'ELVIS MEMPHIS' 2024 box-set - EIN in-depth review

‘ELVIS MEMPHIS’ - A delicious Memphis Degustation – in-depth review by Piers Beagley.

SONY/ RCA legacy major Elvis release for 2024 ELVIS MEMPHIS includes four CDs with each one looking at Elvis’ four distinct studio sessions in his home-town. The extra CD includes yet another remix of Elvis’ 1974 Mid-South Coliseum concert.

The key selling-point of the whole set “features 111 tracks, 88 of which are newly mixed versions of the select recordings, pure and without overdubs”.

Marketed in the same way as the ‘From Elvis In Nashville’ release this Memphis set promises the recording sessions are all remixed to focus on Elvis jamming with his studio musicians and without the later overdubs and sweetenings. This not only helps emphasise the beauty of Elvis’ singing but also his work as a musician.

The “General Public” who might have only bought RCA mainstream releases should be very impressed with the concept, while more serious collectors should be impressed by the presentation and power of these Matt Ross-Spang (born in Memphis, Grammy award winning record producer / engineer) newly remixed undubbed masters.

The five cds are presented in two fold-out panels, the 50s and 60s in one, the three 1970’s cds in the other.

A 32-page booklet features fine photos from each period as well as original album covers, musician photos and memorabilia. Thirteen pages are dedicated to a lengthy essay 'In His Own Hometown' by Memphis based author Robert Gordon, “presenting a unique angle to the often told story of Elvis Presley and his music”.

The five CD set is similar to sitting down to a delicious five course meal, a Memphis Degustation.

In a mini-review I would conclude that ... The booklet is a fine presentation and the mixes all sound soulful, loud and modern. Another treat is hearing some very different sounding versions, as well as plenty of the recordings being longer than the original shorter versions.
Listening to this set is like a five-course MEMPHIS degustation since every individual recording session has a different flavour and vibe but are still all influenced by the melting-pot that is Memphis. Yet the feel of each session is still unique.
There is so much great music here to delve into and fans can equally enjoy it as brilliant sounding music-in- the-car or play it on a quality HiFi and listen closely for all the quality musicianship along with the power of Elvis' amazing vocal.
I will be playing this set a lot in the future.

If you are a regular EIN reader then please enjoy this very in-depth review below that looks at every track and what new excitements you might discover..

The first CD is of course Elvis’ key SUN sessions of 1954-55. It is a delicious and exciting taster for the overall feast – a real game changer from the regular bland tastes of the time - but by now somewhat familiar.

From the life-changing ‘That’s All Right’ on July 5, 1954 (presented here as the original SUN version without added RCA reverb) to Elvis’ final jam on ‘When It Rains It Really Pours’ in November 1955 these are all crucial historical recordings. Elvis’ earlier four personal-recording acetate sides are tacked on at the end of the CD.

Rather strangely there is nothing in the sleeve notes to explain that these last four tracks were Elvis’ first attempts at getting into the music business.

It’s seems obvious that they presume that purchasers know all about the SUN sessions and that we would all have bought these recordings before. In fact we have, since they are the same mono masters as used on the 2017 ‘A Boy From Tupelo’ set.

These recordings are crucial but having listened to the recent STEREO releases of these wonderful tracks - where you can pick up so much more about how Elvis and The Blue Moon Boys created this SUN magic - I feel that there was a missed opportunity here for RCA to have released these officially in ‘DES’ stereo. After all, the rest of the RCA Masters in this set have been recreated by MRS to be “brand new” mixes, so why not the SUN masters?

NOTE: Personal favourites that made this MEMPHIS set well-worth purchasing are highlighted in blue.

For Elvis collectors this is where the excitement really begins. Twenty-three powerful southern-soul recordings from Chips Moman’s American Sound studio plus the always disappointing ‘Hey Jude’.

Starting with the original studio tapes Matt Ross-Spang has remixed these crucial recordings, often creating something unique and new. Fans of the original releases with their multiple overdubs of orchestra and backing-vocals can always go back to those versions, but fans that want to hear more ELVIS with the original feel of the studio, and sometimes presented in a different way, will be thrilled by most of these new versions.

FTD collectors will realise that the ‘Undubbed Masters’ of these tracks, as mixed by Chips Moman, have previously been released by FTD but these are something new.

‘In The Ghetto’ is a sensational start since the original single, classic that it is, featured added cello overdubs right channel, violins and brass overdubbed on the left plus backing-vocals overdub. In such a powerful song, once you’ve heard Elvis’ original studio session, it’s obvious that these all sadly buried Elvis’ stark and emotional vocal. They made a simple, poignant song overly complicated.

As on all this new set, here we get the clean studio master with no overdubs and immediately you can notice that compared to the original undubbed Master, Matt Ross-Spang has remixed this to be a far richer, more finished mix.

He has added more reverb to Elvis’ pure vocal while mixing both the drums and bass to be powerful and in the centre of the mix, as well as raising the soulful organ and heightening the lead guitar. He has also added reverb across the whole track to make it sound more finished and richer.

You really do get the feeling of being more present in that dirty old studio, with the band creating soulful Memphis stew but with the clarity of a louder, richer Elvis vocal - it is a powerful sound – a loud up-front mix.

‘Suspicious Minds’ continuing in the same vein the Undubbed original, always a surprise if you are used to the extended brass-overdubbed masterpiece of a single, runs a short 3 ½ minutes. Here again it is the same “richer” mix with the organ and piano raised. However it’s sad to note that any fan who loves this single will quickly notice that the gorgeous Reggie Young guitar lick is out of sync to the rest of the band. It is noticeably delayed behind the tight percussion of Gene Chrisman.

How this occurred and why producer Ernst Jorgensen did not notice is beyond belief. You only have to play the original side-by-side for it to be all too obvious. A huge disappointment.

‘Don't Cry Daddy’ luckily saves the day being the cleverest re-working and sounds completely different to the original release. The original single with its syrupy-orchestral overdub always was a less interesting recording even though it was released as a single.

This new version is so clean, a pure “unplugged” modern mix, with basically Elvis singing dual-harmony (left and right channel) alone to Reggie Young’s beautiful guitar picking. The original bass and drums have been removed but the organ is mixed up. This captures the raw emotion of the song before it was dipped in syrup. Absolutely magnificent, a highlight of this album.

‘Kentucky Rain’ - Chips Moman mixed his original masters knowing that he was going to add multiple overdubs to create the final release. If you listen to the original “dry” studio versions almost all of them sound unfinished as if waiting for the backing-vocals or brass section to be added. This track is a fine demonstration of how Matt Ross-Spang has centred the rhythm section (Tommy Cogbill / Mike Leech on bass & Gene Crisman on drums) to create a really tight funky driving force and by then raising the piano he creates a much richer mix. This new version sounds much fuller and much more like a finished master of Elvis and the Memphis Boys working in the studio.

Almost all of Chips original undubbed masters have the musicians panned to the left or right channel with Elvis’ vocal placed in the middle. This means that if Elvis stops singing the overall sound is very empty, lacking power as if waiting for the overdubs. In Moman’s final releases it is usually the overdubbed backing-vocals that fill out the centre sound. The change with all these new MEMPHIS remixes is the centred rhythm section driving the mixes along and filling out the sound.

Moving on from lengthy discussions here are some of the joys you may discover on each newly remixed track, apart from the new rhythm-power and Elvis’ richer vocal.

‘Mama Liked The Roses’ – Chips often mixed the piano and organ tracks together which would regrettably hide their interplay but here they have been separated and raised, plus there is a new touch of percussion not heard on the original.

‘Do You Know Who I Am’ – This includes a lovely tight percussion and tambourine that was not on the original. With a clear piano, organ and guitar plus raised vocal this now sounds like musicians really working together.

You'll Think of Me’ – This is stunning with a powerful Bobby Emmons’ organ and Reggie Young’s fabulous sitar and driving rhythm section. I always enjoyed the studio versions with Elvis singing solo about his "warm and loving bed" more than the overdubbed single. The FTD ‘Undubbed master’ runs 15 seconds longer with some lovely band workout, it is shame that this version was not also taken to the end.

‘True Love Travels On A Gravel Road’ – A great “funk mix”, the organ has been raised and there is a new percussion / tambourine in this mix that wasn’t on the original.

‘Long Black Limousine’ – This starts with great piano / organ focus and now sounding wonderfully church-like. However afterwards the drums sound a little flat with the Chrisman’s tight cymbals now somewhat missing.

‘After Loving You’ – Not so different from the Chips’ original but of course a more powerful mix and with the guitar raised a little.

‘I'll Hold You In My Heart’ – A great organ / piano sound drives this mix however I missed the lead guitar that has been pulled down to favour them. Gene Chrisman’s cymbals are again flat in this mix where they should be higher.

‘From A Jack To A King’ – You can hear more of Elvis strumming his acoustic guitar in this end-of-a-long-night studio jam with the overall mix being guitar driven and with the piano lower than in the original.

‘Without Love’ – This is definitely improved with Bobby Emmons’s organ raised in the mix making it sound more of a soulful-stew.

‘It's My Way / This Time / I Can't Stop Loving You’ – This interestingly includes more studio banter before the song starts than the FTD version. Again both Bobby Emmons’s soulful organ, along with Gene Chrisman’s tight percussion, are raised in the mix and it has an even better “studio-jam” feel that previous versions.

‘It Keeps Right On A-Hurtin'’ – Again the organ has been raised in this mix with the acoustic guitar much clearer and placed on the right channel.

'I'm Movin' On' – Recorded in one complete take, this studio jam again benefits from the acoustic guitar and piano being raised in the mix making it sound like a real band workout.

'Power Of My Love' – I’ve always loved Undubbed versions of this great song and with the powerful centred rhythm-section driving this ‘funksville’ remix along - plus the “new” harmonica (right channel) that was never in the original mix - this is fabulous and better than the overdubbed master.

‘Stranger In My Own Home Town’ – The full spontaneous studio jam that runs 30 seconds longer than the LP master. Elvis’ vocal is unfortunately is a bit swamped in this mix and some musical separation would have helped. The FTD undubbed version could be an easier listen.

‘Wearin' That Loved On Look’ – This is excellent with the organ raised and “new” acoustic guitar (right channel), plus drums / tambourine included during the middle-break which were not on the original. A great version, very funky.

‘Any Day Now’ – This works very nicely with clean guitar (left channel) which was faded down on the original plus “new” tambourine in the mix. Hearing the guitars on the usually quiet middle-break is a treat. This version sounds fabulous and works very well without the backing vocals.

There is however a minor mistake on Elvis’ vocal repair here, which hopefully you won’t spot and then it won’t annoy you since otherwise this is a great version.

‘Only The Strong Survive’ – Bobby Emmons’ organ (left) was mixed out on the original version and is a great addition here, plus the driving guitar is raised on the right channel. Sadly the FTD Undubbed version runs one minute longer and the same should have been done here.

'Gentle On My Mind' – the original sounded more country, but this mix with higher harmonica, Reggie Young guitar and lovely full bass, creates an enjoyable more soulful feel.

'The Fair's Moving On' – The percussion is higher in the mix with the soulful organ and Bobby Wood piano also raised. Elvis’ vocal now sounds like he’s really working with the band compared to the original where it sounded rather separate. A fine improvement.

'Hey Jude' – Sadly this Beatles jam only proves that Elvis did not know the lyrics of a song that had been number one for nine weeks just three months before and also that the none of his hangers-on could be bothered to go write down the simple lyrics. It was always a real disappointment and never meant to be released. However this new mix with raised percussion / organ does sound more soulful but it only proves what a great band the Memphis Boys were. This version fades 15 seconds earlier than the original release.

Elvis’ 1973 STAX sessions engineered by Felton Jarvis were recorded in a very different manner since all the backing vocalists plus a larger band were together in the studio. This meant some of the recordings needed no overdubs and those that did mainly got string-section sweetenings. The band featured many musicians from the original chips Moman sessions as well as Elvis’ on tour band.

These new Matt Ross-Spang STAX remixes differ less from the original releases compared to the ’69 American Sound sessions but once again the revelation is the stronger rhythm section (Norbert Putnam on bass / Ronnie Tutt on Drums) and by also raising the soulful organ in the mix a more appropriate STAX funk sound has been created. The backing-vocals were present with Elvis at this session not overdubbed afterwards. All these mixes are “beefier” and carry much more punch now sounding “2024” rather than 1973 vinyl. Another bonus is that several tracks run to the very end, past the fade-outs and longer than the originals

‘Promised Land’ - The punchier sound is immediately felt plus James Burton’s guitar nice and loud. Rather oddly Matt Ross-Spang has actually added a post-session organ overdub to the mix. At the time was it was decided that it didn’t work and it still doesn’t. This is a Chuck Berry composition so the guitar should be “ringing-a-bell.” Once again this mix has been created to sound “new” and “different” but this time sadly it just sounds wrong.

‘Raised On Rock’ – Not sounding so different, just with more punch. The backing-vocals have been centred behind Elvis to help give it a fuller mix. As a neat bonus the track continues to the very end with Felton Jarvis noting, “That’s a gas!”

‘I've Got A Thing About You Baby’ – The driving bass gives this a good groove, even if Elvis’ vocal is lower in the mix. The backing-vocals are included.

‘If You Talk In Your Sleep’ – With a great new groove, the acoustic guitars and organ faded up plus a loud driving rhythm-section but this time with the original backing-vocals faded out. Very nice.

‘My Boy’ – A richer sound with the piano raised in the mix plus backing vocals. Disappointingly the percussion is somewhat muted here compared to the original.

‘Spanish Eyes’ – A different sound again, created by the organ and keys raised in the mix but with the guitars lowered. Elvis’ vocal has also been lowered to blend more with the band so perhaps the original “spanish guitar mix” is more enjoyable.

‘Help Me’ – Originally a one-take wonder, this version is great for including the false start helping you feel more “in the studio”. With a punchier modern mix and pianos raised along with the backing-vocals this is very nice.

‘I Got A Feelin' In My Body’ – This is great, a new organ / piano / wah-wah guitar mix! You can hear Elvis singing along from the very start, driving the band along (this was faded out on the original). Lots more Elvis vocal – a fine funky mix. One of the best.

‘It's Midnight’ – With backing vocals and with the lead guitar moved to the centre, this is a very full mix. However on an emotional song like this, perhaps quieter would feel more poignant.

‘Find Out What's Happening’ – The next four songs from the ‘Raised on Rock’ album originally had no overdubs so these are basically “beefed-up mixes” of the original releases and they all sound great. This track sounds more energised and more soulful, with a great ending that runs 10 seconds longer than the original. “Sounds Good” Felton notes. He was right!

‘If You Don't Come Back’ – Another great mix and now with a complete extended outro. The backing-vocals are centred, loud wah-wah guitar and it all sounds more soulful. Listen to the great additional ending as Elvis keeps singing.

‘For Ol' Times Sake’ – A lovely richer mix with the swelling organ matching Elvis’ emotional wavering vibrato. It is delicious, if not so different from the original.

‘Just A Little Bit’ – A great mix with raised percussion, backing vocals centralised and Elvis now sounds far more involved with the band than on the original. This runs 2:45, (not 2:34 as noted on the cover) so is longer than the previous release.

‘Talk About The Good Times’ – With raised percussion and organ / piano, but for some reason the call-and-response backing-vocals have been faded out on this track which sadly doesn’t work.

'Loving Arms' – The backing vocals are back on this very bass / drum driven version. Again with such an emotional song perhaps the quieter Take 2 version is the best.

'You Asked Me To' – This sounds “new”. It also includes a quick intro “Hey, Hey” before they start. With more of an acoustic guitar driven mix, plus backing vocals, this sounds very fine.

'Good Time Charlie's Got The Blues' – This is very good and includes the extra verse that for some reason was edited out of the original - so runs a minute longer and to the very end of the take. With duelling lead guitars, louder organ, extra percussion and Elvis’ vocal sounding much stronger, this sounds very different to previous versions.

'Your Love's Been A Long Time Coming' – This mix is driven by David Briggs’ loud organ plus raised backing vocals (perhaps too much Kathy Westmoreland in the mix) and lovely clean guitar - this is a wonderful soulful mix. The take runs one minute longer than the original release and the ending vocal work-out is a lovely bonus. One has to wonder why Felton Jarvis faded the original so quickly when the albums were already way too short with only ten tracks.

'There's A Honky Tonk Angel (Who Will Take Me Back In)' – With a clean lead guitar, nice clear percussion, once again a richer mix with backing-vocals. Again this version goes to the very end with fun post-take comment, “That was awful”.

'Take Good Care Of Her' – With prominent piano and raised guitar this is interesting for having more of a country feel than the original release.

'She Wears My Ring' – Featuring louder backing vocals but not so different from the original. Again we have the bonus of going right to the end of the take. Felton once again says “That’s a gas” - but this time Elvis replies, “Is it?”

'If That Isn't Love' – This is excellent and starts with a count-in not previously released. This has a soaring church / gospel feel created by a much fuller organ / piano mix and loud backing vocals. Much better than the original and continuing to a lovely clap at the end.

'Three Corn Patches' – The best mix of an inferior song. This beefier mix with raised backing-vocals and nice piano runs for an extra minute to the final ending. This should have been included on the original LP since the final “jam” during the last minute is possibly the best part of the song.

In 1974 Elvis' RCA contract required a new album. With only four new songs (Why Me Lord, How Great Thou Art, Help Me, Let Me Be There) plus a couple of oldies added to the set-list since Aloha, releasing yet another live album was probably too-much-too-soon. But this was Elvis’ live return to Memphis. Why he didn’t include Chuck Berry’s ‘Memphis, Tennessee’ is a tragedy.

Matt Ross-Spang has again produced a much louder, richer sounding mix, more forceful and with far more compression. It should be called the “Coliseum mix” and sounds as if you were there. The negative however is that there is less sparkle on Ronnie Tutt’s percussion and all too often James Burton’s cutting guitar is buried in the mix. Overall there’s also very little variation in the volume.

Back in 2004 FTD released their 'Elvis Live On Stage Classic album' with audio engineer Lene Reidel similarly cracking up the reverb and compression. At the time I really enjoyed the feeling of her “Arena Mix” and the sense of being placed in the audience, even though others fans did complain.

To be honest this new Matt Ross-Spang remix is not so different from the 2004 FTD version.

In 2014 RCA / SONY then released the 40th anniversary Legacy version remixed by Steve Rosenthal / Rob Santos which had a disappointingly thin sound, although at least you could hear each musician clearly. Without reverb and compression it unfortunately had none of the feel of what should have been an awe-inspiring Memphis concert.

This new MEMPHIS version has the audience mixed up loud so that now you can feel more of the excitement and interaction. Elvis’ voice is fuller, the backing vocals are louder, the piano is louder and on some of the songs such as ‘Steamroller’ it sounds very fine with more rhythm section (Duke Bardwell Bass / Ronnie Tutt Drums) driven funk power.

On the fabulous ‘Why Me Lord?’ JD’s deep bass voice echoes all around the arena and the song has a much more powerful gospel feel. Similarly on ‘How Great Thou Art’ Elvis’ vocal is much richer than the original release, Glen D Hardin’s piano is lovely and clear and overall it has a huge sound.

The negative is that on some of the ballads it sounds too loud. Elvis singing “Come down from your golden throne to me, to lowly me” on ‘Help Me’ loses its fragility and on ‘Polk Salad Annie’ some of the subtleties such as the hand-claps and hi-hat percussion are noticeably lost.

However with Elvis’ loving audience screaming loudly and the rhythm-section cranked up plus louder backing-vocals even a minor song such as ‘Let Me Be There’ has a much more enjoyable powerful, gospel feel. Similarly the interaction throughout ‘American Trilogy’ gives it more of that powerful “Aloha” feel.

This certainly is the SONY / RCA Legacy release featuring the most power and “Memphis Coliseum” atmosphere.

DISC 5: Graceland. The final course at home, some sweet Desert.

Matt Ross-Spang re-mixed session outtakes on ‘Way Down In The Jungle Room’ were a revelation in making these final Elvis sessions sound far more positive, happy and creative than they no doubt were at the time. He has done similar work with these ‘undubbed Masters’ managing to make Elvis’ vocal appear much thicker and richer and with the feeling on him being more engaged in the music that was being laid down.

A neat example is the new version of ‘Danny Boy’. The original was released with no overdubs, just Elvis singing solo with David Briggs on piano. That means that this version cannot really be remixed, just layered with new reverb and loudness and there is no doubt that Elvis’ vocal now sounds much more powerful and rich. The new version does sound sensational – a “2024” remaster of a 1976 recording – but to be honest not so different from the poignant original.

Elvis was recording with the TCB band, which in 1976 included David Briggs on “electric piano”, along with backing vocalists. The disappointment was that on the original releases Felton Jarvis tended to add excessive orchestral overdubs which sadly buried the true emotional feeling of these very important final sessions. Here once again with the louder mix, the rhythm-section raised (Jerry Scheff Bass / Ronnie Tutt Drums) and the backing-vocals centralised behind Elvis there is a much more powerful, unified mix coming out of what was, after all, Elvis’ downstairs den. These versions sound remarkable for the fact that they weren’t recorded in a genuine RCA studio.

While a large number of these undubbed master recordings have never been officially released it is worth noting that plenty of them have also appeared with alternative mixes on the rather fascinating ‘Our Memories of Elvis’ RCA releases.

‘Hurt’ – The lead song here immediately demonstrates how Matt Ross-Spang has managed to make Elvis’ vocal sound much thicker and richer than the original and with the backing vocals centred behind Elvis this sounds like a very modern day mix.

‘Never Again’ – With its syrupy overdubbed orchestral strings the original was a very disappointing release. Felton Jarvis appeared to use overdubs to try and hide Elvis’ wavering vibrato but here with a much richer mix and raised rhythm section plus louder backing vocals it is a much more enjoyable version.

‘Blue Eyes Crying In The Rain’ – Bill Sanford’s guitar is higher in the mix along with Bobby Emmon's electric piano and with blended backing-vocals this becomes a much more soulful mix that delightfully goes past the original fade-out to the final band breakdown.

‘Danny Boy’ – The richer vocal delightfully shows off Elvis’ emotion and the hard-work he put into recording this emotional Irish ballad.

‘The Last Farewell’ – Again this is so much better than the overdubbed original release but not so different from the FTD released ‘undubbed master’ version.

‘For The Heart’ – A lovely bass driven mix with raised electric piano creating a much funkier mix that again has a lovely extended ending going to the final band breakdown .

‘Bitter They Are, Harder They Fall’ – A richer mix with both piano and keyboards raised up in the mix.

‘Solitaire’ – Here Elvis’ vocal sounds much richer but you can still notice his wavering vibrato which in the emotion of the lyrics “A little hope, goes up in smoke” works rather nicely.

‘Love Coming Down’ – With lovely driving drums and high-hat plus louder bass and piano this version is a nice addition.

‘I'll Never Fall In Love Again’ – Unusually Matt Ross-Spang has actually faded out the backing-vocals that were originally recorded in the Jungle Room. This is a brave move since it leaves Elvis’ vocal very exposed but with the dual-piano mix, electric piano left and Tony Brown right, this is a fascinating version.

‘Moody Blue’ – More keyboards plus a great mix of Elvis and louder backing-vocals. Sounding much fuller than the original release the treat here is that this goes way past the fade-out of the original single.

‘She Thinks I Still Care’ – A more soulful mix, less country, and with the backing-vocals centred Elvis sounds much more focused with the harmonies. Again compared to the original there is a lovely extra minute before the fade-out.

‘Way Down’ – With a louder punchier rhythm section this is a great version. Elvis’ false start on the second verse has been included demonstrating how the recorded version of this classic single sounded before being edited.

‘He'll Have To Go’ – A lovely powerful soulful mix with piano / organ raised. Even though Elvis overdubbed his final vocal without the band, here this beautiful remix blending him with the backing-vocals now sounds as if Elvis was really there working with the band. A great version.

‘Pledging My Love’ – Lots of reverb on Elvis’ voice, this loud mix with clean guitar and electric piano raised sounds astonishing when you know that it was recorded in Elvis’ Graceland den. It is fabulous to have the complete 5-minute version that demonstrates Elvis not wanting to let go of the cool groove being laid-down.

‘It’s Easy For You’ – The original syrupy-strings overdubbed master was an unforgiveable smothering of Elvis’ emotional vocal. Here with James Burton’s guitar raised the mix, loud backing-vocals blending with Elvis this is superb version of the original release.

This Graceland sessions CD nicely matches Matt Ross-Spang's sessions outtake compilation from ‘Way Down In The Jungle Room’. Both cds feature Elvis sounding far healthier and happier than the original overdubbed RCA releases and also far more interested in laying down some soulful vibes.

EIN Note: Despite some mainstream reviews stating that this set features all of Elvis’ Memphis recordings that is not correct. Both the American Sound and STAX sessions have a few tracks left out so that the highlights can fit onto one disc.
The following tracks were not included.
American Sound: This Is The Story, A Little Bit of Green, My Little Friend, Inherit The Wind, Rubberneckin', I'll Be There, And The Grass Won't Pay No Mind, If I'm A Fool For Loving You, Who Am I?
Stax: Girl of Mine, Mr. Songman, Thinking About You, Love Song of the Year.

Fans can happily debate which tracks should not have been left out but personally I cannot fathom how the producers chose the embarrassing ‘Hey Jude’ over any of the other 1969 tracks that were deliberately omitted.

Overall Verdict: Elvis seems reluctant to go back into the studio since those fateful 1976 Graceland sessions so fans really should be grateful for anything “new” and genuine that might be released. RCA’s ‘From Elvis In Nashville’ cleverly demonstrated Elvis’ still being passionate in recording all kinds of music, sitting in a studio and jamming with his core musicians. This set is a neat follow-up which thanks to Matt Ross-Spang cleverly does the same trick of letting fans listen in on Elvis laying-down the foundations of his key vinyl masters from his three post-SUN Memphis recording sessions.
The booklet is a fine presentation and the mixes all sound soulful, loud and modern. Another treat is hearing some very different sounding versions, as well as plenty of the recordings being longer than the original shorter versions.
As stated earlier, listening to this set is like a five-course MEMPHIS degustation since every individual recording session has a different flavour and vibe but all still influenced by the melting-pot that is Memphis. Yet the feel of each session is still unique.
There is so much great music here to delve into and fans can equally enjoy it as brilliant sounding music-in- the-car or play it on a quality HiFi and listen closely for all the quality musicianship along with the power of Elvis' amazing vocal.
I will be playing this set a lot in the future.

Please note that the low-res personal scans used in this review do not show the true quality of the images.

Compilation Produced by Ernst Jorgensen
Art Direction & Research by Roger Semon

Discs 2-5 Mixed by Matt Ross-Spang & Mastered by Vic Anesini

CD 1: SUN Records: That's All Right - Blue Moon Of Kentucky - I Don't Care If The Sun Don't Shine - Good Rockin' Tonight - Milkcow Blues Boogie - You're A Heartbreaker - Baby, Let's Play House - I'm Left, You're Right, She's Gone - I Forgot To Remember To Forge - Mystery Train - I Love You Because - Just Because - Trying To Get To You - I'll Never Let You Go (Little Darlin') - Blue Moon (Take 9/M) - Harbor Lights - I'm Left, You're Right, She's Gone (Slow Version) - When It Rains, It Really Pours - Tomorrow Night - My Happiness - That's When Your Heartaches Begin - I'll Never Stand In Your Way - It Wouldn't Be The Same Without You

CD 2: American Studios: In The Ghetto - Suspicious Minds - Don't Cry Daddy - Kentucky Rain - Mama Liked The Roses - Do You Know Who I Am - You'll Think of Me - True Love Travels On A Gravel Road - Long Black Limousine - After Loving You - I'll Hold You In My Heart (Till I Can Hold You In My Arms) - From A Jack To A King - Without Love (There Is Nothing) - Medley: It's My Way / This Time / I Can't Stop Loving You - It Keeps Right On A-Hurtin' - I'm Movin' On - Power Of My Love - Stranger In My Own Home Town - Wearin' That Loved On Look - Any Day Now - Only The Strong Survive - Gentle On My Mind - The Fair's Moving On - Hey Jude

CD 3: Stax Studios: Promised Land - Raised On Rock - I've Got A Thing About You Baby - If You Talk In Your Sleep - My Boy - Spanish Eyes - Help Me - I Got A Feelin' In My Body - It's Midnight - Find Out What's Happening - If You Don't Come Back - For Ol' Times Sake - Just A Little Bit - Talk About The Good Times - Loving Arms - You Asked Me To - Good Time Charlie's Got The Blues - Your Love's Been A Long Time Coming - There's A Honky Tonk Angel (Who Will Take Me Back In) - Take Good Care Of Her - She Wears My Ring - If That Isn't Love - Three Corn Patches

CD 4: LIVE Mid-South Coliseum, Memphis, TN: Also Sprach Zarathustra - See See Rider - I Got A Woman / Amen - Love Me - Trying To Get To You - All Shook Up - Steamroller Blues - (Let Me Be Your) Teddy Bear / Don't Be Cruel - Love Me Tender - Long Tall Sally / Whole Lotta Shakin' Goin' On / Your Mama Don't Dance / Flip Flop And Fly / Jailhouse Rock / Hound Dog - Fever - Polk Salad Annie - Why Me Lord - How Great Thou Art - Suspicious Minds - Introductions - Blueberry Hill / I Can't Stop Loving You - Help Me - An American Trilogy - Let Me Be There - My Baby Left Me - Lawdy, Miss Clawdy - Funny How Times Slips Away - Can't Help Falling In Love - Closing Vamp

CD 5: Graceland: Hurt - Never Again - Blue Eyes Crying In The Rain - Danny Boy - The Last Farewell - For The Heart - Bitter They Are, Harder They Fall - Solitaire - Love Coming Down - I'll Never Fall In Love Again - Moody Blue - She Thinks I Still Care - Way Down - He'll Have To Go - Pledging My Love - It's Easy For You

EIN Readers' Comments

From Freddy S.
I still don't know about this set! To me it's an insult with the terrible Don't Cry Daddy mix with Elvis' harmony vocal wich sounds very strange to me.
It is also unforgivable that on Suspicious Minds Reggie Young his guitar is miss-alligned/out of sync. And Ernst his explanation sucks. Stating that it was on the original tape covered up/hidden by the overdubs. If so, how come it was not on the undubbed master on the FTD covering these sessions? What a bullcrap explanation, even with overdubs it would be there. And the skip in Any Day Now was on the original tape too? Maybe it is not Matt Ross-S job to correct this stuff, but he should have refused to work with these files. And Ernst should take more responsibility, and send out a replacement disc.

I'm still on the fence about this set, but this will never be my "Go-To" set, since it will annoy me everytime I hear it. But i think I will pass on it. After all is just a rehash with a different mix.

EIN Adds: We agree that 'Suspicious Minds' is a total disaster. No excuse! Various excuses stating "as recorded" or "hidden by overdubs" is total crap.
Anyone familiar with the original Suspicious Minds would know it was wrong.
Of course perhaps Matt Ross-Spang did not know the studio undubbed original, in which case the fault totally lays with the Ernst Jorgensen. Did he not play it to any other Elvis colleague to quality-check it?

From James B.
Thank you for such a detailed review.
I had to let you know that you are amazing with all the details on every track.
It's important for general fans to understand the musicianship changes and especially all those different rhythm sections that Elvis used, every session sounds different.
Congrats

From Barry S.
I would have liked something extra from the first SUN cd. I agree why not stereo?
Then the newly remixed Memphis 1969 recordings were a mixed bag for me.
Some good, some interesting but perhaps the complete sessions released in 2019 were everything we needed.
The highlight of this set was the Jungle Room sessions, the regular overdubbed releases were a disgrace to Elvis's musical ability.
I have listend to the final cd more times than any other.
Thanks to matt ross and the producers.

From Pat O'D.
You review confirms that memphis Chips recording were not about elvis but chips!
No wonder elvis didnt want to come back there as he lost his producing and didn't like being ordered about.
This was confirmed at the time as the album didn't sell that well as expected and Elvis would have picked up on this.
Suspicious Minds only 1 week at number1, compared to the rest of his classic hits in the past.

From Ian A.
I think we are lucky to have this set and cheaper than ftd releases i have bought in the past.
The two cd of Elvis at Sun and Live in memphis are a waste of time as i have bought then too many times before. And if I have bought them everyone else has done to.
But i really like the other cds, 1969 and stax and jungle room.
They sound very good and VERY different. Some versions are the best i have heard.
I really like the new Dont Cry Daddy and True Love Travels on A Gravel Road and Any Day Now where i cannot hear any mistake you mentioned.
on the Stax disc for me the best are If You Talk in your Sleep and Good Time Charlies got the Blues and If That Isn't Love but they are all very good.
The last jungle room cd is brilliant all of it even Never Again which I used to hate.
Thank you Matt Ross Spang and Ernst Jorgansen.

From Stewart McN
Thanks you for the longest review i have ever read.
But I think you are being very picky on what is a very good value set for Elvis fans.
Memphis Elvis is a great set and I do not see why some fans are still moaning about getting new Elvis Presley releases.
I buy everything that rca release and have been buying these since they were originally on vinyl.
Theese new versions sound so good and I like the nice packaging.
Good price great music something new to play.
stop examining each track and just enjoy new Elvis that sounds great.

From Keith S uk
Just listening to this new set now I love it.
I think we should all cherish the vocals and the music we get now.
Let’s be grateful for what we get after all these years elvis gave so much in his music I’m enjoying the clarity from these mixes.
Just sit back and enjoy elvis singing his heart out .

From Martin H
Thanks for the long review but you have missed out some tracks that I liked the most.
On cd2 I really like the new versions of Long Black limousine and After Loving you and I agree the new Dont Cry Dady is amazing.
on cd3 Raised On Rock really does rock and I love it going to the end. also I Got a Feeling in my Body.
on cd4 Never Again is really good powerful and different also I rate Bitter They are Harder They Fall to be honest in fact the jungle room cd is brillant every track.
I am not sure if the elvis live on stage even needed to be in the set at all but the other cds make it a great release.

Click to comment on this review HAVE YOUR SAY - Do YOU have other favourite tracks? How do you rate this release?

UPDATED - 'Way Down In The Jungle Room' EIN Review: 40th anniversary of Elvis’ last recording sessions which took place in Graceland’s Jungle Room.
The publicity noted the sessions “have been newly mixed by Matt Ross-Spang at Sam Phillips Recording” and “includes both outtakes and in-the-studio dialog, providing a ‘fly-on-the-wall experience’ of what the sessions were like".
Elvis' original 76/77 albums were fairly uninspired collections (bar a few fine singles) and on the original LPs it was almost impossible to glimpse any sign of creative input from Elvis through the syrupy overdubs. It wasn't until the release of FTD’s magnificent ‘The Jungle Room Sessions’ that many fans began to understand the raw emotion, close camaraderie and Elvis’ personal feelings that were revealed by these intimate Graceland sessions.
To produce that same kind of revelation for the 'General Public' would be a very tricky project but that is exactly what the new legacy team has done - and to great effect.
Go here as EIN's Piers Beagley discovers the old Elvis magic and what is special for Elvis Collectors in our in-depth review
Now Updated & Expanded with Your Comments - James Burton talks about the Jungle Room sessions & more
(CD Reviews, Source;ElvisInformationNetwork)

'Live In Memphis': In 1974 Elvis focussed on a hard touring schedule and never once went into a recording studio. The 'Live On Stage In Memphis' LP first released in July '74 captured this but was virtually ignored at the time since it followed a little too closely to the #1 album 'Aloha'. Strangely it was one of the few LPs in the seventies not to have a cover picture of Elvis performing Live and the cover photo of Graceland hardly brought on the excitement & fever of an Elvis concert!

EIN takes an in-depth look at one of Elvis' best concerts of 1974, now released with a fabulous new sound mix that puts you right in the center of the Mid-South Coliseum.

‘Elvis At Stax’ [Deluxe] Reviews: Released today, it is great to see yet more good reviews and general media publicity for this new 40th Anniversary Deluxe Set.
General Jabbo of Blog Critics posted an honest review of this new release, including..
... The year 1973 was a good one for Elvis but being the world of Elvis Presley, it wasn’t without its complications, however. Presley’s relentless touring schedule had left him exhausted. He was separated from Priscilla during this time and then RCA forced Elvis into the studio.
Presley knew of Stax and its success, and its proximity to Graceland couldn’t be beat, so he scheduled sessions for July and December of that year. A plethora of material was recorded.
The sessions proved fruitful, providing material for three albums: Raised On Rock, Good Times, and Promised Land. This collection presents two complete albums and nearly a third, plus a multitude of outtakes. While many of these outtakes have been previously released on various box sets, Elvis At Stax cherrypicks many of the best of these tracks and presents them in one place.

While some of this material may not be as strong overall as earlier triumphs such as From Elvis In Memphis or Elvis Country, listeners who dismiss it outright are missing out on many fine performances. Elvis At Stax does a good job of presenting Presley’s Stax sessions in a manner that makes sense — something Presley fans have wished for years — while offering a fresh view of this material.
Go HERE to EIN's overview of the STAX media reviews and Cool Photos of the new box-set.
(CD Reviews, Source;ElvisInfoNet)

‘From Elvis in Nashville’ Box-set EIN In-Depth Review: A 4CD collection presenting the definitive chronicle of Elvis' 1970 marathon sessions with the "Nashville Cats".
Recorded live in RCA's Studio B over the course of an epic five day run in June 1970 now, for the first time, the sessions are presented in pristine audio, newly mixed by acclaimed engineer Matt Ross-Spang without the added overdubs appearing on earlier releases.
Elvis’ 1970 Nashville session was very different from the previous Memphis sessions or even Elvis’ later sessions. Nashville was a real mix of Elvis recording RCA supplied demos along with one-take spontaneous favourites Elvis threw into the mix.
As Elvis noted, "It don't take much to get these guys going, boy, I'll tell you…. Just give them a "well..." and they're gone. That's what I call 'Sittin' on ready".
EIN's Piers Beagley explores this new box-set to discover one of the best Elvis releases in years..
(CD Reviews, Source;ElvisInformationNetwork)

Memphis Sessions: "The power of Memphis soul": From the wonderful start of "After Loving You" Tk3, this CD is an extraordinary insight into Elvis rediscovering his musical roots that so escaped him in the sixties. This is Beale Street Blues and Memphis Soul combined with some of the most meaningful lyrics that he would ever record. FTD once again let us eavesdrop on Elvis, this time at his most important recording session of his career. An essential purchase.

'A Boy From Tupelo' 2017 In-depth Review: 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 'A Boy From Tupelo' 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 a previously officially unreleased "I Forgot to Remember to Forget" from a 1955 Louisiana Hayride performance.
Our in-depth 3,000 word review provides a detailed look, with 14 example pages plus additional photos from the book.
Go here as EIN's Piers Beagley checks out this new slimline version released for the 'General Public'..
For fans who have asked, we also compare the 2012 'A Boy From Tupelo' Deluxe FTD to the new "Mainstream" release.
(Book/CD Reviews, Source;ElvisInformationNetwork)

'From Elvis at Sun' Stereo CD Review: A new ‘From Elvis at Sun’ “Mono II Stereo” release from the Danish Memphis Mansion label.
The compilation includes the five classic SUN SINGLES plus the other nine alternate cuts that RCA would purchase from Sam Phillips.
Keen Elvis fans must surely have a serious fascination about how Elvis' early ground-breaking recordings were created.
Why do Elvis' classic rock’n’roll singles sound so good, especially given the low quality recording equipment of the time? And how were they laid down in the studio?
One way to discover the wonders of 50’s rock’n’roll inventiveness is to examine "stereo" versions of the old mono recordings and it is only since the creation of the cutting-edge audio process DES (Digitally Extracted Stereo) that we can do this.
Previous Mono <> Stereo versions have not quite made their mark. So is it possible that this new 2023 set can help fans appreciate the real magic and brilliance of Elvis at SUN?
EIN's 2,600 word review by Piers Beagley looks in-depth at whether new upgrades in "DES" software can help create something special from these old SUN classics...
(CD Reviews, Source;ElvisInformationNetwork)

'ELVIS / MEMPHIS'

SONY / RCA 5CD box-set

- Review by Piers Beagley

Go to EIN's CD Review Page

Return to EIN's Home Page