Thanks - tried that and all I get is the IMG box with no image which is what I had right from the start. I had this problem ages ago and I cannot remember what I did to rectify it. It really is quite annoying the site does not allow a copy from a photo library.
I wonder if this set will be outtakes only like the Memphis set? It's only 4 discs and the masters would take up nearly half that space. All the masters have had a mainstream reissue recently, let's hope for lots of undubbed masters, nicely mixed alternates, and maybe some mono single mixes.
Elvis Country – Legacy Edition That’s The Way It Is – Legacy Edition That’s The Way It Is – Deluxe Edition
The legacy editions of the albums or the 60 CD set. The picture of the upcoming LP seems to have masters mixed with alternate takes. Perhaps the same on the CD?
That would be great. I still haven’t picked up the FTD of Love Letters. And it’s my understanding that the FTD of Elvis Country has some errors (missing overdubs on some alternate takes?).
This is related, don't know who else has this besides me : Elvis Presley - Taking Care Of Business - In A Flash And here's an article from The Tennesseean back in June : Elvis recorded 30-plus songs in 5 days in Nashville marathon sessions Click For Full-Size Image.
That and "Hey Jude" are the two Elvis songs I cannot stand. I could listen to his version of "Old Macdonald" for 24 hours straight before hearing those two!!
Life is certainly one of Elvis' weakest 1970's era recordings, and while I pretty much loathe it, I would listen to it over Old Macdonald every time. Hey Jude never should have been released during Elvis' life time, at least in its unfinished state. Jarvis was so desperate for additional material in 1971 that he pulled the song from the American Sound reels to fill out the hodge-podge Elvis Now album. It was a very misguided decision to release Elvis' unfinished, uncommitted, and poorly arranged studio outtake of one of the era's biggest hit singles.
...and it was a single!!! I have a soft spot for tracks on the "Elvis sings For Children" album. It came out when I was 5 and I played the heck out of it.
Seems like a lot for four discs: Elvis Presley Recording Sessions Elvis Presley Recording Sessions Elvis Presley Recording Sessions Elvis Presley Recording Sessions Elvis Presley Recording Sessions That's assuming this set is only about June of 1970, not the September return to Nashville.
I expect the September sessions to be represented. And the more I think about it, I am going to be really disappointed if this set isn't comprised solely of remixed alternates, undubbed masters and other oddities like mono mixes. If half this set are the masters that we all have 10 times over it will let a lot of air out of the balloon. It should follow the "American '69" template, not "Elvis at Stax".
I have the book Taking Care of Business and the cd. I have not done any research but I assume the cd is correctly annotated and the material is hard to find elsewhere.
Agree. Consider this though. The early 70s was the era of "Jesus Rock" and "Life" with it's quasi religious themes, probably got RCA thinking it was a way for Presley to be hip and trendy. Or perhaps that's giving RCA too much credit. It assumes some actual thought was put into the decision.
August 7, 2020-New York, NY-RCA/Legacy Recordings, a division of Sony Music Entertainment, is pleased to announce the forthcoming release of From Elvis In Nashville, a 4CD collection presenting the long-awaited definitive chronicle of Elvis Presley's mythic 1970 marathon sessions with the »Nashville Cats«. Recorded live in RCA's Studio B in Nashville over the course of an epic five day/night run in June 1970 (with an additional session on September 22), Elvis' performances from those sessions formed the core of three of his most successful studio album releases from the 1970s: Elvis: That's the Way It Is, Elvis Country (I'm 10,000 Years Old) and Love Letters from Elvis. Now, for the first time, the master recordings from the 1970 Studio B sessions may be enjoyed together as a single official Elvis album. On From Elvis In Nashville, Presley's studio tracks from the 1970 marathon sessions are presented in pristine audio, newly mixed by acclaimed engineer Matt Ross-Spring (John Prine, Jason Isbell) without the added overdubs or orchestration appearing on earlier releases. From Elvis In Nashville will be available in a 4CD boxed edition including two bonus discs of rare and/or unreleased outtakes from the 1970 sessions. A highlights package will be available in a 2LP 12" vinyl pressing. At the close of the 1960s, Elvis Presley, the atomic-powered singer of the 1950s, put his stamp on the rock revolution decade, reestablishing himself as a musical and cultural force to be reckoned with. His electrifying Elvis '68 Comeback special made television history and his long-awaited return to non-soundtrack recordings – captured at Chip Moman's American Sound Studio in Memphis, January-February 1969 – yielded major chart hits including »In The Ghetto«, »Don't Cry Daddy«, »Kentucky Rain«, and »Suspicious Minds« (Elvis' final #1 single) and well as a pair of acclaimed 1969 album releases, From Elvis In Memphis and the studio/concert hybrid From Memphis to Vegas/From Vegas to Memphis. From Elvis In Nashville serves as a mirror and companion to his earlier Memphis recordings, bringing fresh fire, exuberance, humor and emotional resonance to the Studio B sessions. For his first recordings of the 1970s, Elvis revisited the blueprint that made his American Sound sessions so successful. Because he hated doing overdubs, he wanted to cut loose live in the studio with a band in sync with his sensibility. Freed from obligations to music publishers, Elvis was able to pick and record songs that were contemporary, relevant and meaningful to him, from covers – including his transcendent interpretation of »Bridge Over Trouble Water« – to the epic material then powering his Las Vegas residencies and return to live performing. (In 1970 alone, Elvis performed two-month-long engagements at the International, playing two shows a night.) If the American Sound recordings in Memphis opened the door for Elvis' return to the stage and top of the charts, his next recordings – the fabled 1970 Marathon Sessions – would lay the groundwork for another revolution in pop music. Under the direction of producer Felton Jarvis, Elvis joined forces with one of the most potent studio ensembles ever assembled to create an often underrated chapter in Presley's rich legacy. Working with the fabled »Nashville Cats« for his first album of 1970, Elvis Presley connected to a circle of contemporary musicians that included Johnny Cash, Bob Dylan, Neil Young, George Harrison and others. In June 1970, Elvis – who'd upended country music radio in the 1950s when he introduced rock 'n' roll music to the mainstream--returned to RCA Studio B to create a new sound for a new decade. From 1958-1971, Elvis recorded more than 200 tracks at Studio B, beginning with five songs – including »A Fool Such As I« – before shipping off to Germany with the US Army in September 1958; he recorded Elvis Is Back!, his first post-army album, at Studio B in March-April 1960. For his 1970 Nashville sessions, Elvis was able to handpick his own repertoire and, delve into the rich variety of American music in his marrow, combining elements of bluegrass, honky tonk, Western swing and the rockabilly he'd virtually invented with contemporary pop, ballads and epic showstoppers. Bringing a fresh and vital new approach to pop and country music, Elvis' performances on From Elvis In Nashville presaged and encompassed emerging trends from countrypolitan and Americana to outlaw country. These sessions are widely recognized as among Elvis' best because of the undeniable chemistry between Elvis and his astonishing studio band comprised of multi-instrumentalist Charlie McCoy (whose resume includes Bob Dylan's Highway 61 Revisited, Blonde On Blonde, John Wesley Harding and Nashville Skyline as well as work with Paul Simon, Tanya Tucker, Bob Seger, Willie Nelson and many more); bassist Norbert Putnam (Roy Orbison, Al Hirt, Henry Mancini, Dan Fogelberg, Linda Ronstadt, J. J. Cale, Tony Joe White, more); and pianist David Briggs (who's worked with Dean Martin, Joan Baez, Nancy Sinatra, B.B. King, Johnny Cash, Dolly Parton, Waylon Jennings, Tony Joe White, George Harrison, Todd Rundgren, Roy Orbison, The Monkees, J. J. Cale, Kris Kristofferson, Alice Cooper, among others). Known colloquially as the »Nashville Cats«, this finely-honed studio ensemble, like Elvis himself, connected the worlds of pop, rock and country music. For the June sessions, Elvis brought in his longtime on-stage guitarist James Burton; Eddie Hinton – who, like Putnam ad Briggs, was part of the Muscle Shoals Rhythm Section – played lead guitar on Elvis' September 22 session. Elvis plays acoustic guitar throughout the June sessions. The five-day »marathon« sessions—with work starting in the early evening and continuing until dawn – yielded a wide variety of material including a spirited rendition of Willie Nelson's »Funny How Time Slips Away«, the heartrending »I've Lost You«, a powerful take on Simon & Garfunkel's »Bridge Over Troubled Water«, and a new version of »Love Letters«, which Presley first cut in 1966. A wild, single-take version of »Whole Lotta Shakin' Goin' On« was one of the highlights of the September 22 single day session. The music Elvis created in his 1970 »marathon sessions« – presented here without layers of overdubbing heard on the original releases – stands among Presley's best and has proven immensely influential. It established musical directions he pursued the rest of his career, predicted his late-in-life pop- and-country radio successes, and modeled sounds for countless country stars to come. From Elvis In Nashville provides an intimate glimpse into the world of Elvis and the way he made music that lasts forever. Source: Elvis Presley: From Elvis In Nashville (4 CDs) – jpc
I’m an Elvis newb compared to you guys so maybe a dumb question but isn’t this a good thing? Better this than the masters we already have on the official releases?
Undubbed masters will be interesting but I always think that they added the overdubs for a reason and which Elvis presumably signed off on. To buy or not to buy...that’s one of the questions. And the other one is whether a bit further down the line, FTD will release a full session set in line with their new series. I’d hate to find out after buying this that this is their intention
Of course, but don’t forget this set is a mainstream release also aimed at the general public. I’m not totally convinced that undubbed masters is correct for that market.
"Newly mixed by acclaimed engineer Matt Ross-Spring (John Prine, Jason Isbell) without the added overdubs or orchestration" This could be interesting. Or, a shambolic mess. If tastefully done, the new mixes could offer a fresh perspective of these tracks. And it would be nice to have these undubbed masters in "pristine" quality as opposed to having to pull out the old Pure/Rough Cut Diamond boots
