Elvis Presley: Memphis (Box Set)

[Walter Hale 4]

well the review just posted is interesting and 'in depth', but i was just surprised in his mentioning of 'promised land' that he gave NO MENTION of the prominent Organ sound!?

thanks YDKM,

just had a second look at the Princelvisjackson video , he does mention the Organ mix on Promised Land and wasn't bothered by the organ. If you scroll to 28.30 point on his vid you will see it there.

[Walter Hale 4]

Very good online critique here by The Old Grey Cat...

First Impressions: Memphis by Elvis Presley
August 9, 2024 by Jeff Gemmill

I blame Karen Jonas for re-sparking my long-dormant fascination with Elvis Presley. Her Rise and Fall of American Kitsch—the best album of the year thus far, says I—explores America’s embrace of excessive consumerism via, in part, the prism of the first and only king of rock ’n’ roll. It primed me to, last weekend, watch the 1972 documentary Elvis on Tour for the first time in decades, and then press play on the Live 1969 box set, which collects his first spurt of Las Vegas concerts, and the Elvis on Tour box, which features four of the ’72 shows featured in the documentary alongside two discs of rehearsals.

The five-disc Memphis collection gathers 111 songs that were recorded in the Birthplace of Rock ’n’ Roll, with 88 of them remixed by hometown engineer-producer Matt Ross-Spang at his Southern Grooves studio. Ross-Spang, for those not familiar with him, made his bones at the legendary Sun Studio, where he rose from a 16-year-old intern to become chief engineer. Since 2015, when he set out on his own, he’s worked with producer Dave Cobb and such stalwarts as Jason Isbell, Margo Price and Lori McKenna, and nabbed several Grammy Awards.

The myths that surround Presley are legion even now, some 47 years after he passed, despite the highs and lows of his life being rehashed time and again in books and films, most recently Baz Lurhmann’s overly stylized Elvis. At the same time, compilation after compilation, box set after box set, have been released in the years since his death. Wikipedia, for instance, lists 115 posthumous collections and 30 box sets.


What to know about Memphis: Despite claims to the contrary, it’s not definitive. Though much of what he recorded at Sun, American Sound Studios and Stax in the 1950s, ‘60s and ‘70s is here, it’s not everything. I’m very familiar with his 1969 sessions with Chips Moman at American Sound Studios, for instance, and quite a few of those tracks are MIA, including “Inherit the Wind” and “Rubberneckin’.” Posts about the set at the Steve Hoffman forums list at least 13 missing songs. Strange, huh?

The Sun sessions, I’m sure, will cause the young to scratch their heads and wonder what the fuss was about. By today’s standards, the performances are tame—yet, without them, the rock ’n’ roll explosion wouldn’t have happened. They marry country to R&B in a way no one had before, and are accented by both wide-eyed innocence and excitement.


The main reason for the box, besides collecting the majority of his Memphis recordings together, seems to be the Moman-produced tracks, which are presented in a similar fashion to Paul McCartney’s recent “underdubbed” Band on the Run. Gone are the accoutrements (backing vocals, horns and strings) that were added after Elvis had left the building, in other words. The stripped-down approach doesn’t change the nature of the songs, of course, but are interesting. That said, when or if I have a hank-a-hank-a-hankering to listen to the American Sound Studio sessions in the future, I’ll turn to either From Elvis in Memphis, Back in Memphis or the one-CD 1987 Memphis Record collection.

Memphis also includes a March 20, 1974, concert at the Mid-South Coliseum, which was first released in truncated form that June as Elvis Recorded Live on Stage in Memphis and then in full on a 2004 re-release that, thankfully, stripped out the post-production applause that marred the original LP. Similar to the 1972 shows on the Elvis on Tour box, it’s a mix of the sublime and mundane, but with Presley’s boredom bubbling to the fore more often. Compared to the riveting sets gathered on the Live 1969 box, he’s a shadow of himself.

The 1973 Stax sessions, gathered on Disc 3, are hit and miss, veering from the taut “If You Don’t Come Back” to the perfunctory “For the Ol’ Times.” The same can be said of the so-called Jungle Room recordings of ’76, so named because Elvis couldn’t be bothered with heading to a studio to record. Instead, they brought the studio to him, setting up the gear in Graceland and waiting for him to show up. Some days, it’s said, he’d record a song only to wander off, not to be seen again for several hours. (I’d wager that his aversion to recording was related to the lack of solid songs he was being offered.) That said, “Moody Blue,” “Way Down” and “He’ll Have to Go” rival the best of his ‘70s output.

All that said, Memphis is a worthwhile listen. It charts the course of Presley’s career from his earliest days to his last, all through the prism of his adopted hometown. I don’t recommend buying it, however. Streaming will suffice.


https://oldgreycat.blog/2024/08/09/first-impressions-memphis-by-elvis-presley/

[jurasic1968]

Thanks.

[billy jack]

Memphis also includes a March 20, 1974, concert at the Mid-South Coliseum, which was first released in truncated form that June as Elvis Recorded Live on Stage in Memphis and then in full on a 2004 re-release that, thankfully, stripped out the post-production applause that marred the original LP. Similar to the 1972 shows on the Elvis on Tour box, it’s a mix of the sublime and mundane, but with Presley’s boredom bubbling to the fore more often. Compared to the riveting sets gathered on the Live 1969 box, he’s a shadow of himself.

It is no 1969, but boredom is the last thing, if ever, to be heard on the March 20, 1974 performance.

[LSP-4445]

Memphis also includes a March 20, 1974, concert at the Mid-South Coliseum, which was first released in truncated form that June as Elvis Recorded Live on Stage in Memphis and then in full on a 2004 re-release that, thankfully, stripped out the post-production applause that marred the original LP. Similar to the 1972 shows on the Elvis on Tour box, it’s a mix of the sublime and mundane, but with Presley’s boredom bubbling to the fore more often. Compared to the riveting sets gathered on the Live 1969 box, he’s a shadow of himself.

It is no 1969, but boredom is the last thing, if ever, to be heard on the March 20, 1974 performance.

Agree,I cant hear any boredom from Elvis in this show either...sure there are songs I dont like,Suspicious Minds comes to mind but thats not due to boredom from Elvis.

[Evo68]

I've read most of the comments on here about the new set and have to say that it's been a very interesting read. This type of release, where the producers are trying to create something a little different is always going to be subjective and I think it would be impossible to please every Elvis fan out there who is already familiar with all the songs. For what it's worth I like the set, and find it quite a refreshing listen, with lots of interesting mixes and maybe one or two I find a bit questionable, Don' Cry Daddy being the one I'm struggling with the most. I would have much preferred the same mix bit without the 'duet' if that makes sense as the bare mix is quite striking imo and enhances the song. I really like the mix of the '74 concert, it just gives the show a better overall ambience. Anyway, I'm not an expert in these things, just someone who really appreciates Elvis and have been buying his releases since 1980, and thought I'd share my voice to the many on here.

[minkahed]

well the review just posted is interesting and 'in depth', but i was just surprised in his mentioning of 'promised land' that he gave NO MENTION of the prominent Organ sound!?

thanks YDKM,

just had a second look at the Princelvisjackson video , he does mention the Organ mix on Promised Land and wasn't bothered by the organ. If you scroll to 28.30 point on his vid you will see it there.

I like his channel, but so many inconsistencies in his review. I think he’s misunderstanding what “mastering” is versus “mixing”, and, like so many other reviews, Disc 2 is the main issue.

[Walter Hale 4]

I've read most of the comments on here about the new set and have to say that it's been a very interesting read. This type of release, where the producers are trying to create something a little different is always going to be subjective and I think it would be impossible to please every Elvis fan out there who is already familiar with all the songs. For what it's worth I like the set, and find it quite a refreshing listen, with lots of interesting mixes and maybe one or two I find a bit questionable, Don't Cry Daddy being the one I'm struggling with the most. I would have much preferred the same mix bit without the 'duet' if that makes sense as the bare mix is quite striking imo and enhances the song. I really like the mix of the '74 concert, it just gives the show a better overall ambience. Anyway, I'm not an expert in these things, just someone who really appreciates Elvis and have been buying his releases since 1980, and thought I'd share my voice to the many on here.

You're not the only one. Personally i hated it i won't bother ever touching it again But, someone has since put together a much more favorable mono-stye mix. Calls himself the Elvis mixer

It's this one-

[ParadiseRoad]

to those of you all flabbergasted with Promised Land 2024 organ mix.

How was that any different to the one that appears on Our Memories of Elvis Volume three FTD ?

Was there negativity on a large scale, back then? C'mon !


lets line 'em up and listen carefully now

The "Our Memories" mix was way over the top. As for the "MEMPHIS" mix, it's got more rocking energy, although the organ is still audible. It was probably mixed that way for a nostalgic '70's feel.

…and if the organ wasn’t audible, there would be comments like “where’s the organ, where’s the g******m organ, why have they buried the organ in the mix?!?”

[ParadiseRoad]

Memphis also includes a March 20, 1974, concert at the Mid-South Coliseum, which was first released in truncated form that June as Elvis Recorded Live on Stage in Memphis and then in full on a 2004 re-release that, thankfully, stripped out the post-production applause that marred the original LP. Similar to the 1972 shows on the Elvis on Tour box, it’s a mix of the sublime and mundane, but with Presley’s boredom bubbling to the fore more often. Compared to the riveting sets gathered on the Live 1969 box, he’s a shadow of himself.

It is no 1969, but boredom is the last thing, if ever, to be heard on the March 20, 1974 performance.

Agreed, there’s not even a hint of boredom to heard, quite the contrary I’d say. I guess the reviewer’s just buying into the common perception that Elvis was a bored, drugged and overweight shadow of himself from 1970 and onwards (yet somehow praising Aloha From Hawaii as an exceptionally good performance which, IMHO, it really isn’t), and it’s getting quite tiresome to hear or read again and again.

[Walter Hale 4]

Here's another online write-up from Best Classic Bands ...

Elvis Presley ‘Memphis’ Box: Definitive Collection of Hometown Recordings
by Best Classic Bands Staff -

A definitive and first fully comprehensive collection of Elvis Presley’s hometown recordings, simply titled Memphis, has arrived from RCA Records and Legacy Recordings , the catalog division of Sony Music Entertainment. The August 9, 2024, release features 111 tracks on 5-CDs, from Presley’s earliest sessions at Sun
Studio – which occurred 70 years ago this summer – to his final recordings in Graceland’s Jungle Room. Along the way, the city serves as both home and muse to Presley, playing a pivotal role in the dramatic arc of his artistry as he finds creative rebirth at American Sound in 1969, overcomes personal struggles at Stax in 1973, and brings his most extravagant and spellbinding live show to the Mid-South Coliseum in 1974. Produced by noted Elvis authority Ernst Jørgensen, with rare archival material and new liner notes by GRAMMY-winning music historian Robert Gordon. The 5-CD set is available in the U.S. here and in the U.K. here. [Memphis was also released on 2-LPs in the U.S. here and in the U.K. here.] Listen to many of the tracks below.

With the exception of the Sun recordings, all tracks on Memphis were newly mixed by four-time GRAMMY-winner Matt Ross-Spang at Southern Grooves in Memphis, with overdubs stripped away – leaving the listener with only what Elvis heard live in the studio. With this intimacy, new revelations abound – from Elvis’ intuitive chemistry with “The Memphis Boys” at American, to the subtle way he builds his vocal phrasing around his backing singers in the Stax sessions, or the palpable joy he brings to his final sessions in the Jungle Room. Through it all, it’s as if the listener is standing next to Elvis – hearing exactly what he is hearing. The collection includes studio covers of such late ’60s classics as “Gentle on My Mind,” “Hey Jude” and “Good Time Charlie’s Got the Blues.”


From the June 14 announcement: From the very first notes of Memphis, the city’s immense influence on Elvis is clear. At Sun Studio – located within walking distance from an 18-year-old Elvis’ apartment complex – he channeled a heady mix of Beale Street blues, the sounds of Dewey Phillips’ “Red, Hot & Blue” show on local radio station WHBQ, and the all-night gospel performances he attended at nearby Ellis Auditorium. As has been well documented, that distinctly Memphis blend would result in a singular, defining moment in the development of rock n roll.

When Presley returned to recording in Memphis nearly fifteen years later as a cultural phenomenon and bankable film star, he sensed a different pulse in the city. Teaming up with legendary producer Chips Moman at American Sound Studio, far from the glitz of Hollywood or the gloss of Nashville, Elvis sought out songs that reflected a more gimlet-eyed worldview, and put down some of the greatest performances of his career. Yielding indelible hits like “In the Ghetto” and “Suspicious Minds,” these sessions heralded an earthier sound – and an astonishing comeback for Presley.


Ross-Spang notes, “I was especially excited and nervous to work on the famed Elvis ‘American Sessions.’ The producer of these sessions, Chips Moman, was a definite hero of mine. He pulled something out of Elvis that few others have. I felt like Indiana Jones holding the holy grail! We removed all the overdubbed instruments on the sessions. For example on ‘In the Ghetto,’ we removed the strings, orchestral brass and backing vocals. This new mix would be the closest to being a fly on the wall in the studio and hearing the recording as it was recorded live. Chips knew what he wanted out of each instrument and Elvis, and he committed all those decisions to tape. Chips did the hard work already, I just needed to put on the white gloves and not screw it up!”


The Stax sessions of 1973 came during a tumultuous time in Elvis’ personal life. As he wrestled with the dissolution of his marriage and personal demons, the frenetic energy of his day-to-day life came through in the performances. On songs like “Promised Land” that energy radiates, while other selections like Tony Joe White’s “For Ol’ Times Sake” grapple with loneliness in the face of fresh heartbreak. Presley returned to Stax in December of that year revitalized, clearly connecting to material like “I Got A Feeling In My Body” and “Loving Arms” with a familiarly electric charisma.

Bringing his game-changing Vegas show back home to Memphis in 1974, Elvis appeared with a full orchestra and more than 20 musicians accompanying him on stage. Here, he performed songs by many early rock & roll legends – including Jerry Lee Lewis, Lloyd Price, Little Richard and Fats Domino – and also delivered a GRAMMY-winning rendition of “How Great Thou Art.” “It’s always been said that a person cannot return to their hometown,” Elvis says towards the end of the show. “But you have disproven that theory completely.”

Recording his final songs using RCA’s mobile rig at Graceland in 1976, Elvis sings with a passion that defies his poor health. These stripped recordings strike an emotional chord as he interacts beautifully with his backing vocalists on “Danny Boy” (his father’s favorite song) or finds a deep pocket on the swinging “For The Heart.” The new unadorned versions of the Jungle Room sessions make evident Elvis’ effort to find the sound and energy that thrills him, and imbue familiar material with personal emotion.

When asked what he missed about his hometown on his way back from the army, a 25-year-old Elvis answered: “Everything. I mean that—everything.”


Elvis Presley Memphis 5-CD Track Listing

DISC 1 – SUN SINGLE MASTERS
1. That’s All Right (45 rpm master) (1:59)
2. Blue Moon Of Kentucky (45 rpm master) (2:07)
3. I Don’t Care If the Sun Don’t Shine (2:32)
4. Good Rockin’ Tonight (2:15)
5. Milkcow Blues Boogie (2:38)
6. You’re A Heartbreaker (2:12)
7. Baby Let’s Play House (2:19)
8. I’m Left, You’re Right, She’s Gone (2:38)
9. I Forgot To Remember To Forget (2:31)
10. Mystery Train (2:30)

THE SUN RCA LP MASTERS
11. I Love You Because (RCA LP version) (2:45)
12. Just Because (2:34)
13. Tryin’ To Get To You (2:35
14. I’ll Never Let You Go (Little Darlin’) (2:27)
15. Blue Moon (2:43)
16. Harbor Lights (2:38)
17. I’m Left, You’re Right, She’s Gone (slow version, aka My Baby’s Gone) (2:42)
18. When It Rains It Pours (2:06)
19. Tomorrow Night (3:01)
20. My Happiness (2:33)
21. That’s When Your Heartaches Begin (2:52)
22. I’ll Never Stand In Your Way (2:03)
23. It Wouldn’t Be The Same Without You (2:02)

DISC 2 – American ’69
1. In The Ghetto (2:46)
2. Suspicious Minds (3:26)
3. Don’t Cry Daddy (2:44)
4. Kentucky Rain (3:21)
5. Mama Liked The Roses (2:44)
6. Do You Know Who I Am? (3:06)
7. You’ll Think Of Me (4:00)
8. True Love Travels On A Gravel Road (2:56)
9. Long Black Limousine (3:57)
10. After Loving You (3:12)
11. I’ll Hold You In My Heart (Till I Can Hold You In My Arms) (4:32)
12. From A Jack To A King (2:25)
13. Without Love (There Is Nothing) (2:56)
14. It’s My Way / This Time / I Can’t Stop Loving You (studio jam) (3:59)
15. It Keeps Right On A-Hurtin’ (2:39)
16. I’m Movin’ On (2:50)
17. Power Of My Love (2:42)
18. Stranger In My Own Home Town (4:55)
19. Wearin’ That Loved On Look (2:55)
20. Any Day Now (2:59)
21. Only The Strong Survive (2:22)
22. Gentle On My Mind (3:37)
23. The Fair’s Moving On (3:09)
24. Hey Jude (4:14)

DISC 3 – Stax ‘73
1. Promised Land (2:58)
2. Raised On Rock (2:58)
3. I’ve Got A Thing About You Baby (2:22)
4. If You Talk In Your Sleep (2:21)
5. My Boy (3:01)
6. Spanish Eyes (2:22)
7. Help Me (2:42)
8. I Got A Feelin’ In My Body (3:35)
9. It’s Midnight (3:22)
10. Find Out What’s Happening (2:40)
11. If You Don’t Come Back (2:52)
12. For Ol’ Times Sake (3:38)
13. Just A Little Bit (2:34)
14. Talk About The Good Times (2:54)
15. Loving Arms (2:52)
16. You Asked Me To (3:05)
17. Good Time Charlie’s Got The Blues (4:28)
18. Your Love’s Been A Long Time Coming (3:50)
19. There’s A Honky Tonk Angel (Who Will Take Me Back In) (3:10)
20. Take Good Care Of Her (2:52)
21. She Wears My Ring (3:25)
22. If That Isn’t Love (3:41)
23. Three Corn Patches (3:36)

DISC 4 – The Homecoming Concert
1. Also Sprach Zarathustra (1:15)
2. See See Rider (4:12)
3. I Got A Woman / Amen (4:52)
4. Love Me (1:50)
5. Trying To Get To You (2:08)
6. All Shook Up (1:01)
7. Steamroller Blues (2:52)
8. (Let Me Be Your) Teddy Bear / Don’t Be Cruel (2:03)
10. Medley: Long Tall Sally / Whole Lot-ta Shakin’ Goin’ On / Mama Don’t Dance / Flip, Flop And Fly
/ Jailhouse Rock / Hound Dog (3:33)
11. Fever (3:07)
12. Polk Salad Annie (3:32)
13. Why Me Lord (3:00)
14. How Great Thou Art (3:41)
15. Suspicious Minds (3:41)
16. Introductions (3:09)
17. Medley: Blueberry Hill / I Can’t Stop Loving You (3:05)
18. Help Me (2:52)
19. An American Trilogy (3:58)
20. Let Me Be There (3:35)
21. My Baby Left Me (2:23)
22. Lawdy, Miss Clawdy (2:01)
23. Funny How Time Slips Away (2:45)
24. Can’t Help Falling In Love (1:38)
25. Closing Vamp (1:17)

DISC 5 – Graceland ’76
1. Hurt (2:07)
2. Never Again (2:50)
3. Blue Eyes Crying In The Rain (4:18)
4. Danny Boy (3:55)
5. The Last Farewell (4:02)
6. For The Heart (3:56)
7. Bitter They Are, Harder They Fall (3:18)
8. Solitaire (4:41)
9. Love Coming Down (3:089)
10. I’ll Never Fall In Love Again (3:45)
11. Moody Blue (4:01)
12. She Thinks I Still Care (4:41)
13. Way Down (2:36)
14. He’ll Have To Go (4:35)
15. Pledging My Love (5:08)
16. It’s Easy For You (3:27)

here's the link but a warning: Site contains loads of adverts. Took me a while to copy and paste the above because of these... https://bestclassicbands.com/elvis-presley-memphis-box-set-2024-8-9-24/

[Walter Hale 4]

Memphis also includes a March 20, 1974, concert at the Mid-South Coliseum, which was first released in truncated form that June as Elvis Recorded Live on Stage in Memphis and then in full on a 2004 re-release that, thankfully, stripped out the post-production applause that marred the original LP. Similar to the 1972 shows on the Elvis on Tour box, it’s a mix of the sublime and mundane, but with Presley’s boredom bubbling to the fore more often. Compared to the riveting sets gathered on the Live 1969 box, he’s a shadow of himself.

It is no 1969, but boredom is the last thing, if ever, to be heard on the March 20, 1974 performance.

Definitely not. But, HELLO my friend, you've somehow attributed the quote to myself This is NOT ON .
Quote was taken from a review written by one Jeff Gemmill online for "The Old Grey Cat" site.
I then chose to copy and paste the review here in context.

[elvisjock]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

[Johnny2523]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

Part of Elvis his vocal is missing at that spot yeah.

[billy jack]

Memphis also includes a March 20, 1974, concert at the Mid-South Coliseum, which was first released in truncated form that June as Elvis Recorded Live on Stage in Memphis and then in full on a 2004 re-release that, thankfully, stripped out the post-production applause that marred the original LP. Similar to the 1972 shows on the Elvis on Tour box, it’s a mix of the sublime and mundane, but with Presley’s boredom bubbling to the fore more often. Compared to the riveting sets gathered on the Live 1969 box, he’s a shadow of himself.

It is no 1969, but boredom is the last thing, if ever, to be heard on the March 20, 1974 performance.

Definitely not. But, HELLO my friend, you've somehow attributed the quote to myself This is NOT ON .
Quote was taken from a review written by one Jeff Gemmill online for "The Old Grey Cat" site.
I then chose to copy and paste the review here in context.

My bad. Not a smart move from me. My apologies.

[billy jack]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

Part of Elvis his vocal is missing at that spot yeah.

I wonder, isn't there some kind of proof listening? This is also the only downside of this set for me.

[Johnny2523]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

Part of Elvis his vocal is missing at that spot yeah.

I wonder, isn't there some kind of proof listening? This is also the only downside of this set for me.

It is a sloppy mistake. One that could have been avoided for sure.

[bajo]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

It's there, and I'm listening to the download!

[Walter Hale 4]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

Part of Elvis his vocal is missing at that spot yeah.

I wonder, isn't there some kind of proof listening? This is also the only downside of this set for me.

It is a sloppy mistake. One that could have been avoided for sure.

Yes i know but we can live with that. The positives on this Memphis product, outweigh the negatives, I'm sure.

[Yamaguchi.Y]

Anyone else hearing a glitch (missing audio) at 2:27 of Any Day Now? I'm referring to the physical CD.

Part of Elvis his vocal is missing at that spot yeah.

I wonder, isn't there some kind of proof listening? This is also the only downside of this set for me.

It is a sloppy mistake. One that could have been avoided for sure.

Yes i know but we can live with that. The positives on this Memphis product, outweigh the negatives, I'm sure.

I really disagree with this. It's unacceptable and inexcusable.
Same goes for Suspicious Minds.

Even on the '76 Jungle Room tracks (which I do like), I still feel Elvis' voice is a bit too buried.

[drjohncarpenter]

I really disagree with this. It's unacceptable and inexcusable.
Same goes for Suspicious Minds.

Even on the '76 Jungle Room tracks (which I do like), I still feel Elvis' voice is a bit too buried.

Well, ironically, so was Elvis shortly after these sessions.

Maybe the mix is a subtle nod to that.

[paulsweeney]

I really disagree with this. It's unacceptable and inexcusable.
Same goes for Suspicious Minds.

Even on the '76 Jungle Room tracks (which I do like), I still feel Elvis' voice is a bit too buried.

Well, ironically, so was Elvis shortly after these sessions.

Maybe the mix is a subtle nod to that.

Bad Doctor

[drjohncarpenter]

I really disagree with this. It's unacceptable and inexcusable.
Same goes for Suspicious Minds.

Even on the '76 Jungle Room tracks (which I do like), I still feel Elvis' voice is a bit too buried.

Well, ironically, so was Elvis shortly after these sessions.

Maybe the mix is a subtle nod to that.

Bad Doctor

It's possible . . .

[Davemou]

I have to say that the last three comments are pretty crass!

[Walter Hale 4]

good one here by The Elvis Workshop (aka: Richard) as he shows his recent purchases as well as talks about Elvis Week and from the 10 point on his monologue vid - the Memphis box.
Richard talks about "Suspicious Minds" controversy mix and what Matt Rose SPANG answer was.