via speakers and not headphones, but I cannot hear any bleed through on those songs like others where the backup singers are in the studio and you can still hear them slightly in the background…it seems via speakers that they have managed to remove them totally so I’ll have to listen on the headphones to make sure. But as you say, it seems to contradict the special note in the booklet. It’s all a bit of a mystery on how they have tackled this project and the decisions taken, but I’m still enjoying it even though there are areas of the release, and not just the music that causes frustrations.

[Walter Hale 4]

The backing singers should not have been removed regardless whether they were live in the sessions or added after the fact !

Some would argue the Felton Jarvis overdubs on the masters should be eliminated and that's a fair call although I don't support it, for reasons i mention before.
But seeing that the box has just as many alternate takes as there are masters, whoever was in charge of the mix's could have played around with those rather than the masters.

[Christopher Brown]

I haven't got this set, but on many Elvis recordings, I would prefer NO backing vocals. Elvis wanted to be covered up, but I prefer the pure Elvis in most cases. That being said, there are a number of Elvis recordings that would be sorely lacking without backup vocalists.

[frus75]

Removing the backing vocals on some tracks is just a pointless move. If Elvis had backing vocalists in the studio, then clearly he wanted them on the finished recording. Hearing songs as they were in the studio is one thing, removing parts of those recordings is something else entirely - and this seems to simply be a mixer with far too much time on his hands and with little respect for (to coin a phrase) "what Elvis would have wanted."

I totally agree with your review Shane. Echoing what you and a lot of other people are saying, removing the backing vocals from the original sessions on some songs is counter-intuitive. Elvis' session vocal is responding in real time to whatever the backing vocalists are contributing. I would suggest though that these creative decisions were made by Ernst as opposed to mix engineer Matt Ross-Spang. Matt is fundamentally a freelancer on the Sony/BMG payroll.

One possibility that effected the production of the set was COVID. The mix sessions for "From Elvis In Nashville" were conducted in person with both Ernst and Matt Ross-Spang present. The production for this set was probably conducted via Zoom.

The mix of "From Elvis In Nashville" is consistent from start to finish, whereas the new set isn't. For example, notice that the drums on the gospel undubbed masters are buried in the mix - but on the out-takes are nicely present. Yes there are some nice moments, but compared to last year's set, "Back In Nashville" is frustratingly disappointing.

I agree. If 2 things can be said about Matt they are that: 1st, he adores echo, as was too evidently displayed on way down and at stax, but more reined in on subsequent releases and the second is that he loves to showcase everything that was recorded. It’s FTD which did the vocal accompaniment erasing on “its midnight” outtakes, while on at stax they were there. But also lots of instruments obscured on FTD classic albums were brought up on way down and at stax. So I firmly believe he was instructed to do that amateurish thing with backing vocalists.

Be ready for the 2023 viva Las Vegas mainstream release, as it will feature the duets of you’re the boss, today tomorrow and forever and the lady loves me without the obtrusive Ann Marget

[frus75]

I haven't got this set, but on many Elvis recordings, I would prefer NO backing vocals. Elvis wanted to be covered up, but I prefer the pure Elvis in most cases. That being said, there are a number of Elvis recordings that would be sorely lacking without backup vocalists.

I will always understand and accept a taste. ALWAYS. Period. But Elvis without backing voices is like Sinatra without strings: an exception.

This editing controversy raises moral or ethic debates inside my aging head. I mean. Will it be nice if we erased some menina from Velázquez master work? Or should we edit a passage from Shakespeare’s Macbeth to showcase the plot ? Gosh…. Let’s dub a new rhythm section on get along hole Cindy on Rio Bravo!

[pmp]

I have heard this set on streaming services. The content on the discs does not match what was promised on interviews or on the liner notes I have seen. Removing backing vocals on gospel or Christmas tracks (vocals that Elvis worked on and so much wanted there) is a decision that should have been clearly stated. Elvis was singing thinking his vocal was blending with the rest of the group. Removing the others is not like Elvis would have sing had he be alone. I don't now who is the hidden artist behind this record (certainly not Elvis). So unfortunately, I won't support this set. And I will not buy it.

I do not believe the Christmas recordings were done with any backup singers in the studio at the time of recording. There is also a note in the booklet - "As the vocal interaction between Elvis and the backing singers is deemed fundamental to the gospel performances, they have been left as originally intended by Elvis and A&R man, Felton Jarvis". And listening to those gospel tracks, the backup singers appear to be there on both the masters and outtakes, so unless I am missing something, and not understanding your comments, not sure what you have heard via the streaming service.

That quote form the booklet does not match the reality of the disc (not all of it) ... for example
- He is my Everything
- There is no God but God
- o come all ye faithful

In the out-takes you can hear the backing but in the masters those are removed - it is also an offense to the back up singers as it implies, in the end. they were left out.
Same treatment to other songs as well.

All three sound awful. O Come all Ye Faithful without the backing vocals makes no sense.

[DobroMojo]

Removing the backing vocals on some tracks is just a pointless move. If Elvis had backing vocalists in the studio, then clearly he wanted them on the finished recording. Hearing songs as they were in the studio is one thing, removing parts of those recordings is something else entirely - and this seems to simply be a mixer with far too much time on his hands and with little respect for (to coin a phrase) "what Elvis would have wanted."

I totally agree with your review Shane. Echoing what you and a lot of other people are saying, removing the backing vocals from the original sessions on some songs is counter-intuitive. Elvis' session vocal is responding in real time to whatever the backing vocalists are contributing. I would suggest though that these creative decisions were made by Ernst as opposed to mix engineer Matt Ross-Spang. Matt is fundamentally a freelancer on the Sony/BMG payroll.

One possibility that effected the production of the set was COVID. The mix sessions for "From Elvis In Nashville" were conducted in person with both Ernst and Matt Ross-Spang present. The production for this set was probably conducted via Zoom.

The mix of "From Elvis In Nashville" is consistent from start to finish, whereas the new set isn't. For example, notice that the drums on the gospel undubbed masters are buried in the mix - but on the out-takes are nicely present. Yes there are some nice moments, but compared to last year's set, "Back In Nashville" is frustratingly disappointing.

I agree. If 2 things can be said about Matt they are that: 1st, he adores echo, as was too evidently displayed on way down and at stax, but more reined in on subsequent releases and the second is that he loves to showcase everything that was recorded. It’s FTD which did the vocal accompaniment erasing on “its midnight” outtakes, while on at stax they were there. But also lots of instruments obscured on FTD classic albums were brought up on way down and at stax. So I firmly believe he was instructed to do that amateurish thing with backing vocalists.

Be ready for the 2023 viva Las Vegas mainstream release, as it will feature the duets of you’re the boss, today tomorrow and forever and the lady loves me without the obtrusive Ann Marget

Haha no doubt! At Stax was mixed by Steven Rosenthal and Rob Santos, not Ross-Spang. I still love them mixes. Matt Ross-Spang's first EP project was the Way Down comp. He's apparently also mixed some live shows from 1972 (i'll try and find the interview) which i presume are part of the upcoming On Tour project.

[pmp]

Thank you for the review PMP. I'm a little deflated but I will reserve judgement until I get it and play it myself.

On a wider issue, do you think Ernst and Roger have lost their way? Or, at the very least, has age affected their judgement and/or attention to detail?

I've thought that for some time, but it's not a popular point of view. With regards to this set, the agenda should have been straightforward: undubbed masters (as recorded in the studio) followed by 2 discs of alternate takes. It's difficult to see how something could have gone so wrong given the simplicity of the task. A 1971 was always going to be released because of the copyright issue, but there was no reason to mess it up.

But this has been going on for some time. Info and attention to detail has been a common issue since the very beginning of FTD in many ways, with many of the takes listed on the early compilations not actually the takes on the CDs, for example. And we have tapes running slow, left right and centre. And one has to only look at Platinum, TT&F, or the Essential series to see how far the bar/standard has fallen at retail. Were there mistakes in those booklets? Nope. And most people will agree with the presentation of the material on those sets was how it should have been. There was no silencing of backing singers or Charlie Hodge, although I do remember something being removed from a take of Are You Sincere on a release somewhere, but that was for a sensible reason IIRC. I honestly don't have a clue what they were trying to achieve on the current set with the removal of backing vocals.

[Eann]

Just listening to the He Touched Me tracks (in the same order as the original album). My god, these really kick ass to me! I always felt the original vintage mixes were really 'over produced' but the new mixes are really intimate and warm. I will say the same for the Christmas tracks to a lesser extent, but they are still more enjoyable than the vintage mixes.

[Eann]

Just listening to the He Touched Me tracks (in the same order as the original album). My god, these really kick ass to me! I always felt the original vintage mixes were really 'over produced' but the new mixes are really intimate and warm. I will say the same for the Christmas tracks to a lesser extent, but they are still more enjoyable than the vintage mixes.

[emjel]

The backing singers should not have been removed regardless whether they were live in the sessions or added after the fact !

Some would argue the Felton Jarvis overdubs on the masters should be eliminated and that's a fair call although I don't support it, for reasons i mention before.
But seeing that the box has just as many alternate takes as there are masters, whoever was in charge of the mix's could have played around with those rather than the masters.

For what it's worth, these are my personal thoughts. If the idea was to present the recordings as done in the studio, (minus later overdubs), and whether that be Elvis singing by himself, with the band or with backup singers and the band, then that's what we should have got. It has generally been felt that it is the Felton Jarvis post work that has affected the overall sound of many Elvis recordings, so in that respect, and for me, removing that post work is accepatble to create undubbed recordings and you still have the overdubbed masters elsewhere on other releases. But with this release there should have been no tampering with what got recorded in the studio pre the overdubs. As an aside though, there are occasions when Jarvis' post work on a variety of sessions has benefitted some recordings where Elvis' voice has not been top notch in places or the song sounds empty in places. And this was a golden opportunity to offer decent remixes of the originals, although I accept that remixes and the inclusion of the original masters are subjective and it would add one or two extra CDs to the set pushing the price up, but at least we would then have what could be regarded as the ultimate deluxe set.

But there are other things regarding this release and outside of the music that I have found frustrating. One is the errors in the book that should have been corrected via proof reading and then there is the packaging and how the discs are inserted, although not exclusive to this release- why they could not follow the style used by Apple (see photo below) where the CDs are placed in a proper sleeve and then inserted into something that is easy to get at without the risk of tearing the card is mystifying. The 28 page booklet is not exactly mind blowing as the two individual essays by Jorgensen and David Cantwell are almost similar. For a 28 page booklet, too much space is wasted on virtually telling the same thing and on informing the reader where the tracks have previously been released and the achievements gained on the various recordings. We are told that the three orginal albums that made up these recordings were not that well received, yet at first glance, a casual reader or nn fan may be confused in thinking that every song got an RIAA certification when the record was released rather than the actual album it came from and of course we know that some certifiactions took many years to reach those RIAA accolades.

Finally, i feel that the info regarding the project itself and what they wanted to do, the decisions taken and how they did it is a little too scant. Once again, compare it to the book that came with the recent Let It Be set, four times as many pages and where every song is discussed in some way and you can buld up a decent idea of the sessions. That said, maybe Sony have to take the slimmed down approach due to costs versus sales.

Bottom line and putting the frustrations aside...I am pleased to hear these recordings in their remixed and in most parts undubbed variants, especially as they come from three albums I rarely play, but for marking purposes on the set, i would have to annotate a message to Sony "could have done better".

[Erhan]

“In the early morning rain “.
Is it better when the harmonica sound is turned down in this box set? I don’t think so…


Tapatalk kullanarak iPhone aracılığıyla gönderildi

[pmp]

The backing singers should not have been removed regardless whether they were live in the sessions or added after the fact !

Some would argue the Felton Jarvis overdubs on the masters should be eliminated and that's a fair call although I don't support it, for reasons i mention before.
But seeing that the box has just as many alternate takes as there are masters, whoever was in charge of the mix's could have played around with those rather than the masters.

For what it's worth, these are my personal thoughts. If the idea was to present the recordings as done in the studio, (minus later overdubs), and whether that be Elvis singing by himself, with the band or with backup singers and the band, then that's what we should have got. It has generally been felt that it is the Felton Jarvis post work that has affected the overall sound of many Elvis recordings, so in that respect, and for me, removing that post work is accepatble to create undubbed recordings and you still have the overdubbed masters elsewhere on other releases. But with this release there should have been no tampering with what got recorded in the studio pre the overdubs. As an aside though, there are occasions when Jarvis' post work on a variety of sessions has benefitted some recordings where Elvis' voice has not been top notch in places or the song sounds empty in places. And this was a golden opportunity to offer decent remixes of the originals, although I accept that remixes and the inclusion of the original masters are subjective and it would add one or two extra CDs to the set pushing the price up, but at least we would then have what could be regarded as the ultimate deluxe set.

But there are other things regarding this release and outside of the music that I have found frustrating. One is the errors in the book that should have been corrected via proof reading and then there is the packaging and how the discs are inserted, although not exclusive to this release- why they could not follow the style used by Apple (see photo below) where the CDs are placed in a proper sleeve and then inserted into something that is easy to get at without the risk of tearing the card is mystifying. The 28 page booklet is not exactly mind blowing as the two individual essays by Jorgensen and David Cantwell are almost similar. For a 28 page booklet, too much space is wasted on virtually telling the same thing and on informing the reader where the tracks have previously been released and the achievements gained on the various recordings. We are told that the three orginal albums that made up these recordings were not that well received, yet at first glance, a casual reader or nn fan may be confused in thinking that every song got an RIAA certification when the record was released rather than the actual album it came from and of course we know that some certifiactions took many years to reach those RIAA accolades.

Finally, i feel that the info regarding the project itself and what they wanted to do, the decisions taken and how they did it is a little too scant. Once again, compare it to the book that came with the recent Let It Be set, four times as many pages and where every song is discussed in some way and you can buld up a decent idea of the sessions. That said, maybe Sony have to take the slimmed down approach due to costs versus sales.

Bottom line and putting the frustrations aside...I am pleased to hear these recordings in their remixed and in most parts undubbed variants, especially as they come from three albums I rarely play, but for marking purposes on the set, i would have to annotate a message to Sony "could have done better".

Yes, the liner notes are pretty grim even without the errors. There's nothing there to really get the listener thinking about the music, and even the history lesson is rather dull. Gone are the days of the great essays that accompanied the decades boxes. I remember reading Dave Marsh's essay for the 1970s box for the first time, and how it challenged the listener to hear something different in the music enclosed in the box and to challenge how history has recorded the 70s sessions. I thought it was a truly wonderful essay, and beautifully written.

[emjel]

The backing singers should not have been removed regardless whether they were live in the sessions or added after the fact !

Some would argue the Felton Jarvis overdubs on the masters should be eliminated and that's a fair call although I don't support it, for reasons i mention before.
But seeing that the box has just as many alternate takes as there are masters, whoever was in charge of the mix's could have played around with those rather than the masters.

For what it's worth, these are my personal thoughts. If the idea was to present the recordings as done in the studio, (minus later overdubs), and whether that be Elvis singing by himself, with the band or with backup singers and the band, then that's what we should have got. It has generally been felt that it is the Felton Jarvis post work that has affected the overall sound of many Elvis recordings, so in that respect, and for me, removing that post work is accepatble to create undubbed recordings and you still have the overdubbed masters elsewhere on other releases. But with this release there should have been no tampering with what got recorded in the studio pre the overdubs. As an aside though, there are occasions when Jarvis' post work on a variety of sessions has benefitted some recordings where Elvis' voice has not been top notch in places or the song sounds empty in places. And this was a golden opportunity to offer decent remixes of the originals, although I accept that remixes and the inclusion of the original masters are subjective and it would add one or two extra CDs to the set pushing the price up, but at least we would then have what could be regarded as the ultimate deluxe set.

But there are other things regarding this release and outside of the music that I have found frustrating. One is the errors in the book that should have been corrected via proof reading and then there is the packaging and how the discs are inserted, although not exclusive to this release- why they could not follow the style used by Apple (see photo below) where the CDs are placed in a proper sleeve and then inserted into something that is easy to get at without the risk of tearing the card is mystifying. The 28 page booklet is not exactly mind blowing as the two individual essays by Jorgensen and David Cantwell are almost similar. For a 28 page booklet, too much space is wasted on virtually telling the same thing and on informing the reader where the tracks have previously been released and the achievements gained on the various recordings. We are told that the three orginal albums that made up these recordings were not that well received, yet at first glance, a casual reader or nn fan may be confused in thinking that every song got an RIAA certification when the record was released rather than the actual album it came from and of course we know that some certifiactions took many years to reach those RIAA accolades.

Finally, i feel that the info regarding the project itself and what they wanted to do, the decisions taken and how they did it is a little too scant. Once again, compare it to the book that came with the recent Let It Be set, four times as many pages and where every song is discussed in some way and you can buld up a decent idea of the sessions. That said, maybe Sony have to take the slimmed down approach due to costs versus sales.

Bottom line and putting the frustrations aside...I am pleased to hear these recordings in their remixed and in most parts undubbed variants, especially as they come from three albums I rarely play, but for marking purposes on the set, i would have to annotate a message to Sony "could have done better".

Yes, the liner notes are pretty grim even without the errors. There's nothing there to really get the listener thinking about the music, and even the history lesson is rather dull. Gone are the days of the great essays that accompanied the decades boxes. I remember reading Dave Marsh's essay for the 1970s box for the first time, and how it challenged the listener to hear something different in the music enclosed in the box and to challenge how history has recorded the 70s sessions. I thought it was a truly wonderful essay, and beautifully written.

I agree and In a nutshell, i think what we are all saying is that an artist of Elvis' calibre deserves much better for these kind of mainstream releases if they want to get that message across to what Elvis could really do. As it is, there is little to differentiaite the deluxe sets that are coming from the collectors label for the diehards to those that are coimng out on mainstream, save for a few extra pages in the booklet....but I wonder how much is being infleunced by the money men vs the sales department these days.