For more information on the magazine and the fan club, visit the >>> It's Elvis Time website.
Monday, December 23, 2024
December 23 - It's Elvis Time
Saturday, December 21, 2024
December 21 - The Year In Review Video
Emiel Maier published the 2024 Video News Report, wrapping up the main news events of 2024 with an overview of the good, the bad and the sad news, while skipping the nonsense.
(Source: Emiel Maier)
December 21 - Charts December 2024 - Week 3
Looking at the charts, streaming music has leveled the playing field as there is no difference anymore between a heritage track or a new release. Just look at al the classic Christmas music, topping the charts worldwide.
U.S. Billboard charts:
The classic 'Blue Christmas' re-entered the Billboard Hot 100 chart at No. 42 this week. On the Global Top 200 chart the single climbed from No. 87 to No. 63. On the Streaming Songs chart the song rose from No. 45 to No. 32. On the on the Holiday Streaming Songs chart, the song climbed from No. 22 to No. 21.
Elvis is also featured on the Rock Song charts, with 'Blue Christmas' remaining steady at No. 2 on Billboard's Rock Streaming songs chart and 'Here Comes Santa Clause' re-entering that chart at No. 25.
Elvis' 'The Classic Christmas Album' climbed another 11 spot this, landing at No 54 on Billboard's main Album Top 200 chart. The album made a re-entry at No. 45 on the Top Streaming Albums chart. It climbed to No. 19 on the Catalog Album chart.
'The Classic Christmas Album' climbed from No. 87 to No. 63 on the Billboard Global 200 chart. The compilation jumped from No. 15 to No. 12 on the Top Country Albums chart while 'The Essential Elvis Presley' compilation made a re-appearance at No. 45 on that chart, replacing the 'ELV1S 30 #1 Hits' album (is Billboard messing up the album titles again?).
- 'Blue Christmas' jumped from No 8 to No. 5 on the Top Country Streaming Songs chart.
- 'Oh Little Town of Bethlehem' remained steady at No. 15 on the Christian Streaming Songs chart.
- On the Holiday 100 chart, 'Blue Christmas' remained steady at No. 21. while 'Here Comes Santa Claus (Right Down Santa Claus Lane)' climbed 2 spots to No. 84.
On the Top Rock and Alternatives Album chart 'The Classis Christmas Album' climbed from No. 12 to No. 11 while it lost 1 spot on the Top Rock Album chart and dropped to No. 9. On the Top Holiday chart the album lost 2 spots and fell to No. 17.
On the Classical Album chart the 'Christmas with Elvis and the Royal Philharmonic Orchestra' remained steady at No. 23.
On the Artist Top 100 chart 'Elvis' climbed from No 55 to No. 49.
Forbes noted: There will forever be a big question mark hanging over Elvis Presley’s performance on the charts in America. Many of his early smashes predated Billboard introducing one definitive ranking for the most popular songs in the U.S., the Hot 100. That tally was inaugurated in 1958, by which point Presley was already a star. Some longtime fans argue that other, similar lists that existed - where the rocker had succeeded - should be counted toward his historic Hot 100 total, though technically, they do not.
That debate rages on—though according to Billboard charts, there’s only one real answer—as does the American public’s love of Presley’s music. While some of his most famous tracks never reached the ranking, the late powerhouse is back on the competitive list once more thanks to one of his most successful releases.
“Blue Christmas” reappears on the Hot 100 this week. The track narrowly misses out on becoming a top 40 smash once more in America—at least on this list—but it will likely crack that region when the charts are refreshed, as listeners in the U.S. can’t seem to get enough of the sad tune.
Presley mounts an often-annual comeback onto the Hot 100 with “Blue Christmas,” which surges in popularity when the end of the year returns. It is one of dozens of holiday classics that find their way to the Billboard charts as interest in the season rises.
“Blue Christmas” has thus far peaked at No. 18 on the Hot 100. Despite the fact that it was released in 1964—Presley’s version, at least—the tune has only earned 14 stays on the chart. It adds to that sum nearly every December, now that a track’s placement on the tally is influenced by streaming activity and an uptick in radio airplay, as programmers embrace renewed love of all things Christmas.
Presley doesn’t only appear on the Hot 100 with “Blue Christmas,” as the single is a cross-genre hit that Americans consume however they can. This week, the smash rises on the Streaming Songs chart (No. 32) and the Country Streaming Songs ranking (No. 5). It’s also a non-mover in second place on the Rock Streaming Songs list.
“Blue Christmas” is always the focus for Presley around the holidays, but as of this frame, it’s not the legend’s only hit single in the U.S. His recording of “Here Comes Santa Claus (Right Down Santa Claus Lane)” is back on the Rock Streaming Songs tally this week, where it lands at No. 25. That’s last place on the chart, though it might rise closer to its No. 4 peak in the coming period or two, before the holiday season fades once again.
Go here for the original article on >>> Forbes.
US Book Charts:
Extra charts from the U.S. this week, for the Lisa Marie Presley biography. On the New York Times 'Combined Print and E-Book Nonfiction' bestsellers lists, 'From Here To The Great Unknown' remained steady at No. 12. On the nonfiction hardcover bestsellers list the memoir climbed back to No. 10. On the Audiobook bestsellers list for November, the book is listed at No. 9.
The book dropped off the Publisher's Weekly Top 25 Non Fiction Hardcover list.
Official U.K. charts:
- Official Album chart: 'ELV1S 30 #1 Hits' rose 1 spot from No. 63 to No. 62.
- Official Streaming Album chart: 'ELV1S 30 #1 Hits' climbed from No.43 to No. 40.
- Official Singles Chart: 'Blue Christmas' climbed from No. 78 to No 69.
- Official Streaming Singles Chart: 'Blue Christmas' jumped from No. 59 to No. 55.
- Official Audio Streaming Singles Chart: 'Blue Christmas' rose from No. 53 to No. 48.
Canadian Charts:
- On Billboards Canadian Hot 100 chart, 'Blue Christmas' climbed from No. 35 to No. 33.
- 'The Classic Christmas Album' climbed from No. 63 to No. 58.
Irish IRMA charts: (to be updated on IRMA site this week)
- Official Irish Album chart: 'ELV1S 30#1 Hits' won 5 places, climbing to No. 77.
Swedish Charts:
- On the Swedish Album chart 'Elvis' Christmas Album' climbed 5 spots to No. 31.
- On the Swedish Album Top 100 chart 'Blue Christmas' made a re-entry at No. 100.
Dutch Charts:
- On the Dutch Album Top 100 'Elvis' Christmas' climbed from No. 55 to No. 43.
- On the Dutch Single Top 100 chart 'Blue Christmas' climbed from No 71 to No. 65.
Greek Charts:
- On the Greek IPFI chart the 'ELV1S 30 #1 Hits' compilation lost 7 spots, dropping from No. 49 to No. 70.
(Source: Billboard / Official Chart Company / IRMA / UK Mix Forum/ IPFI / Amazon / NY Times / Publisher's Weekly / Entertainment Weekly / Forbes)
Friday, December 20, 2024
December 20 - Sold Out Concert Magazines
Each magazine has 52 full color pages contains photos, background information, newspaper clippings, an overview of the CD featuring the shows and much more. In total the series will cover all the live tours from 1970 to 1977 in 21 volumes, totaling over 1,000 pages.
Christmas Classics
The CD contains the songs 'Blue Christmas', I'll Be Home for Christmas' and 'If I Get Home on Christmas Day'.
(Nigel Patterson / Elvis Presley Fan Club Brazil / Presley Collectors Group)
Thursday, December 19, 2024
December 19 - Vinyl On Valentine's Day
Pan Am Records announced the February 14, 2025 release of the LP 'Rockin' '57' on 180 Gr crystal clear colored vinyl.
1957 was also the year in which he bought Graceland, appeared in the movies 'Loving You', and started working on the second, ‘King Creole’. He also gave plenty of concerts and recorded several studio sessions.
This LP showcases all of his 1957 Rock and Roll studio sides. The core group backing him on all of these sides consists of Scotty Moore on guitar, Bill Black on bass, and D. J. Fontana on drums, plus The Jordanaires on backing vocals, and pianist Dudley Brooks on most of the tracks.
Side A: Got A Lot O’ Livin’ To Do / All Shook Up / Mean Woman Blues / (I’m Having A) Party / Hot Dog / Lonesome Cowboy / Blueberry Hill / Have I Told You Lately That I Love You? / It’s So Strange / (Let Me Be Your) Teddy Bear.
Side B: One Night Of Sin / Don’t Leave Me Now / I Beg Of You / One Night / I Need You So / Loving You / When It Rains, It Really Pours / Jailhouse Rock / I Want To Be Free / (You’re So Square) Baby, I Don’t Care / Treat Me Nice.
This LP showcases all of his 1957 Rock and Roll studio sides. The core group backing him on all of these sides consists of Scotty Moore on guitar, Bill Black on bass, and D. J. Fontana on drums, plus The Jordanaires on backing vocals, and pianist Dudley Brooks on most of the tracks.
Side A: Got A Lot O’ Livin’ To Do / All Shook Up / Mean Woman Blues / (I’m Having A) Party / Hot Dog / Lonesome Cowboy / Blueberry Hill / Have I Told You Lately That I Love You? / It’s So Strange / (Let Me Be Your) Teddy Bear.
Side B: One Night Of Sin / Don’t Leave Me Now / I Beg Of You / One Night / I Need You So / Loving You / When It Rains, It Really Pours / Jailhouse Rock / I Want To Be Free / (You’re So Square) Baby, I Don’t Care / Treat Me Nice.
Debut on Wax
The Vinyl on Wax record label announced the February 14, 2025 re-release of Elvis Presley’s debut album as a Limited Edition on 180 Gr. crystal clear vinyl with 4 bonus songs.
On Tour 1974: California
The Memphis Recording Service announced the February 21, 2025 release of the 3-CD-set 'On Tour 1974: California' and the double LP set 'Live In Los Angeles'.
For the first time ever, the material from these shows is presented in stereo. The accompanying booklet includes general background notes as well as presenting rare photographs and memorabilia dating from this short tour.
The 2-LP vinyl version titled 'Live In Los Angeles 1974' is a limited edition set and will be available in both black and clear vinyl.
The special double-vinyl compilation includes Elvis' May 11 1974 Inglewood Forum show together with highlights of his May 10 San Bernardino show. It also includes Elvis' unique 'You Can Have Her' as well as the two home-recordings.
Please note, the clear vinyl is only available from exclusive Elvis dealers and fan clubs and not to the mainstream public stores.
CD 1 – Inglewood Forum, Los Angeles, Ca
May 11 1974 (Saturday - Evening Show)
01. Also Sprach Zarathustra
02. See See Rider
03. I Got A Woman/Amen
04. Love Me
05. Tryin' To Get To You
06. All Shook Up
07. (Let Me Be Your) Teddy Bear/Don’t Be Cruel
08. Love Me Tender
09. Steamroller Blues
10. Hound Dog
11. Fever
12. Polk Salad Annie
13. Why Me, Lord?
14. Suspicious Minds
15. Introductions
16. I Can't Stop Loving You
17. Help Me
18. An American Trilogy
19. Let Me Be There
20. Elvis Talks
21. Funny How Time Slips Away
22* Big Boss Man
23* Can’t Help Falling In Love
24* Closing Vamp
* May 10 1974 (Friday) Swing Auditorium, San Bernardino Ca
Bonus Track:
May 11 1974 (Audience Recording, Saturday - Afternoon Show)
25. You Can Have Her
CD 2 – Selland Arena, Fresno, Ca
May 12 1974 (Sunday - Afternoon Show)
01. See See Rider (Incomplete)
02. I Got A Woman/Amen
03. Love Me
04. Tryin' To Get To You
05. All Shook Up
06. (Let Me Be Your) Teddy Bear/Don’t Be Cruel
07. Love Me Tender
08. Steamroller Blues
09. Hound Dog
10. Fever
11. Polk Salad Annie
12. Why Me, Lord?
13. Suspicious Minds
14. Band Introductions
15. I Can't Stop Loving You
16. Help Me
17. An American Trilogy
18. Let Me Be There
19. Elvis Talks
20. Funny How Time Slips Away
Bonus Tracks:
April 1974 – Home Recordings (845 Chino Canyon Road, Palm Springs, Ca) (Elvis With Linda Thompson, Tim Baty, Sherrill Nielsen & Donnie Sumner)
21. Spanish Eyes
22 Let Me Be The One
CD 3 – Swing Auditorium, San Bernardino, Ca May 13 1974.
01. See See Rider
02. I Got A Woman/Amen
03. Love Me
04. Tryin' To Get To You
05. All Shook Up
06. (Let Me Be Your) Teddy Bear/Don’t Be Cruel
07. Love Me Tender
08. Steamroller Blues
09. Hound Dog
10. Fever
11. Polk Salad Annie
12. Why Me, Lord?
13. Suspicious Minds
14. Band Introductions
15. I Can't Stop Loving You
16. Help Me
17. An American Trilogy
18. Let Me Be There
19. Funny How Time Slips Away
20. Big Boss Man
21 Can’t Help Falling In Love
Tracks LP: May 11, 1974 - Inglewood Forum, Los Angeles, Ca
01. Also Sprach Zarathustra
02. See See Rider
03. I Got A Woman/Amen
04. Love Me
05. Tryin’ To Get To You
06. All Shook Up
07. (Let Me Be Your) Teddy Bear/Don’t Be Cruel
08. Love Me Tender
Side B:
01. Steamroller Blues
02. Hound Dog
03. Fever
04. Polk Salad Annie
05. Why Me, Lord?
06. Suspicious Minds
Side C:
01. Introductions
02. I Can’t Stop Loving You
03. Help Me
04. An American Trilogy
05. Let Me Be There
06. Elvis Talks
07. Funny How Time Slips Away
Side D:
01. Big Boss Man
02. Can’t Help Falling In Love
03. Closing Vamp
04. You Can Have Her
05. Spanish Eyes
06. Let Me Be The One
Note: The May 11th show was released earlier in 2024 as 'Back in L.A. by the Millbranch record label. The MRS record label even used the same picture. The recordings from May 10, 13 and 13 1974 were previously released on the Follow That Dream collectors label CD 'Elvis In California'.
(Source: Jazz Messengers / Echo’s Record Bar / MRS)
Tuesday, December 17, 2024
Review - Presley -The Essential ‘50’s Masters
Elvis author and expert Gordon Minto listened to the new RDM-Edition release 'Presley -The Essential ‘50’s Masters', and shared his thoughts exclusively on Elvis Day By Day.
Now before those of you of advancing years - and / or those who have a heart condition - become apoplectic with rage at the very thought, please remember that opting for this medium is not mandatory: you do have a choice, but please, let that choice be based on the aural evidence and not on prejudice. Thank you! …
Many will recall the summer of 1992 when BMG issued its 5 CD / 6 LP version of the ‘50s masters. It was, quite rightly, hailed as a major historic release (the first of its kind) and earned its producers - Ernst Mikael Jorgensen and Roger Semon - a fully-deserved raft of accolades within and outside of the record industry though, unfairly and cruelly, it never won the industry awards it ought to have done. More importantly though, it earned the team the admiration and respect of collectors around the world. But now, more than 32 years later (yes, I’ve counted!) there’s a relatively new medium on the block which offers a new way of hearing this utterly vital and seminal musical collection. I’m talking of the digitally extracted stereo version that was released recently, the work of long-time fellow fan and audio wizard, Anthony Stuchbury who, courtesy of the French label RDM, has issued his own version of this set - but in stereo!
However, before dipping into this set more closely, it’s worth setting the scene. Older fans and collectors will be more than familiar with what was referred to as ‘electronically reproduced stereo’ introduced into the industry by RCA in the early 1960s. Without question, it was an unmitigated disaster and an aural abomination. I won’t go into how the process worked (not least because I don’t really care and it’s undeserving of any lengthy explanation): suffice to say that what it invariably meant was that clear mono recordings were presented in a ghastly slightly out-of-phase sound in an attempt to simulate some channel separation, often laden with overbearing echo. So, what makes DES any different and does any of this really matter when, historically, fans were used to hearing (and liked) mono recordings?
Once again, I won’t attempt to explain the science behind this latest innovation (which by the way, isn’t new, as the process has been around for some while, sometimes successfully, other times less so). Those using it have simply got better at using the process. But this is quite possibly the most ambitious Elvis project yet. And so, curious to know what this sounded like, I sampled some earlier attempts and then bought this set - certainly not with the intention of replacing or supplanting my original mono masters but rather to complement them. Subsequently, I was then invited to write about it independently from a buyer’s point of view - and much like the recently issued undubbed Memphis ’69 recordings that appeared on Sony’s 5 CD Memphis set they too were offered not as a replacement for the masters but rather to complement them. Inevitably, as with that set, the resulting audio experience arouses interesting but also sharply different points of view. As regards the reworked ‘50s set, purists (who have always favored mono, come what may) may well be appalled and denigrate such releases out of hand, shocked by the very notion, while others who are more inclined to weigh up the advantages (which I will touch on later) will - sensibly in my view - keep an open mind and reserve judgement until they have actually heard the end results. And although I’ve always liked mono recordings myself (for that’s how they appeared originally - in fact, it was the only option! - and how I heard them in the first place), I’m not anal about them: I also like good stereo recordings for their clarity and audio image, especially when listening on a hi-fi. Self-evidently, if you are playing this set without having stereo capability (two speakers) then it will be somewhat pointless.
Charges of messing with the man’s music is a common criticism and one which I have voiced my opinions on in the past when the objective appears to be to change what was there originally. And here, I’m thinking of the bogus spliced takes releases and use of AI (the bizarre practice of presenting Elvis singing songs he never actually sang!) which, in effect, wholly misrepresent what was done in the first place and thus alter history. However, where DES is concerned I understand that the process adds nothing new but, vitally, nor does it take anything away (other than unwanted extraneous noise). Put simply, it uses highly sophisticated processes to achieve this. Remember, quite recently, this type of equipment was employed very effectively by no less a person than Peter Jackson on very poorly recorded and damaged personal tapes of John Lennon that were later used to construct a ‘new’ Beatles’ track, to considerable acclaim. By separating the frequencies it is now possible to entirely reconstruct a song by cleaning up the audio (taking out intrusive tape hiss, pops and crackles) but critically, during the reconstruction phase, aligns the information in such a way to simulate a stereo image whereby the information is now spread across two channels instead of one. It is groundbreaking technology but, like all such innovations, has to be operated and managed skillfully. Happily, that is the case with the newly-remastered ‘50s material presented here.
But before getting into the set properly, it’s also worth reminding ourselves of something so obvious that it tends to be overlooked. When playing in a studio setting, the engineer’s job was to capture the collective sound from all the participants, each of whom would be miked separately in lots of cases and that information was then fed into a central recording console where the engineer, or producer, would alter the levels of the incoming information to achieve a balanced sound that was to everyone’s liking. If we take Elvis’ Sun recordings as an example, Scotty’s guitar ran through an amplifier and the sound was picked up by a microphone placed in front of it, while Bill’s upright acoustic bass was miked up directly to the desk. Meanwhile, Elvis’ mic sent his vocal contribution (along with his acoustic guitar which was not miked up separately) also back to the desk. Each of those incoming sounds were then balanced in terms of sound levels before being transferred to magnetic tape. And so, when people blithely say that Elvis recorded in mono that is not strictly true: it was that the mixing of those disparate sounds that produced a mono (single) combined sound. Crucially though, don’t forget: DES does not add things that were not there in the first instance.
I am pleased to report that the excitement was palpable and the experience completely joyous - enhanced on this occasion by a fine clean sound and the fact that I was hearing things that previously had been buried in the mix. Yes, in some cases that may take a little while to work, and it's likely that with regard to the Sun recordings, some of what you hear on this set may unsettle some people, particularly those inclined to regard it as tantamount to treason! And to be fair, though aurally very clear, I found Bill’s bass level fluctuated quite a lot on the Sun material - though let’s not forget that he had his limitations: he wasn’t the world’s best bass player. But it also served to remind me of the absolutely crucial role Scotty’s guitar work was on these tracks: he was the musical glue - and held it all together (what a pity he was relegated from that role as time went on). Happily, Elvis’ vocal is sublime throughout and the speed of his journey towards vocal maturity and self-assurance truly astonishing.
I was also extremely impressed with the King Creole tracks, especially Stuchbury’s ability to capture the horn section so well. These are revelatory and deserve a hearing. I would venture to say that even if stereo versions of the original tracks turned up (it’s almost certain that they were recorded in binaural as Radio Recorders had long had that capability) they would be no better. The producer’s ‘ear’ for these tracks and his imagining what the stereo image would have been like is very impressive indeed. And, again, that’s the thing: just as Ernst Jorgensen gets criticized for choices he makes when working on Elvis’ tracks, so too will Tony - but that doesn’t mean either of them are wrong, simply that you may not agree with what they have chosen to do. It’s called professional judgment.
Inevitably, as with many other things, this comes down to personal preference and choice. It really should not be a binary one. Overall, I am highly impressed and like what I have heard and genuinely believe that this offers an enhancement to the music we all love so much. And while I would never claim that it has rendered the originals redundant, for me the fact that I have heard things that were there on the original recordings much more clearly than ever before means they are worth having in my collection and revisiting when I choose to do so. Others though, I understand, have criticized the sound for being too clinical and sterile but again that’s down to personal preference.
If I’m honest - which I aspire to be as much as is humanly possible - I am very relaxed about this (and, all joking aside, there are far more important issues to concern ourselves about). I not only applaud the technical achievement this set exemplifies but can report that I enjoyed the experience very much and intend to repeat it soon! I believe anything that helps remind us of Elvis’ monumental musical achievements in those formative years is to be welcomed. In particular, I was reminded of his untutored and uninhibited vocal delivery that was exhilaratingly free of artifice and musical conventions. He was, unquestionably, a true original, and a vocal genius.
But you didn’t really need me to tell you that, did you?
© Gordon Minto - December 2024.
You can listen to previews of all songs on the >>> RDM-Edition website (and buy the CD there too if you come to the same conclusion as Mr. Minto).
The book is available online from the authors for the reasonable price of 50GBP at the >>> ELVIS UK Books webshop.
December 17 - Elvis On Tour: The Last Year
The Danish Memphis Mansion announced the 2025 re-release of Sam Thompson's 1992 book 'Elvis On Tour: The Last Year'.
The Jasmine budget record label announce the January 10, 2025 release of an Elvis Presley CD in their 'Jasmine EP Collection'.
Publicity stated: This compilation of killer Elvis Presley sides is drawn from EPs issued in the United States between 1956-62, a period which many of his fans regard as his purple patch.
All aspects of his output are featured, i.e. wild Rockers, R&B covers, beat ballads, movie soundtracks, seasonal favorites, even slow ballads. It steers clear of his early hit singles, which are widely available on other Jasmine CDs, concentrating on LP and dedicated EP tracks.
Nonetheless Elvis’ LPs and EPs routinely sold in their multi-millions at this time and many of these sides - e.g. ‘Money Honey’, ‘Paralyzed’, ‘Old Shep’, ‘Anyplace Is Paradise’, ‘Blue Christmas’, ‘Trouble’, and ‘Follow That Dream’ - were hugely popular in their own right, while tracks like ‘Lawdy Miss Clawdy’, ‘Rip It Up’, and ‘King Creole’ were hits in the UK.
Track Listing
1. I Got A Woman
2. Just Because
3. Money Honey
4. I Forgot To Remember To Forget
5. Lawdy Miss Clawdy
6. Rip It Up
7. Paralyzed
8. Poor Boy
9. So Glad You're Mine
10. Old Shep
11. Anyplace Is Paradise
12. Long Tall Sally
13. First In Line
14. I Need You So
15. Have I Told You Lately That I Love You
16. Blueberry Hill
17. True Love
18. Mean Woman Blues
19. Blue Christmas
20. Santa Claus Is Back In Town
21. Don't Leave Me Now
22. Baby I Don't Care
23. King Creole
24. New Orleans
25. Trouble
26. Crawfish
27. Good Rockin' Tonight
28. Flaming Star
29. Summer Kisses, Winter Tears
30. Follow That Dream
31. Angel
32. King Of The Whole Wide World
33. This Is Living
(Source: Henrik Knudsen / Pascal Matteo)
Monday, December 16, 2024
December 16 - Follow That Release
(Source: Memphis Mansion / Dorthe Bach Richter / Larsen)
Sunday, December 15, 2024
Review ELVIS UK – Compact Vol. 1
The authors did not only compile a complete overview of the CD titles available, they also went behind the flickering of the silver discs, investigating the business and companies involved, the licensing, the marketing, the production (including the plats used), the history and pretty much all other possible aspects of these digital discs including errors and mis-prints collectors love so much.
The result was a mammoth work of 1,402 pages and "an incredibly detailed narrative and visual record of Elvis Presley CD releases in the U.K. from 1983 to 2005 .... that maintains the high standard set by the earlier volumes" according to Elvis book expert Nigel Patterson in his review on the Elvis Information Network.
There was only 1 complaint, the book was only available as an online digital flip-book.
The choice for this format was a deliberate one, as publishing these kind of content (and thereby paper) heavy books isn’t that simple in a declining physical book market with an aging readers base. And while the technology selected by these gentlemen worked flawlessly, many fans, including myself, prefer to hold a digital copy in their hands.
Fortunately for us, the authors listened to their reader's feedback and returned to publishing physical copies of their books again. Following physical re-releases and new titles in the 'ELVIS UK' series we now hold 'Elvis UK - Compact Volume 1 - The Ultimate Reference Guide to Elvis’s UK Compact Disc Releases in the UK between 1983-2005' in our hands.
Design
With the first volumes in this series the authors set a strong design that benefits the content of their books, and they rightfully stuck to it. You could say that once you’ve read one ‘Elvis UK’ book, you’ve “seen them all”. Lucky for us, the authors were able to add more and more color over the years, and now present us the book in full color.
There is a good balance between the narrative - these are text-heavy books - and graphical elements, but personally I’d love to see a few more graphical pages, as collecting Elvis is not only about the content, but also how it looks and feels. This is something where Paul Alner’s books compliment this series.
And while a trilogy of 1,402 pages may seem large, it could have been much larger if the writers had not chosen such a small font and compact design as they did. Using a standard font, they may have come close to 2,000 pages I guess.
So once start reading this book, you'll be engrossed longer than you may have expected.
Content
This first volume details 170 of the 450 CDs covered in the three volumes. Known for their in-depth research the work of the dynamic duo John and Gordon speaks for itself. For the digital edition I wrote:"The beauty of this release is the tremendous amount of research behind these pages, all CDs are presented individually in meticulous and unprecedented detail and carefully cross-referenced.
The book also includes sections on various artist CDs containing Elvis material, as well as company promos, including BMG in-house CDs, etc. The huge song index is presented in forensic detail, indicating exactly where each master (and any known outtakes) can be located and, in the case of live performances, when and where they were recorded.
Adding extra depth to the information are the contributions by former RCA / BMG personnel who helped with key background information and thereby adding the inside story. Especially the insights from Greg Geller, Mike Omansky and Klaus Schmalenbach clearly show that each CD - especially from Elvis’ official record company - was the product of a multi-year strategy.
One name missing in the introduction is Ernst Jorgensen. I would have loved to see his perspective, as expert and as keeper of the flame, on bringing Elvis Presley back and re-branding ‘Elvis the artist’ through key-releases."
Each CD has it's own ID in the book, and the information on each entry includes items like the title, tracklisting, writers, versions, CD features (matrix numbers, barcodes), running-times, mechanical rights societies, SPARS codes, source identification codes, details on the booklets and inlays, bonus material and more.
It is both a wonderful history of the emergence of the CD as a new music medium and of the cautious move RCA made to transfer Elvis' catalog from old-fashioned vinyl and tape to this digital medium.
And if you buy all three volumes in this series – and which collector wants and incomplete set … – the authors award you with the complimentary CD, ‘Elvis Beyond the Legend’. This 23-track digipack CD features 22 songs and the extended version the ‘Elvis Answers Back’ interview which first appeared in the November 1956 on paper and later as a flexi-disc in Teen Parade magazine.
Conclusion
The book is a valuable addition to the history of Elvis Presley releases on the various formats. Not only because it is complementary to the books that document Elvis' catalog on vinyl and tape, but also for fans like me, who grew up in the CD era and then laid the foundation for their collection.
In my review for the flip-book edition I wrote that I was happy that I’m not a die-hard Elvis Presley CD collector, I noticed I missed quite a few CDs over the years. And I probably see more releases than the average fan due to my blog trying to cover everything Elvis Presley on a daily basis. And this book only covers official U.K. releases from 1983 to 2005, did did anyone keep track of all CDs released since that date? I can only hope the authors find the time and courage to do a follow-up covering all CDs until present day. I'll try to keep quiet about a book on the CD bootlegs ...
I can’t imagine how much work went into creating this body of work, so a heartfelt “thank you” to the authors, these are the kind of encyclopedia’s that deserve a place on the bookshelf of SONY’s headquarter and in the British National library.
In addition to being a reference book, it is also a history book that you can pick up again and again. I know what I will be reading between Christmas and New Year’s day, and if you’re fast, you can do the same.
The book is available online from the authors for the reasonable price of 50GBP at the >>> ELVIS UK Books webshop.
December 14 - For God and Country
This set should feature fully remastered audio on colored vinyl with a bonus CD and more.
Note: This title was originally announced in January 2012.
(Source: FECC Forum)
Saturday, December 14, 2024
December 14 - Charts December 2023 Week 2
Elvis Presley can almost always be counted on to appear on the charts around the world at this time of the year as his holiday recordings are must-hears. He is close to a Christmas No. 1.
U.S. Billboard charts:
Elvis' 'The Classic Christmas Album' climbed no less than 63 spots on Billboard's main Album Top 200 chart, jumping from No. 123 to No. 65.
'The Classic Christmas Album' made a re-entry at No. 87 on Billboard's Global 200 chart and at No. 23 on the Catalog Album chart. The compilation jumped from No. 26 to No. 15 on the Top Country Albums chart while the 'ELV1S 30 #1 Hits' album dropped from No. 43 to No. 46.
On the Top Rock and Alternatives Album chart 'The Classis Christmas Album' climbed from No. 24 to No. 12 while it jumped from No. 17 to No. 8 on the Top Rock Album chart. On the Top Holiday chart the album climbed 2 spots to No. 15.
- On the Classical Album chart the 'Christmas with Elvis and the Royal Philharmonic Orchestra' made a re-entry at No. 23.
- 'Oh Little Town of Bethlehem' made a re-entry at No. 15 on the Christian Streaming Songs chart.
- On the Holiday 100 chart, 'Blue Christmas' climbed from No. 22 to No. 21, the song also climbed 1 place to No. 22 on the Holiday Streaming Songs chart.
- On the Country Streaming Songs chart, 'Blue Christmas' jumeped from No. 18 to No. 8.
- 'Here Comes Santa Claus (Right Down Santa Claus Lane)' dropped from No. 81 to No. 86 on the On the Holiday 100 chart.
- 'Blue Christmas' landed at No 8 on the Top Country Streaming Songs chart.
- 'Blue Christmas' climbed to No. 2 on Billboard's Rock Streaming songs chart.
- On the Artist Top 100 chart 'Elvis' made a re-entry at No. 55.
US Book Charts:
Extra charts from the U.S. this week, for the Lisa Marie Presley biography. On the New York Times 'Combined Print and E-Book Nonfiction' bestsellers lists, 'From Here To The Great Unknown' dropped from No. 10 to No. 12. On the nonfiction hardcover bestsellers list the memoir dropped 2 spots to No. 11. On the Audiobook bestsellers list for November, the book is listed at No. 9.
The book dropped from No. 16 to No. 24 on Publisher's Weekly Top 25 Non Fiction Hardcover list.
Official U.K. charts:
- Official Album chart: 'ELV1S 30 #1 Hits' dropped from No 56. to No. 63.
- Official Streaming Album chart: 'ELV1S 30 #1 Hits' dropped from No.42 to No. 43.
- Official Singles Chart: 'Blue Christmas' climbed from No. 93 to No 78.
- Official Streaming Singles Chart: 'Blue Christmas' jumped from No. 75 to No. 59.
- Official Audio Streaming Singles Chart: 'Blue Christmas' rose from No. 68 to No. 53.
Canadian Charts:
- On Billboards Canadian Hot 100 chart, 'Blue Christmas' made a re-entry at No. 35.
- 'The Classic Christmas Album' made a re-entry at No. 63 on the Canadian Album chart.
Irish IRMA charts: (to be updated on IRMA site this week)
- Official Irish Album chart: 'ELV1S 30#1 Hits' won 5 places, climbing to No. 77.
Swedish Charts:
- On the Swedish Album chart 'Elvis' Christmas Album' made a re-entry at No. 36.
Dutch Charts:
- On the Dutch Album Top 100 'Elvis' Christmas' album made a re-entry at No. 55.
- On the Dutch Single Top 100 chart 'Blue Christmas' made a re-entry at No. 71.
Greek Charts:
On the Greek IPFI chart the 'ELV1S 30 #1 Hits' compilation lost 7 spots, dropping from No. 42 to No. 49.
(Source: Billboard / Official Chart Company / IRMA / UK Mix Forum/ IPFI / Amazon / NY Times / Publisher's Weekly / Entertainment Weekly / Forbes)
Friday, December 13, 2024
December 13 - It's (Almost) Official
Variety announced that Authentic Studios and Baz Luhrmann are having a little more conversation about Elvis Presley. Luhrmann is directing and producing a new documentary about the King of Rock and Roll, centered on never-before-seen footage and recordings of Presley that he unearthed while creating his film 'ELVIS.'
The film will be directed and produced by Luhrmann for Authentic Studios, a still nascent production banner within Authentic Brands Group that is aiming to develop movies and series based on the many brands and IP it represents and manages, among them material from the Presley archive.
Marc Rosen, Authentic’s president of entertainment, shared the news with Variety, which originally reported the news. Reps for Authentic and Luhrmann did not return IndieWire’s request for comment. More details when available.
This is one of several projects in the works at Authentic Studios, part of the entertainment division of intellectual property brand management firm Authentic Brand Group. Nearly two years after launching a studio division to produce films and TV series tied to its various intellectual properties, Authentic has already sold 14 projects to various outlets.
Silver
The British Phonographic Industry certified the album 'Elvis' Silver for selling over 60,000 copies (streams plus digital downloads plus physical sales) since it's re-release on July 12, 1999. This certification marks the 5th B.P.I. award for Elvis in 2024.
(Source: Variety / IndieWire / BPI / Phoenix Forum)
Thursday, December 12, 2024
December 12 - A Lifetime On The Piano
The book is set for publication in 2025 by the Danish Memphis Mansion.
Congratulations!
Steve Binder, the director and producer of the 1968 'Elvis TV Special', celebrates his 92nd. birthday today. Congratulations!
(Source: Henrik Knudsen / UEPS)
Wednesday, December 11, 2024
December 11 - Presley Released
Publicity stated: Rediscover 109 of the King's tracks with a new stereo mix! This 4-CD box set brings together the essential tracks from the 50s. Tracks from Elvis' albums, but also from his film soundtracks, including some rarities such as versions used for the films and different from the versions released on album.
Please note this box set is a Limited Edition including an 8-page booklet and a slipcase.
A few words from the producer Anthony Stuchbury: When producing these Mono II Stereo 50s Masters, I "tried" to make the mixes consistent with how they would have been mixed at the time, if they had originally been recorded in stereo. I used various resources, including tracks from the period, which were recorded in this way, usually with the drums panned. A good comparison would be the hits of Neil Sedaka, also an artist recorded by RCA, whose masters from that era are mixed in this manner, and continued to be so until the early 1960s when he worked for the label. Between 1954 and 1958, Stereo recording techniques began to evolve, which led to a possible change in the way songs were mixed. A common misconception is that the Jordanaires' backing vocals were mixed to the side, usually to the right, but there is no evidence that this was the case on Elvis' hits in the 1950s. Generally, this is the type of mix that was used on Elvis' recordings from 1960 onwards, but even then it was not always the case, as can be heard in the May 1963 recordings, where the backing vocals can be heard in the center.
Ultimately, mixing is the producer's job, and it's always subjective. So I used that freedom to create what I like best, including occasionally panning the backing vocals and centering the drums. I hope these four discs take you back to Elvis's 1950s era and that you enjoy the transformation of audio and mixes.
You can listen to previews of all songs on the >>> RDM-Edition website.
(Source: RDM-Edition)