The Big Boss Man FTD has a similar set list (and the same run of songs you mentioned), and I think it's a better performance overall.
Thank you again for the advice. I buy a lot of Elvis CDs, but to try to draw the line somewhere, I don’t think I need any more 1975-77 soundboards.
I honestly cannot think of a single reason to release a big box of 1976 tour shows, documenting either one full tour or all of the tours. There simply isn't enough there to justify it, either in terms of performance quality or variety. The 1969 box and the 1970 TTWII box are justified because the performances are so on-the-mark, even if there is a lot of song repetition... plus they are taken from multi-track tapes, so the sound quality is top notch. The same applies for a 1972 On Tour box, if it ever materializes. A 1976 box would be mediocre (at best) performances, endless repetition, and marginal soundboard-quality. Would someone really want 30 versions of JD's dive bombs or the extended introductions on one box set. That would try the patience of even the most dedicated fan. I'm generally okay with releasing single or double soundboard sets, as I'm sure it thrills those fans who attended those shows. I also think most of the diehards already know what to expect from 74-77 shows, so they usually know what they're getting into. It also allows slightly more casual fans to pick and choose. If FTD chooses to do another 1976 soundboard, they should pick one from the March tour (so far not documented by FTD), where Elvis isn't suffering yet from the fatigue of so many shows. He's coming off of a couple months rest since the December 75 Vegas engagement (and the New Years show) and seems to be doing pretty okay... at least on the recordings I heard. The slide doesn't appear to occur until a little further into the year.
Yeah, I totally get it. You have to draw a line somewhere. I have several 1975 soundboards, but tend to only gravitate towards a few of them (Big Boss Man, Dixieland Delight, Hometown Shows CD2, and Holiday Season CD1). The Southern Nights comp is also worthy.
Having coffee and even thinking of 30 dive bombs is dreadful. They missed the boat this year for a coloured vinyl "best of the dive bombs" release. Re 76 I agree with POB on the merits of most of the shows. Although I have all the FTD 76 stuff and a bunch of bootlegs I guess the honest truth is that although I play them and enjoy them overall they really ain't that good. My favourites and it might be because I had them on boot cd for years are Dallas, Birmingham and the new year's eve show.
Poor old JD! I must say that I like JD and the Stamps (but not the dive bombs) but it really is not JD's fault but that of Elvis. I guess if Elvis asks you do something in a show you either do it or look for another gig. I would guess the Stamps were a seriously good gospel vocal group and apparently they did get some criticism for working with Elvis.
May I ask why What makes Vic's mixing and mastering , in your opinion, so important to this Elvis Presley release ? I get the whole Sonic, warmness thing ...
Myself, I think Vic brings out the best of these vintage masters without detracting from the original intentions of the producers. Some who have remastered the Elvis catalogue of late try to inject a modern sound which I find is at odds with the source material. Of course, ones mileage may and probably will, vary...
I think Anesini's approach to mixing Elvis' live work was revolutionary; in particular, how he mixed FTD's The Wonder of You. I had never heard such a dynamic mix with clear instrument separation and a perfect balance with the instrumentation, backing vocalists, and orchestra. I was stunned when I first heard the recording -- I had no idea a live Elvis recording could offer so much. Anesini also raised the bar with his work on the August 1969 multitracks. As such, I would have loved to have seen Anesini apply his approach to a complete 1969 box set, presenting uniform mixing to Elvis' best live work captured via multitrack. But it doesn't matter because it appears the nod was given to Matt Ross-Spang.
I'm wondering if these are the "some concerts" Matt said he was mixing several years ago. It's pretty certain that the rehearsals he mentioned along with these were the 2 "On Tour" tracks he did for "The Searcher", so he may have done the '69 shows around the same time (late 2016-mid 2017ish). I agree though, Anesini would have been the most ideal choice. With that said, it's possible that his vintage styled mixing approach may not fit with the more modern styled sound that Rosenthal and now Ross-Spang bring that's in favor these days for these main-line box sets. Vic is mastering it however, that's been confirmed by the RSD release.
I just want to echo in spades everything you point out here in your very fine analysis of Vic Anesini's ability to mix and remaster a live Elvis recording to complete sonic perfection.
I have read in one of Matt Ross-Spangs interviews that when he mixes Elvis releases, he likes the drums centered rather than panned. Going by what samples I have heard so far , it sounds like he has done a fantastic job.
I guess we are in a lull awaiting the next FTD release. There is a thread on the RSD live 1969 lp out there but of course that is not FTD and it would seem the live 69 box will be mainstream Sony/Legacy. I will get the next soundboard which is 2 shows from April 1975 but I doubt there will be much to say about it that has not already been said! To quote an old USA saying by Morris Udall "Everything has been said but not everyone has said it".
Observations on FTDs I recently acquired: Something for Everybody is one of my favorite FTDs so far. Holy crap. Just brilliant stuff here! “His Latest Flame (Alt Take 2)” is amazing. I mostly enjoyed the 3-CD Viva Las Vegas set, but it’s been a slog. I’m not even all the way through yet. I don’t know if I can take it. Hearing the same few songs again and again and again. It’s not like I didn’t know this going in, but I didn’t anticipate how much it would wear me down. I’m reconsidering my desire to get the 3-CD Fun in Acapulco set. I don’t think this would bother me if it was a small set of my favorite Elvis tunes again and again and again. But the soundtrack to Viva Las Vegas might not be my thing.
Your point is well-taken. It was a workout to get through Fun In Acapulco, especially with the content in sequential order. How many times can one really sit through an entire chronological sequence of Viva Dinero Y Amore or Guadalajara? While many fans complained about the content of Viva Las Vegas not following a chronological and sequential order, it is probably a good thing the various takes were mixed out of sequence.
I've still not taken the plunge for the 'Fun in Acapulco' 3 CD set. The collector in me kinda wants it but the brain is pondering why, as I know it will be a slog and this is surely not how music should be approached. Same goes for the latest soundboard. Sadly, the collector in me usually wins...
I have avoided the 3CD soundtrack sets so far... and indeed have avoided most of the FTD soundtrack releases (except for the 50s films and the single disc Viva Las Vegas). I'm really glad the option is there to buy these extended sets, but I'll probably skip them in hopes that some of the non-soundtrack studio albums receive the expanded treatment. At this point, I'm saving my pennies for the 1969 box set.
I’ll probably pick up the two releases (each) for Jailhouse Rock and G.I. Blues and then call it a day on the soundtracks. I’m still glad I got the Viva Las Vegas set because it’s a beautiful edition. But I can’t imagine myself sitting through it all again!
Great to see folk being honest about sometimes listening all the way through to some Elvis soundtrack stuff is hard work. I despite a bit of an odd liking for mid 60s soundtracks find some of the releases hard to play through in more than 20/25 minute bursts. At least the official soundtrack albums take a bow Paradise Hawaiian Style are short!.
I’ve really enjoyed the big Fun In Acapulco set. I’ll confess that, outside of Bossa Nova Baby, it’s not an album I was super familiar with beforehand, but I like the Latin or faux-Latin backing, the material is better than I expected, the sound quality is stellar throughout, and I enjoy the fly-on-the-wall perspective on a recording session, just as I do with the recent More Blood, More Tracks Dylan box.