Back in early 2012 Ernst Jorgensen published his definitive look at Elvis during his sensational and creative Sun Records period as a FTD deluxe book/CD package. It had been a project he had been working on for more than a decade.
Now in 2017, RCA/SONY has republished the book as in a cut-down format and at a price anyone can afford.
This is the story of Elvis Presley before he becomes world-famous, and how this amazing young man readies himself for stardom, achieving success on a level that no one could have dreamed possible.
It features all of Elvis’ Sun recordings on 3 CDs plus Elvis LIVE, on the radio, and in concert in the best possible sound. The new release also includes previously officially unreleased recording of "I Forgot to Remember to Forget" from a 1955 Louisiana Hayride performance.
EIN's Piers Beagley checks out this new slimline version released for the 'General Public'.. |
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Distilled from the fabulous FTD deluxe release 'A Boy From Tupelo' 530 page book / CD combo this mainstream release - 'A Boy From Tupelo: The Complete 1953-1955 Recordings' includes - for the first time ever officially - on 3 CDs every surviving Elvis Presley Sun master and outtake, plus two private records Elvis paid with his own money to record, as well as all known radio - and concert performances from the period.
Many of these recordings are rare demos, session takes, and live performances including a newly discovered and previously officially unreleased recording of "I Forgot to Remember to Forget" from a 1955 Louisiana Hayride performance.
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The accompanying 120-page book compiled by Ernst Mikael Jørgensen is, in essence, a fully-illustrated travelogue. It details the birth of Elvis' career through facts, anecdotes, documentation, many rare photos, and a succinct narrative. Independence Day 1954 is when this uniquely American saga begins, less than 24 hours before his first professional recording session, and it ends in December 1955, when the rights to Elvis' Sun tapes officially expire and the singer leaves Sam Phillips and Sun Records to record for RCA Victor.
This is the story of Elvis Presley before he becomes world-famous, and how this amazing young man readies himself for stardom, achieving success on a level that no one could have dreamed possible.
Essential to the understanding and appreciation of Elvis and his explosive impact on pop music and culture, this presents - in the best possible sound- every known Presley recording from his early career, when the world's first atomic singer fused blues, pop and hillbilly country swing to create an electrifying new music that changed the world. |
While all Elvis fans know the basic story of Elvis’ astounding beginning at Sam Phillips’ SUN records and the kick-start July 1954 "creation" of Rock’n’Roll as is regularly told, the only publication so far that has presented this unique 18-month period in Elvis’ life in such depth and with so much new material and unpublished photos was the mammoth FTD 530-page 5Kg 'A Boy From Tupelo' release from back in 2012. This was a Elvis collector's dream at a price that not all fans could afford and quickly sold-out.
Now in 2017 SONY/ RCA have released a trimmed-down version still with 3CDs that include everything recorded of Elvis in this stunning period, plus a 120 book.
At last every Elvis fan who could not afford the original deluxe version has a chance to investigate and rediscover the delights of this all important period in Elvis' career. Hopefully general music fans will also be tempted by the media interest.
The format is 8"/20cm with a slip in cardboard case for the 3CDs, the same as the SONY 'Prince From Another Planet' or 'STAX' release but way smaller than the Deluxe FTD 530-page version. (For 'FTD Deluxe' vs this 'SONY/RCA 2017' version see more info below)
The release back in August received 5-star ratings in the media including the review below from Rolling Stone..
Elvis Presley 'A Boy From Tupelo' is a Museum-Grade look at Sun sessions years.
The 3-CD set contains a wealth of material from 1953 to 1955.
There's an eye-popping photo in this essential 3-CD set taken on July 31, 1955, at a Tampa, Florida, gig. Elvis clutches his customized Martin acoustic, hollering to heaven and the cheap seats, right hand a strumming blur, face and throat glistening, pants soaked in sweat, as Scotty Moore leans into the shot with his Gibson peghead.
It's a high-resolution alternate angle on the cover shot from Presley's debut LP, one of rock's most iconic images, packaged with a 120-page detailing – via images and a day-by-day timeline, of Presley's birth as recording artist and mega-star.
Why buy music when you can stream it? This is why.
The set includes the Memphis Recording Service acetates Presley had cut on his own dime ($3.98 a pair, to be exact); the entire legendary Sun Sessions, aborted takes and all; and every known concert and radio recording from the period.
The sound quality is likely as good as it'll ever get, and the performances are musical bedrock. Five versions of "Blue Moon," with slight variations on its clip-clop falsetto-moan conjuring? More'd be fine.
Ditto the Louisiana Hayride live recordings here, which show a 19 and then 20-year-old galloping headlong into fame's stratosphere. Rating 5-out-of-5
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The 120-page book features 78 sections each focussing on one specific week, from the beginning July 4th 1954 (the day of the first try-out at Scotty Moore's house), through to December 31st 1955 (New Year’s Eve at the Louisiana Hayride) when Sam Phillips’ rights to Elvis’ SUN tapes officially expired.
A time-line on the left-hand side of each chapter (see below) shows exactly what Elvis was doing or where he was performing on each day of the week.
July 4th 1954 and Bobbie Moore, (wife of Scotty Moore) starts the incredible story with Elvis arriving at their house in pink slacks and with guitar in hand …
"He was doing a lot of slow songs; he wasn't doing anything fast, like what he recorded. He had a good voice and seems like he did a lot of songs like "I Love You Because", and country songs. It seemed a bit funny, with his ducktail and long hair, doing country music more like a rock star to begin with. Elvis left, and Scotty and Bill discussed, and Bill turned to Scotty and looked at him kinda funny, `What do you think of him?' Scotty said, `Well he's got a good voice, good singer, if we can find the right material.'"...
The design is basically laid-out (somewhat like the fan scrapbooks Ernst would have searched through!) with relevant photos, memorabilia, SUN record releases and stories from each day nicely presented.
Jorgensen’s narrative is distilled from the original FTD version but still contains extensive interviews and key newspaper articles and wonderful stories from Bob Neal (Elvis' manager before Col Parker). This smaller version tends to stick to the facts but still manages to include some delightful fan reminiscences.
The fan descriptions from the time, as well as musician comments, provide wonderful insights into what it was like to see ‘The Hillbilly Cat’ in action and relaxing back-stage.
Carolyn Bradshaw: "When I came back to the Hayride, Elvis was there. All the girls were telling me: `You're donna have to see this new guy, wow!' I was thinking, 'Who is this upstart? He can't be that hot.'
When I saw him, it wasn't just that he was magnetic, like an electric eel, he was exactly my type."
(Right: Performer Carolyn Bradshaw with Elvis December 18th, 1954.)
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Nearly all the key figures such as Sam Phillips, Scotty Moore, Bobbie Moore (Scotty’s wife), DJ Fontana, disc-jockeys and other performers such as Maxine Brown and Wanda Jackson are featured and provide insights into Elvis’ early life-story.
(Right: A marvellous shot of Elvis and Wanda Jackson. Didn't Elvis always wear great shirts!)
Bob Neal's unpublished autobiography is one of the great additions to Elvis early life-story. And it is perhaps surprising just how early the wily Colonel Parker appears in the story, around early January 1955, and how soon he would start forcing Bob Neal out of the picture.
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An extract from Bob Neal beautifully captures the tension and disappointment of the failed Arthur Godfrey audition...
"A short cab ride took us to the studios for the Godfrey auditions. Elvis and company stood quietly, with only an occasional chuckle, as I told the receptionist who we were....
After about forty-five minutes, the long-awaited call came, and Elvis Scotty and Bill carried their instruments through the door. I followed and watched as technicians helped them arrange equipment and make brief voice tests for the microphone. Then, an impatient female voice came through the talkback speakers: "All right, let's go. We have a lot of people waiting".
Elvis nodded at Bill and Scotty, and the studio began to rock with the familiar beat of "That's All Right", at first with slight restraint, and then, as the stage fright faded, with an all out performance of the trio. As the song ended, there was unearthly silence in the studio with no applause to punctuate the ending. Then the unseen voice said: `Okay. Got another one?' ... .. .. Elvis gave it everything he had. Now the tempo became electric, Bill Black swinging back and forth as he slapped the bass with Scotty, no trace of' emotion matching up the stylized guitar sounds, Elvis' pink outfit moist with perspiration, his eyes closed tight to the beat of "Baby Let's Play House". I could see through the window of the dimly lit control room and could not help noticing that some of the shadowy figures behind the glass were swaying with the excitement of the rhythm, and I suddenly had a feeling that Elvis really had their attention-- maybe he would make it. Elvis seemed pleased with the overall performance: "I reckon we just have to wait to hear from them, won't we?"
'I'm afraid that's all we can do now' I said.
The call never came."
Jorgensen's timeline include details of Elvis' all-important SUN recording sessions. It is surprising to see ‘I Got A Woman’ and ‘Trying to get To You’ as selections in the February 1955 ‘Baby Let’s Play House’ session and to read the most painful comment in the whole book, "(The tapes) were eventually destroyed in a 1959 RCA vault clean up" - someone at RCA threw them away thinking they weren’t worth keeping - while Elvis was in the army and they were searching for new material!
Checking out Elvis & the Blue Moon Boys gruelling concert schedule as they race around the country trying for some real success is enthralling. One moment they can be playing to huge audiences as part of the Big D Jamboree package with Hank Snow and others, and then they can be playing to a handful of people in a school gymnasium or on the back of a flat-bed truck. It certainly wasn’t overnight success!
The two pages detailing Elvis' week of March 13-19, 1955. His Austin Texas show was surprisingly poorly received, "They didn't get no publicity on him. Nobody knew him. We had about sixteen people".
More information is also revealed about key incidents like the Bill Randle "Pied Piper" film from October 1955 including...
"When producer Arthur Cohen watched Elvis do a run-through before the show, he told Randle that he thought he was "pitiful, completely unacceptable, not worth the time and effort to set up the numbers". Randle found a solution as he paid cameraman Jack Barnett out of his own pocket, and the filming went on."
While the photos have to be printed far smaller than in the Deluxe FTD version there is still a wonderful selection of early Elvis pictures that will impress any fan wanting to know more about the Elvis story during these crucial months. While the vast majority have to be in black and white there are a fair few gems that are in colour.
The two pages detailing Elvis' week of October 16-22, 1955 - including DJ Bill Randle's sort-after "The Pied Piper Of Cleveland" performance.
While this new 40th Anniversary release is much smaller than the massive FTD version, it has been well-edited to include the key facts (although I noted a few important omisions) and the design still presents the photos in a size large enough to impress any fan keen of Elvis in his prime and capturing the on-stage action.
A photo of the book demonstrating the size compared to a regular CD cover
A few photos are presented as full-page, including these two early gems discovered by Ernst from Elvis performing at the Mint Club November 23, 1954. (pics below are deliberately low-res to stop unscrupulous fans copying photos - please go buy the book to get them good quality!)
To be honest there are only two new photos in this book compared to the Deluxe FTD release and a minor annoyance of mine is that the recently discovered 1949 photo of a "young Elvis with his bicycle" outside S&S Drug Store featured at the very start of the book has been printed with ELVIS positioned on the fold of the double-page spread. It's an annoying design error.
THE MUSIC - Most importantly this 40th Anniversary release means that every fan can afford to get the three CDs packed full of Elvis' marvellous SUN recordings and live performances, before RCA got hold of Elvis and started to mold him more towards a more mainstream audience - and what a joy they are.
Every track has been carefully sourced "as if it had never been mastered before" and Sebastian Jeansson has remastered them all in beautiful sound quality, although some of the "live" acetate sources of course sound fairly rough in the final disc.
If you love ELVIS and the musical impact he made on all our lives - and did not buy the original FTD release - then you need this sensational set.
The first CD contains all of Elvis' SUN Masters, while the second CD features the SUN Session outtakes in the best quality and with plenty of extras most fans will not have heard before.
Of the LIVE CD, the collection is a revelation. It’s a healthy dose of swaggering righteous rock ‘n’ roll that speaks loudest as Scotty Moore, Bill Black, and –– the ‘fireball’ – twenty year-old Presley shake ‘em down at the hoedown. What’s clear is Elvis and his band are having a ball hotfooting it across the southern states before he found worldwide fame.
Focusing on the Hayride shows and various Radio shows Ernst has hit the motherlode and put together an intimate portrait of the Presley live experience – that has to be said –– brings us the closest yet to the feel and intimacy of those heady times. Seven tracks will be new (to non-FTD buyers) and have been specially mastered from acetates for the live release. Fans have been waiting for so long for the infamous privately owned rarity of ‘Little Mama’ and it’s been worth the wait! For the first time we also get a wonderful live performance of 'You’re A Heartbreaker' with piano accompaniment.
Standouts are 'Good Rockin’ Tonight', the recently tracked-down 'Little Mama', 'Baby Let’s Play House', 'You’re A Heartbreaker', 'Hearts of Stone', 'Tweedlee Dee', 'Money Honey' and the marvellous ‘That’s All Right’ from May 1955.
Two more classic 'Hayride' weeks from near the beginning and also the end of the book
The final track of CD3 is the newly discovered 'I Forgot to Remember to Forget' from the October 19, 1955 Louisiana Hayride performance is at last officially released. Other versions have been been around for the last 3 years but these were taken from the YouTube video. This new version has been remastered from the tape transfer of the original wire recording and sounds fabulous in comparison.
The three discs are identical to the 2012 FTD Deluxe version apart from the minor changes noted below - You can read our indepth original review of the three CDs here.
Music differences
1. The "newly discovered" 'I Forgot to Remember to Forget' unfortunately appeared the very week the original 'FTD ABFT' was published. Here it is officially released for the first time.
2. To make room for the new 'I Forgot to Remember to Forget' track noted above the mid-1955 Elvis interview by Mae Boren Axton has been dropped.
3. The tracklisting SUN Sessions CD2 has been changed with outtakes bunched together to make it look less complicated, although the content is the same.
Overall Verdict: Timed for Elvis’ 40th Anniversary, this beautiful package examining Elvis' key 18 months at SUN is a marvellous release for the general public and an ESSENTIAL purchase for any Elvis fan who did not get the chance to buy the original deluxe FTD version*. Packed with superb photographs, detailed information and wonderful stories there is no better way for fans to enjoy Elvis' original surge of musical creativity - the Birth of Rock'n'Roll – and at a terrific price. What everyone wants from a quality release is great content, new information, plenty to read, great photos and if possible some great unreleased Elvis music – and this wonderful 2017 mainstream release ticks all those boxes. While yet another Greatest Hits compilation (nearly) tops the UK charts for Elvis' 40th Anniversary this is the product they should have bought instead. In most countries it is real value-for money, 3CDs and 120-page book priced in the UK at £25, the USA at $27. If you couldn't afford the original FTD Deluxe version, then buy this now. Just brilliant.
*NOTE: If you do own the 2012 original 'A Boy From Tupelo' 530-page FTD version please see below regarding the differences between the original and this compact version. This might help answer EIN members questions of whether it is worth buying again.
Book Review by Piers Beagley.
-Copyright EIN September 2017 - DO NOT COPY.
EIN Website content © Copyright the Elvis Information Network.
Click here to comment on this review
Please note the pictures in this review are simple low-resolution copies and the images in the book are far clearer.
... Just savour this twist of fate. Presley shows up for his first big recording session expecting to sing tender romantic songs. On a whim, he starts "acting the fool," and the band follows, chasing a twitchy mix of rockabilly, R&B and country that was utterly new. Suddenly that became the art.
The book provides this kind of specific context for most of the highlight reel moments of Presley's time at Sun. It suggests that what can seem, in the biopic version, like an overnight success, is often something more routine: There's day-in and day-out work involved in developing a musical trademark. The blazing neon meteor of sound we associate with Elvis at Sun was also the story of a Crown Electric deliveryman making the transition to full-time musician, and figuring out how to present himself on stage... It's all in this set.
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<< Buy from Amazon US for only $28
Buy from Amazon UK for only £24 >>>
Australian and NZ fans should go to Amazon UK here >>> and get it for ONLY AU$43.00 including postage to your door.. |
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Audio Notes from Ernst Jorgensen..
“At the heart of this release is the desire to make available as much material from the period as possible, and present it in the best possible sound. We decided that he should work with every little piece as if it had never been mastered before, we should have realized that it would take more than 1500 hours of restoration work and almost 200 hours of additional studio time for mastering. Some sources were recordings in pieces, others suffered from distortion, scratches, pops, drop-outs and just poor signal. Even the SUN and RCA studio tapes presented issues, such as mis-calibrated tape curves, that took endless scrutinizing to adjust.”
BOOK MAIN CREDITS
Produced, written and researched by Ernst Mikael Jorgensen.
Mastered by Sebastian Jeansson.
Concept and art direction: Ernst Mikael Jorgensen and Nic Oxby.
Design: Amy Knowles
Product Direction: Helle Molbech Jorgensen. Ernst Mikael Jorgensen and Nic Oxby.
THE RESEARCH TEAM:
Giovanni Luca Fabris, Danny Kane, Sean O'Neal, Kevan Budd, Stanley Oberst, Brian Petersen, Sebastian Jeansson, and Johnny Saulovich.
Disc 1: MRS Acetates, The Sun & The RCA Masters
1 My Happiness 2:33
2 That’s When Your Heartaches Begin 2:52
3 I’ll Never Stand in Your Way 2:04
4 It Wouldn’t Be the Same (Without You) 2:09
5 Harbor Lights 2:38
6 I Love You Because 2:43
7 That’s All Right [45 RPM Master] 2:00
8 Blue Moon of Kentucky (45 RPM Master] 2:07
9 Blue Moon 2:44
10 Tomorrow Night 3:01
11 I'll Never Let You Go (Little Darlin’) 2:27
12 I Don't Care If the Sun Don't Shine 2:32
13 Just Because 2:34
14 Good Rockin' Tonight 2:15
15 Milkcow Blues Boogie 2:39
16 You’re a Heartbreaker 2:13
17 I'm Left, You're Right, She's Gone [Slow Version] 2:43
18 Baby Let's Play House 2:19
19 I'm Left, You're Right, She's Gone 2:38
20 I Forgot to Remember to Forget 2:31
21 Mystery Train 2:30
22 Tryin’ to Get to You 2:36
23 When It Rains It Pours 2:06
24 That’s All Right 1:59 [RCA single version]
25 Blue Moon of Kentucky 2:05 [RCA single version 78 RPM Master]
26 I Love You Because 2:45 [RCA LP version – spliced from takes 3 & 5]
27 Tomorrow Night 2:56 [RCA LP version – overdubbed and slowed down] |
Disc 2: The Sun Studio Sessions
1. Harbor Lights (Takes 1 - 2, 3/M)
2. Harbor Lights (Take 4)
3. Harbor Lights (Takes 5 - 8)
4. I Love You Because (Takes 1 - 2)
5. I Love You Because (Take 3)
6. I Love You Because (Takes 4 - 5)
7. That's All Right (Takes 1 - 3)
8. Blue Moon of Kentucky
9. Blue Moon (Takes 1 - 4)
10. Blue Moon (Take 5)
11. Blue Moon (Takes 6 - 8)
12. Blue Moon
13. Dialogue (Fragment before "Tomorrow Night")
14. I'll Never Let You Go (Little Darlin') [Incomplete Take]
15. Good Rockin' Tonight (Fragment from Vocal Slapback Tape)
16. I Don't Care if the Sun Don't Shine (Takes 1 - 3/M)
17. I'm Left, You're Right, She's Gone (Slow Version, Take 1)
18. I'm Left, You're Right, She's Gone (Slow Version, Take 2)
19. I'm Left, You're Right, She's Gone (Slow Version, Take 3)
20. I'm Left, You're Right, She's Gone (Slow Version, Tks 4 - 5)
21. I'm Left, You're Right, She's Gone (Slow Version, Tks 6 - 7)
22. How Do You Think I Feel (Guitar Slapback Tape, Rehearsals + Take 1)
23. When It Rains It Pours (Vocal Slapback Tape, Take 1)
24. When It Rains It Pours (Vocal Slapback Tape, Take 2 - Rehearsal 1
25. When It Rains It Pours (Vocal Slapback Tape, Take 5/M)
26. When It Rains It Pours (Vocal Slapback Tape, Takes 6 - 8) |
Disc 3: Live & Radio Performances
1 That’s All Right 2:52
2 Blue Moon of Kentucky 2:23
3 Shake, Rattle and Roll 2:24
4 Fool, Fool, Fool 1:59
5 Hearts of Stone 2:02
6 That’s All Right 1:52
7 Tweedlee Dee 2:51
8 Shake, Rattle and Roll 2:23 *New
9 KSIJ Radio commercial with DJ Tom Perryman 0:16
10 Money Honey 2:43
11 Blue Moon of Kentucky 2:04
12 I Don’t Care if the Sun Don’t Shine 2:33
13 That’s All Right 1:54
14 Tweedlee Dee 2:15 *New
15 Money Honey 2:17 *New
16 Hearts of Stone 1:37 *New
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17 Shake, Rattle and Roll 1:39 *New
18 Little Mama 2:03 *New
19 You’re a Heartbreaker 2:06
20 Good Rockin’ Tonight 2:36
21 Baby Let’s Play House 2:22
22 Blue Moon of Kentucky 1:47
23 I Got a Woman 3:03
24 That’s All Right 2:17
25 Tweedlee Dee 2:47
26 That’s All Right 2:37 *New
27 I’m Left, You’re Right, She’s Gone 3:16
28 Baby Let’s Play House 3:19
29 Maybellene 3:09
30 That’s All Right 2:49
31 Interview with Bob Neal 5:31
32 I Forgot to Remember to Forget 3:29 *BRAND NEW |
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Fans who own the original Deluxe 'ABFT' have asked EIN whether there is anything in this new set that makes it worth buying all-over again - and please note that in Australia, where EIN is based, the retail price has been set at the rather high AU$89, this is nearly three time the price of elsewhere.
To be honest while I am lucky enough to be able to afford both sets, compared to OUTSTANDING original FTD Deluxe release unfortunately I was a little disappointed by this smaller set.
While I realise that cutting the 530 pages of the FTD deluxe edition down to 120 pages would be difficult, I find that I miss all the extra stories and photographs of the original.
Often 8 or 10 pages previously dedicated to just one week in this crucial period of Elvis' life is now cut down to only 1 or 2 pages.
'August 21-27 1955' is, for instance, cut down from 14 pages and 20 photos to just 1 page and 3 small photos.
One of the delights of the original volume were the personal stories from the fans who attended Elvis' shows or met him afterwards and a large number of these have been cut out, leaving only "the facts".
For me this is disappointing as these stories helped one understand the real feel of the excitement and what Elvis meant at the time - and in talks Ernst has also said that tracking down these stories were one of the things that delighted him most. Now all too many of them are gone.
Also a large number of those huge coffee-table sized sensational photos of Elvis playing live along with personal stories that captured the excitement are missing. Of course, this is totally understandable due to the smaller / affordable "general release" format.
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Demonstrating the size comparison between the two releases, one can see the need to re-size the previous large full-page photos to fit the new, more compact, 2017 version.
After discussions with fans who have bought both, I have come down to this basic list of what this new slimline version will offer fans who already own the deluxe FTD version.
In short the new 2017 set reviewed above has these four benefits over the first deluxe FTD version.
It has to be up to the individual to decide whether it is worth purchasing again.
a) One newly remastered track 'I Forgot to Remember to Forget' live. (note this is also available via iTunes to be purchased individually)
b) Two new photos, one of which is the well-known December 1, 1955 PoPsie RCA studio publicity shot.
c) The convenience being a smaller-sized, easier to handle, package
d) More details in the track index about where the material was sourced and also the audio quality.
In most countries there is no doubt that it is a GREAT price and fabulous for the "General Public" and those who couldn't afford the original expensive FTD version. I would recommend it as ESSENTIAL for those people.
PLEASE GO HERE to read our very detailed review of the wonderful FTD Deluxe release from 2012 |
Did Elvis Record 'Tiger Man' At Sun?: A question that has puzzled Elvis fans through the years is whether he actually recorded the song ‘Tiger Man’ during his years at SUN studios.
The basic question is why did Elvis refer to 'Tiger man' several times in concert as “The second song that I ever recorded, not too many people heard it”?
And if Elvis DID record it, then why hasn’t any reference to it at SUN or proof of its existence been found?
Elvis would first perform ‘Tiger Man’ in concert at his first 1969 Las Vegas International season and would continue playing it through the years – usually in a medley with Mystery Train - until his last performance at Saginaw on May 3 1977. He would sing it over 150 times on stage!
The thought that there might be an acetate or undiscovered tape of Elvis at SUN singing ‘Tiger Man’ is a mouth-watering concept - but is it an unlikely fantasy or strong possibility?
Go here to our detailed 'TIGER MAN' spotlight as EIN's Piers Beagley puts in the hard yards to check the facts from the fantasy .
(Spotlight; Source;ElvisInfoNetwork) |
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See EIN review of 'Young Man With The Big Beat'.
See EIN review of 'Elvis Is Back!' Legacy Edition review:
See EIN review of 'The Complete Elvis Presley Masters' in-depth Review
See EIN review of 'On Stage' 40th Anniversary LEGACY in-depth review:
See EIN review of From Elvis In Memphis (40th Anniversary Legacy Edition)
See EIN review of 'I Believe' BMG Gospel set.
See EIN review of 'The Complete '68 Comeback Special' CD Review:
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