They're somewhat variable on previous releases. The best to my ears were on the 1980 Elvis Aaron Presley box set, which sound unprocessed without damaging noise reduction. The FTD In a Private Moment and BMG Home Recordings releases sound NRd in comparison.
Happy to hear that we finally have the definitive version of A Date With Elvis on cd. I won't be buying it anytime soon as I'll only listen to the home recordings once or twice and I'm only really interested in the Is It So Strange sessions.
Caveat, the MRS releases in question are grey-area UK releases taking advantage of certain copyright loopholes and expirations, with the material in question sourced from previously released BMG/RCA/Sony recordings. A small faction of Elvis collectors support and rave about the label, but it does not have a particularly good reputation in the Elvis world. That said, they are present options for those seeking out some of these out of print recordings, which will undoubtably be reissued via Sony and FTD in the future.
Just to correct you, they are perfectly legal releases, certainly in the U.K. where they emanate. Moreover, everyone I've spoken to raves about the MRS sets, where you get the "small fraction" statistic from I don't know - I've yet to read a bad review of any of them. The packaging alone puts FTD in the shade.
No correction necessary; it is well accepted that U.K. Copyright releases are not universally viewed as being completely legitimate. The MRS production runs are typically limited to begin with, so the sales numbers are likely not substantial (if present-day mainstream Sony releases are selling between 10-20,000 units, MRS releases cannot be generating those numbers, particularly not being readily available and marketed in the U.S.). Additionally, while MRS has its ardent supporters, the label is controversial in the Elvis world, and there is plenty of negative feedback with their practices of ripping off Sony audio and poor customer service. Like with all grey area U.K. releases, interested consumers should do their homework with individual releases and proceed with caution.
Well, in any case, I'm looking forward to an 'official' release of Elvis television appearances 1956-1960 and a set with his concerts in the 50s. Thanks for the replies!
If they're released "officially" I will probably buy them again as I collect FTD releases. However, it's doubtful they'll equal the MRS presentation.
I'm not taking any sides in the FTD vs. MRS debate. I'm very grateful for FTD. It's a fan's dream. Respect. I think nobody will deny that. Yet, like Phil D, I'm very happy with the (few) MRS releases I have. Fine products, imo. Here's my personal take on it: as the 'official' label of EP music, FTD is my first choice. Yet, FTD has released some deluxe products, collector's items, esp. book/cd combo's, which are just too expensive for my pocket, no matter how wonderful they are. I can't afford them. Well, I could, but I have other more pressing financial priorities. That's where MRS comes in for me. One example. As much as I like FTD, Rock around the Bloch is out of my financial league. So, I picked up Such A Night. A fine release, at retail price. Not saying it's better than FTD's RATB, but I'm happy with it. That's all.
I agree, MRS compliment FTD releases. Anyone who actually buys them couldn't fail to be impressed with the care and attention to detail, not to mention the modest price, that is their selling point. Contrary to other posts sneering at MRS, I'd advise anyone to pick them up, they do not disappoint.
It is interesting that the supporters of MRS go to such lengths to defend it. I already stated that the label provides an option for fans to acquire official out-of-print recordings from the 1950's era. But the reality is that MRS is what it is, it is a grey area label out of the UK that exists largely because of copyright loopholes. No other such label has the same staunch support. Eagles and Springsteen fans may be happy that some classic radio broadcasts are being released out of the UK in similar fashion, but few would ever assert the labels that release such material are completely legitimate. In the case of MRS, it places a premium on packaging, which is to be commended. That said, the label rips nearly all of its music from RCA/BMG/Sony audio and bootleg audio. That in itself is shady and controversial. The owner of MRS is also allegedly involved with bootleg products released through the Boxcar. Unfortunately, this is not an easy topic to discuss amongst Elvis enthusiasts because there is this odd MRS vs. Sony nonsense that some have to engage in, where the MRS supporters continuously assert the MRS is completely legitimate and even superior to Sony in a number of ways. It is a personal agenda, not an objective approach to analyzing the actual realities of what MRS actually is. I don't really care about MRS one way or the other. I certainly can appreciate that fine work the label tries to do with its packaging and design work and the passion the producers have for Presley's music. Clearly MRS wishes it could do more and not be restricted by copyright laws. That said, I do not support MRS ripping the audio directly from official sources, doing a quick remastering, and releasing it as its own. Or timing the release of certain rare content to be issued immediately after Sony officially releases it, to stick it to Sony and to try to grab a small market share for tapes/music it did not spend money acquiring and restoring (e.g. the final Louisiana Hayride performance and live tracks from A Boy From Tupelo). I also think the label's blatant contempt for Ernst Jorgensen is petty and a bit pathetic, but that is a glimpse into the inside political nonsense of the Elvis world.
You really need to ease back on the sanctimony and stop getting quite so worked up about a record label. Your deep concern for Sony is very touching though.
Ironically, it is the MRS supporters who are emotional about his topic, and make it about MRS vs. Sony, or MRS supporters versus perceived anti-MRS individuals. I have no personal concern for Sony one way or the other. I am an Elvis fan and want to opportunity to hear was much archival and historically relevant music from Elvis as possible. Sony does own the Elvis Presley catalogue and other associated copyrights and is the entity who can finance the acquisition of rarities not in its vaults. Sony may be less inclined to finance the acquisition, say of something like Elvis' final Hayride show, if a grey area label like MRS is waiting in the weeds for the very second the music is officially released so that it can rip off the audio and reissue it shortly thereafter at a fraction of the retail price tag of the Sony sanctioned product. This ultimately takes sales away from Sony which results in lost revenue to some degree -- and if Sony titles that are in part comprised of rarities do not meet certain internal expectations, the label may not give the green light to its Elvis producers to acquire rare tapes in the future due to the presumption that sales will not cover acquisition costs. The reality is that if you were the owner of certain intellectual property rights and there was an entity constantly and blatantly stealing your property, even if some its releases were legal through certain copyright loopholes, you would not be pleased. If that is a sanctimonious position, so be it.
Forthcoming releases: Disc 1 - August 20th 1974 – Dinner Show 01) CC Rider 02) I Got A Woman/Amen 03) Love Me 04) If You Love Me (Let Me Know) 05) It’s Midnight 06) Big Boss Man 07) Fever 08) Trying To Get To You 09) Love Me Tender 10) All Shook Up 11) I’m Leavin’ 12) Softly As I Leave You 13) Hound Dog 14) You Gave Me A Mountain 15) Polk Salad Annie 16) Introductions (part missing) 17) If You Talk In Your Sleep 18) Why Me Lord 19) (Let Me Be Your) Teddy Bear/Don’t Be Cruel 20) Heartbreak Hotel 21) Bridge Over Troubled Water 22) Hawaiian Wedding Song 23) Let Me Be There 24) Can’t Help Falling In Love Bonus Song (Recorded September 2, Midnight Show) 25) It’s Now Or Never (second version) Disc 2 - August 20th 1974 – Midnight Show 01) CC Rider 02) I Got A Woman/Amen 03) Love Me 04) If You Love Me (Let Me Know) 05) It’s Midnight 06) Proud Mary 07) Trying To Get To You 08) Big Boss Man 09) Fever 10) Promised Land 11) Love Me Tender 12) All Shook Up 13) I’m Leavin’ 14) Softly As I Leave You 15) Hound Dog 16) You Gave Me A Mountain 17) Polk Salad Annie 18) Introductions 19) If You Talk In Your Sleep 20) Why Me Lord 21) (Let Me Be Your) Teddy Bear/Don’t Be Cruel (incomplete) 22) Hawaiian Wedding Song (incomplete) 23) Let Me Be There 24) Can’t Help Falling In Love Bonus Songs (Recorded August 28, Dinner Show) 25) Help Me 26) My Boy 27) How Great Thou Art ELVIS – HIS SONGS OF PRAISE, VOL.2 (Book/CD) 01. Elvis Introduction / Only Believe (With unused horns overdubbed June 8, 1970) (2:55) PURE ELVIS: UNDUBBED SACRED SONGS 02. I, John (T-2 Undubbed Master June 10, 1971) (2:15) 03. Life (T-20 Undubbed Master June 6, 1970) (3:07) 04. Reach Out To Jesus (T-9 Undubbed June 9, 1971) (3:08) 05. He Is My Everything (Undubbed Master June 9, 1971) (2:39) 06. He Knows Just What I Need (T-9 Undubbed Oct 30, 1960) (2:10) 07. Swing Down Sweet Chariot (Undubbed Movie Version Oct 23, 1969) (2:15) 08. We Call On Him (T-3 Undubbed September 11, 1967) (2:33) 09. Padre (Undubbed Spliced Master May 16, 1971) (2:29) 10. Elvis Introduction / You’ll Never Walk Alone (Extended Master September 11, 1967) (3:52) 1956 – 1977 ELVIS IMPROMPTU (LIVE AND RARE) 11. On the Jericho Road (SUN Studio Dec 4, 1956) (0:50) 12. Peace In The Valley (Ed Sullivan Show Jan 6, 1957) (1:39) 13. Down By The Riverside / When The Saints Go Marching In (From the Movie “Frankie & Johnny May 1965) (1:45) 14. The Lord’s Prayer (Edit May 16, 1971) (2:03) 15. Elvis Introduction / Must Jesus Bear The Cross Alone / Turn Your Eyes Upon Jesus / Nearer My God To The (March / April 1972) (3:11) 16. Bosom Of Abraham / You Better Run (March / April 1972) (2:34) 17. The Impossible Dream (Madison Square Garden) (June 10, 1972) (3:18) 18. Where No One Stands Alone (Montgomery, Alabama February 16, 1977) (2:23) SEASONS GREETINGS FROM ELVIS: THE CHRISTMAS RADIO SPECIAL FROM DECEMBER 3, 1967 19. Announcer / Here Comes Santa Claus (2:37) 20. Announcer / Blue Christmas (2:11) 21. Announcer / O Little Town Of Bethlehem (2:47) 22. Dale Robertson / Christmas Seal Charity Appeal (1:23) 23. Announcer / Silent Night (2:34) 24. I’ll Be Home For Christmas (1:54) 25. Announcer / I Believe (2:23) 26. Announcer / If Everyday Was Like Christmas (3:04) 27. Announcer / How Great Thou Art (3:16) 28. His Hand In Mine (3:00) 29. Announcer / Promotion of Elvis’ Albums (1:00) 30. Elvis’ Special Message / I’ll Be Home For Christmas (2:08) MORE PURE ELVIS – UNDUBBED CHRISTMAS CAROLS 31. The First Noel (Undubbed Master May 21, 1971) (2:13) 32. O Come, All Ye Faithful (T-1 Undubbed Master May 21, 1971 (2:58) SOURCE : Norwegian Flaming Star fanclub / FECC
Recordings made 60 years ago by a guy who's been dead 40 years which are now "owned" by a multi-national company - and it REALLY bothers you that a small independent label puts out perfectly legal releases of this material. Maybe you should contact the British government for it is they who permit these out of U.K. copyright discs. I think I'll leave it there though I doubt you will.
Two complete, previously unheard '74 soundboards? I'm in. We have two tracks and a bit of dialogue from the midnight show on From Sunset to Vegas. Curious why it says "stereo" on the cover. These should be mono tapes.
Does it bother you that the label rips nearly all of its audio from RCA/BMG/Sony sources and then releases it as its own? I'm sure you will respond with another passive-aggressive retort justifying that practice in your ongoing defense of MRS. And as I stated, my concern is that MRS' business practices in part potentially impact the future acquisition of unreleased, rare tapes by Sony. I don't really care about MRS one way or the other, but at least I can acknowledge the realities surrounding its existence and business practices. In the meantime, for fans who do not have access to the out-of-print official pressings of the 1950's recordings and the 1961 Hawaii concert, MRS provides an option.
In general, the August/September 1974 Las Vegas engagement presents an unbalanced star going off the rails, but who is also producing some respectable performances along the way. FTD has released two full shows and one hybrid concert release (plus a compilation of rehearsals and isolated concert performances) from this casino engagement). It is a fairly popular Las Vegas run amongst 1970's fans, so it's release will have appeal, but there are a number of underrepresented tours and casino engagements that I would like to see releases from sooner rather than later.
Guys, as you know I don't like putting my moderator hat on in this thread so I'll just ask you to remember we are all friends here.
Not sure. The tracks on From Sunset to Vegas are mono, as are the other available soundboards from that engagement: Nevada Nights, It's Midnight, the Desert Storm bootleg (shudder), etc.