40th Anniversary Legacy release
- CD review by Piers Beagley
On March 10th 1975 Elvis returned to RCA Studio C, Hollywood to record his last significant album.
Recorded over three nights, the album’ material featured Elvis covering other songwriters with this being the first ever session that Elvis’ own publishing firms supplied no new material at all. Interestingly with no other material in the can, every single track from the session was released on the one album - and what a fine album it was.
Kicking off with the rocking power of T-R-O-U-B-L-E the album also included some country, gospel, sentimental ballads while also featuring some of Elvis’ personal favourites. Unlike all of his albums since ‘Elvis Country’ this album had a nice overall cohesiveness that probably did reflect Elvis’ musical interests of the time. In 1975 it really was “Elvis Today”.
EIN's Piers Beagley takes a good look at the new 40th Anniversary Legacy release..
Elvis ‘Today’ 40th Anniversary Legacy Edition.
On March 10th 1975 Elvis returned to RCA Studio C, Hollywood to record his last significant album. Elvis' live TCB band was with him but by 1975 bassist Emory Gordy (Jerry Scheff's replacement) had quit the band and had been replaced by Duke Bardwell.
Recorded over three nights, the album’ material featured Elvis covering other songwriters with this being the first ever session that Elvis’ own publishing firms supplied no new material at all. Interestingly with no other material in the can, every single track from the session was released on the one album - and what a fine album it was. The single was rush-released a few weeks later making #35 in the US Billboard charts and #31 in the UK.
Kicking off with the rocking power of 'T-R-O-U-B-L-E' the album also included some country, gospel, sentimental ballads while also featuring some of Elvis’ personal favourites. Unlike all of his albums since ‘Elvis Country’ this album had a nice overall cohesiveness that probably did reflect Elvis’ musical interests of the time. In 1975 it really was “Elvis Today”.
Unfortunately this RCA session would turn out to be Elvis’ last spirited recording session since he would never again record in an RCA studio.
There was a nice variation in the album’s songs selections and if - after the classics 'T-R-O-U-B-L-E', 'Green, Green Grass of Home' and Don McLean's 'And I Love You So' – some tracks such as 'Woman Without Love' and 'Bringin' It Back' seemed a little pedestrian, the interesting 'Susan When She Tried' and the middle-of-the-night romp through Billy Swan's 'I Can Help' nicely compensated. There was also the surreal drama and emotion in 'Pieces Of My Life' being Elvis’ very last recorded studio track.
Perhaps the best reflection on the mood of the recording session was actually captured by the studio jam on Elvis' Sun favourite 'Tiger Man' which unbelievably has been left off this new Legacy release.
(Don’t miss EIN’s in-depth article ‘Did Elvis Record ‘Tiger Man’ at SUN studios?’)
After the recording session studio engineer, Rick Ruggieri, made RCA a rough original Session Mix of the new album but Elvis was furious about the sound and demanded remixing in Nashville and overdubs. At the same time Duke Bardwell's bass-playing was also replaced.
The 'Elvis ‘Today' album was finally released in May 1975.
There is no doubt that the whole album was appreciated by Elvis himself since he performed six of the tracks live in concert and worked hard to promote ‘T-R-O-U-B-L-E’ as his new single.
In live performances from April to August 1975 Elvis regularly sang his new and lyrically demanding single 'T.R.O.U.B.L.E' as well as performing several other songs from the LP. 'And I Love You So' was a regular feature of Elvis' shows right up to his death, but he also performed another four tracks from the LP, 'Green, Green Grass of Home', 'Fairytale,' 'Shake A Hand' and even the emotional and biographical 'Pieces of My Life'.
There is no other studio album of Elvis' from which he performed this many songs in concert, an amazing six tracks! (ok, except TTWII !)
The album certainly justifies being a 40th Anniversary Legacy release and here SONY have combined the original album along with the raw Original Session Mixes without overdubs. The second CD features a classic concert from the same period, June 1975. Although it might have been more appropriate to feature more of the “Today” album tracks live in concert (here we only have the single ‘T-R-O-U-B-L-E’ featured) this concert has always been a favourite of mine and deserved to get 2015 release with upgraded audio.
The release comes in a regular size 3-sided digi-pack and includes a 24 page booklet.
The feature 7-page essay by Stuart Colman describes how the session came about and includes some interesting facts such as how the studio’s brand new Yamaha Baby Grand added a special tone to Glen Hardin’s piano playing and where Elvis found inspiration on all his covers. The article notes that it was Johnny Darrell who first recorded ‘Green, Green Grass Of Home’ although Elvis obviously took inspiration from Tom Jones’ version.
Best of all the booklet features seventeen photos of Elvis live in concert from May to July 1975 as well as plenty of candid photos from the era and album memorabilia.
It is however a shame that the packaging isn’t in the larger format to make the most of Keith Alverson’s fabulous images.
Disc 1 – ‘Elvis Today’.
Hearing the overdubbed original album followed by the ‘Original Undubbed Session Mixes’ works very nicely as a concept since there are some delightful differences between the two. In several cases the raw Session-Mixes arrangement sound much better that the overdubbed album versions.
As is explained in the booklet Duke Bardwell’s bass playing on the original session was overdubbed for the album release. However hearing Bardwell's bass playing on the Original Session Mixes shows that there really were no technical issues and it was no doubt due to Elvis’ and Bardwell’s clash of personalities which caused the request for the overdubbing. At times Mike Leech's overdubbed bass-playing on the album has a smoother / jazzier feel but there really is little to complain about in Duke's original bass-work.
While all these tracks were released on the 2005 FTD ‘Classic Album’ there were some audio remastering issues on that release (see EIN original review here). Here the songs have been remastered by Vic Anesini and they sound so much better here.
The original Album Masters only show a little audio improvement (a little more clarity at the top-end) possibly due to the extensive overdubs and were released on the 'Complete Masters'.
However the 'Original Session Mixes' show a vast improvement. Now there is a real clarity to the top-end - you can hear Ronnie Tutt's high-hat and cymbals so clearly now. It is obvious that a high-end filter had been poorly used on the 2005 FTD Lene Reidel masters. The track 'And I Love You So' for instance almost sounds like a different mix with a new incredible audio clarity with the cymbal and piano much more prominent. Similarly 'Shake A Hand' now has much more edge to Glen Hardin's piano amd even Elvis' vocal sounds clearer. With such a definite audio improvement, these Vic Anesini Original Session Mixes re-masters alone are worth the price of admission!
After the original album, the Original Session Mixes are presented in the order that the songs were recorded in - although the sleeve notes do not explain this. (If this legacy presentation is for the “General Public” more information would have been a good idea).
Of real interest is that several of the Undubbed Session Mixes are surprisingly different to how the song sounded on the album release. The Felton Jarvis’ syrupy overdubs may have reflected the “Nashville trend” of the mid-seventies but in 2015 they often make the material sound very dated.
The first track of the session ‘Fairytale’ demonstrates how much the raw feel of song can be altered once overdubs get added to the original studio mix. Here the Session-Mix is great in sounding more like the Elvis’ "live on-stage" version and with a nice clean Elvis vocal. In the end the overdubbed strings and steel guitar on the Master over-complicated and unnecissarily ‘country-fied’ the song.
The Session-Mix of ‘Green, Green Grass of Home’ that followed is also very fine since Elvis’ vocal is so much clearer rather than being buried under those terrible overdubbed strings and choirs - and also you can truly admire Glen D Hardin’s cool piano work. I do admit however that the overdubbed slide guitar does work very nicely on the Master.
‘I Can Help’ was a "one-take wonder" so it is a revelation how different the Session-Mix sounds to the Master. James Burton surprisingly messes up the intro, the solo is wrong, the bass guitar sounds totally different and the drums are pretty rough! You can imagine an unrehearsed live version sounding just like this and it has the raw feel of the ‘Tiger Man’ jam! Obviously enjoying himself listen out for Elvis’ laugh @ 2.19 and his interaction with the band @2.27 saying, "Go, take it on.." that is faded out of the Master release. This is a fascinating look at the raw sessions since you cannot believe that Felton Jarvis or Elvis imagined that they could create a Master release out of this! With overdubbed dual lead guitars, a different bass line and drum machine rhythm, the track was totally transformed.
‘And I Love You So’ has always sounded better without those excessive overdubs and Over-The-Top choral soprano which could never match the simplicity of the engaging lyric. The Session-Mix here is a prime example of "less is more" and a lovely contrast to the album version.
Similarly the Session-Mix of ‘Susan When She Tried’ is again delightfully different to the final release. At ‘2.16’ Elvis laughs at his own vocal fluff but then keeps on going, to the fade out 30 seconds later. Listening to the track it is a real surprise that they didn’t go for another take. On the Master release the bass vocal-line was also mixed down, along with an early fade-out to cover the vocal mistake.
‘Woman Without Love’ - again only one take of this rather pedestrian song was ever recorded. While the overdubbed steel guitar of the Master added a nice ‘country feel’, the additional orchestra and extra chorus wrecked any finesse of the song. The Session-Mix is simple and understated with Glen Hardin’s piano more prominent in the mix.
‘Shake a Hand’ was a personal old favourite that Elvis brought to the session. Here the additional overdubbed gospel chorus and added brass section of the Master actually adds to the feeling of the song. The Session-Mix is disappointingly faded too early.
On ‘Bringing It Back’ the Session-Mix features David Briggs on organ which is missing from the Master, but the added overdubs don’t excessively change the overall feel.
With ‘Pieces Of My Life’ I never understood why this wasn’t the final track of the original LP as it seemed such an appropriate finale. (As well as being the last song Elvis would ever record in a studio). While the overdubbed guitars of the Master do add a nice pleading feel, the overdubbed strings were way off the mark! The Master does run longer than the Session-Mix however the ambience here is better since the Session-Mix has that fabulous emptiness that fits so well on, "Lord, I threw the best parts away."
Why the studio jam of ‘Tiger Man’ is missing from this release beggars belief as it was a crucial look into how Elvis and his band worked together in the studio at the time. Even though it directly followed the great recording of Elvis’ new single ‘T-R-O-U-B-L-E’ it was described by Ernst Jorgensen as “the most musically expressive moment of the night”. So why as the producer of this edition would he choose to leave it off this 1975 collection? It makes no sense and would have made a fine Bonus Track.
DISC 2: Elvis Live - Dallas, June 6 1975.
Mid 1975 has always been a popular period with fans with Elvis back in fine form and having fun on stage. It was a positive comeback from the emotional roller-coaster of 1974 and before the slide of 1976.
When first released as part of the 1980 8 vinyl LP "Silver box-set" this was the first live concert officially released since the very sad 1977 “Elvis In Concert” double-album.
When I first heard this concert it registered as an amazing discovery that showed Elvis fans that RCA hopefully had more in their vaults than previously expected. Selected by RCA’s Joan Deary it was chosen due to Elvis’ energetic performance, a fine set-list and the audio quality of the cassette recording.
While it was only a mono recording there was a real excitement in Elvis’ performance and was a breath of fresh air after the lackluster ‘Elvis In Concert’. The sound quality along with the audio mix suggested that it might have been a professional recording rather than just the soundboard reference that we now know it was.
I have always loved this set as it was the very first Elvis “soundboard” that I ever owned and was proof that Elvis was still full of energy and could still rock’n’roll in 1975. The UK tabloids had been reporting that Elvis was “Fat & Forty” but here he actually looked sensational and still ready for action.
The humour Elvis demonstrated and his interaction with the audience - such as his talking about “The creeping-crud” or teasing his audience with “If you buy that, you’ll buy anything!” – was a revelation to me when I first heard this concert.
As a newspaper review commented at the start of the tour, "Elvis has shed 30 pounds of fat and is back on tour, almost as slim as swivel-hipped as ever - and definitely possessing the magic that drives female fans wild.
The new, streamlined Elvis kicked off his tour in Huntsville.. by the time he left town, there was a sizable casualty list - caused by the crush of fans going out of control.
Launching his summer 1975 tour, King Elvis generated several near riots as thousands showed up to see for themselves. ... All in all, it seems that The King is in his finest hour."
The sound is excellent for a cassette recorded soundboard and the audio-mix of the musicians is very fine indeed with James Burton’s guitar placed at a good level as well as a strong bass from Jerry Scheff. Even the orchestra is at a good level and there is a better than usual level of audience response in the mix.
The audio has been remastered for this release by Vic Anesini (go here for more) from “the original tapes” and although normally there is not too much you can do with cassette as a source it is a fabulous improvement. The high-frequency “tininess” of the original release has a smoother sound here and best of all the bass has been pumped up. While not so noticeable at the start, tracks such as 'Burning Love' (now with a nice thumping bass-line) and 'Funny How Time Slips Away'' (now with a much fuller mix) sound way, way better here.
Anesini has also removed the extra echo that was added to the 1980 original release. There are a couple of points where his edits are very minorly different from the original but hardly noticeable at all.
You can now crank this re-master up on a hi-fi and get a real feel for the concert - which is pretty impressive knowing their source.
From the start of 'See See Rider' you can notice the clarity of the top-end and the cymbals. Vic Anesini has also pumped up the bass and created a much warmer frequency response. The old "Silver box-set" version in comparision now has that awful "telephone line" sound with both the bass missing and a poor high-end filter (removing the cassette hiss but at the same time the needed high frequencies).
Another minor point is that the "Silver box-set" version also used both tracks of the original mono cassettes which caused left-right channel tape flutter at times. Now the set is pure mono.
Rather strangely there is no mention in the booklet of RCA producer Joan Deary who put together the live album for its original 1980 release and deserves some major credit for its initial release.
Elvis live on stage Nassau, Long Island, July 19, 1975
You can feel the fan excitement right from the start of the 2001 intro and an energetic 'See See Rider' with its playful, soulful ending shows him firing from the start (This is actually from Murfreesboro May 6).
This is not one of those performances where Elvis needs to 'wake-up' in the first few songs.
Elvis is in great humour and jokes, “This place looks familiar to me I don’t know what it is. Have we been here before?” (in fact Elvis had only played there the previous week!).
'I Got A Woman/Amen' features more energy than usual with Elvis joking during the “Stripper” routine, “OK. That’s enough, I’m getting dizzy!” Another positive is that in 1975 Elvis kept this medley to an enjoyable 4 minute version.
‘Love Me’ onwards comes from the main featured concert of Dallas, June 6, and you can hear the positive roar from the crowd as Elvis teases them. This was always Elvis territory since he first started playing Texas along with the The Big D Jamboree back in April 1955.
Elvis’ happy mood continues as he jokes about “Last night in Houston I kissed somebody and caught the creepin’ crud and if I’ve got it, you’ve got it too”
While we have now heard this crazy comment multiple times, back in 1980 when this concert was first released this seemed an amazingly open and honest comment to his fans. Elvis was human after all! It also helped prove how spontaneous and different Elvis soundboards could be compared to official RCA multitrack taped concerts.
‘If You Love Me (Let Me Know)’ is a fun version with Elvis letting JD Sumner play around on the deep notes.
Elvis continues with his fan-pleasing oldies section of ‘Love Me Tender’, ‘All Shook Up’ and ‘Teddy Bear / Don’t Be Cruel’. ‘Hound Dog’ follows but with Elvis playing to the enthusiastic crowd and warming up with a rockin’ ending - “Wooo” he notes.
Elvis then the jokes with the crowd about why they had bothered paying all that money to come and see him in concert when they had the chance to watch ‘That's The Way It Is’ on television the night before! “It’ just the same thing - except all these people have got a little older up here on stage, except me!”
Part of the real joy of this concert is the interaction between Elvis and his adoring audience who seem to be going wild for the King in 1975. He has to tell one woman, “Honey, don't you jump off of balcony - and don’t you lose anything, either!”
With the fifties oldies out of the way Elvis has a chance to gear up the show.
‘The Wonder of You’ follows which, to be honest, is pretty shaky compared to his classic 1970 live versions - but is still a nice inclusion. Elvis would basically drop the song from his set-list after July 1975.
‘Burning Love’ is however excellent and the first real highlight of the night as Elvis pushes up the energy level. For a soundboard the audio mix is excellent and Elvis really pushes the band along throwing in some extra energy.
It is interesting to note that Elvis never performed this classic rocker in 1974 at all and only three more times in 1973 after the Aloha concerts in January. It sure was great to have it back in his set-list.
The intros are pleasingly short including James Burton ripping into a fine ‘Johnny B. Goode’ - “Yeah Lord” Elvis adds.
The regular solos from Ronnie Tutt, Jerry Scheff, Glenn Hardin were all edited out of the original compilation, which is fine by me.
In the original release RCA’s Joan Deary also replaced both of the “less focused” Dallas recordings of ‘T.R.O.U.B.L.E’ and ‘Why Me Lord’ by alternate versions.
T.R.O.U.B.L.E. is from the previous night in Houston and it is a ripper. “We have a new record out ladies and gentlemen, that came out about 10 days ago” Elvis tells the crowd, even though the single had actually come out six weeks previously. Elvis’ enthusiasm for the song shows and he puts plenty of energy into the song especially during the final “Hey, Hey” play-off.
‘Why Me Lord’ is another committed performance from Elvis even though he does try to get J.D to break up laughing. Elvis’ mid-song comment, “Oh My Goodness” and J.D’s reaction as he tries to stay in vocal control is a gem.
Again hearing this kind of playfullness between Elvis and his musicians back in 1980 was a real positive.
Returning to the Dallas concert a serious ‘How Great Thou Art’ is performed well and another highlight. You can hear the crowd giving Elvis a standing ovation, which inspires him to reprise the ending. Elvis gets a real buzz from the crowd ovation telling them with a laugh, “Yeah! Thank you Ladies and gentlemen. It makes it all worthwhile.” The audio quality and mix is again excellent for a soundboard.
A fun ‘Let Me Be There’, which Elvis is obviously enjoying, follows - and includes the regular double-ending. This also gets another wild response from the crowd.
The celebration continues when as soon as the first notes of ‘An American Trilogy’ commence the US southern crowd starts cheering madly. When they sing “Oh, I wish I was in Dixie” Elvis cutely teases The Stamps, “You are, you dodos!” Elvis then puts in a fine performance even telling the cheering crowd, “Shhhh”. As the songs rolls to the finale, and the band and orchestra increase their power, I have always loved Elvis’ jibe, “It’s too late!” It’s a great comment on the power of the song. Elvis finishes off with a final falsetto and the audience rightly go wild.
Elvis asks for the house lights to be turned up and again you can understand the way he worked so well with his audiences. “Hello honey, I see you, I see you. Good gosh, don’t fall!” Elvis pleads to an over-enthusiastic fan.
A crowd-pleasing kiss-the-girls ‘Funny How Time Slips Away’ follows with Elvis throwing in some vocal impersonations and getting J.D to add the final line “Low-Flat” reprise.
Early in 1975 Elvis had added the crazy ‘Little Darlin’ to his set-list but had only performed it around 10 times before this night’s concert. He jokes, “This song is a very serious song and we hope you like it!” It’s silly stuff but sits so much better here than as an oddity in the ‘Moody Blue’ album. Elvis’ comments about the song at the end are cute and they confirm that he thought the song was just throwaway fun - “If you buy that, you’ll buy anything!”
Cranking up the energy, Elvis heads home with a rocking ‘Mystery Train / Tiger Man’ although being 1975 it does include the silly trombone line. The crowd roars enthusiastically to his ‘Tiger Man’ performance as Elvis enthusiastically add, “Yeah, Lord!” It was certainly a great end to the concert.
And then suddenly it was all over – “Ladies and gentlemen until the next time we see you be careful going home and God bless you” Elvis tells the crowd before a rather sensitive and committed ‘Can't Help Falling In Love’.
“Elvis has left the building thank you and good night.”
Hearing this concert for the first time back in 1980 I found it a sensational 65 minutes which captured an enthusiastic and happy Elvis performing on a notable high. It still is!
Overall Verdict: While the publicity noting, “Like a true premier vintage, Today has matured with age and needs to be savored” might seem a little over-the-top there is no doubt that this legacy double-pack deserved its 40th Anniversary release. In fact looking back at Elvis' 1975 album it does indeed make "more sense" now - in that it nicely demonstrates where Elvis' musical tastes were at the time (although in 1975 probably most of his fans still wanted him to be the rock'n'roller from his past). Combining the original album with the undubbed session mixes works very nicely – although the omission of ‘Tiger Man’ session jam is a tragic error. The June 1975 concert also works extremely well in showcasing Elvis’ last truly positive year of very fine performances for his devoted fans. Capturing a happy and healthy and rockin’ Elvis, the audio upgrade also makes it well-worth purchasing once again.
Selling for less than $20 at Amazon and at your local record stores, how can this not be an essential addition to your collection.
Review by Piers Beagley.
-Copyright EIN September 2015 - DO NOT COPY -
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|'Elvis Today' - Buy the double CD for only US$13.88! Don't let other Elvis websites rip you off by charging $29, when you can get the new release for under $14! - This 40th anniversary Legacy Edition contains the original album, undubbed session mixes plus live performance - all remastered. "Like a true premier vintage, Today has matured with age and needs to be savored." Release date August 7 2015
BUY IT HERE>>> . ELVIS Today. at AMAZON for US $13.88 - great value for a double CD!
Elvis TODAY: LEGACY EDITION
(RCA/Legacy 88875 084942)
|Disc 1 - Original Album
And I Love You So
Susan When She Tried
Woman Without Love
Shake a Hand
Pieces of My Life
I Can Help
Bringing It Back
Green, Green Grass of Home
UNDUBBED MASTERS (Original Session Mixes)
Green, Green Grass of Home
I Can Help
And I Love You So
Susan When She Tried
Woman Without Love
Shake a Hand
Bringing It Back
Pieces of My Life
|Disc 2 (Live On Tour May-June 1975)
Previously released on "Elvis Aron Presley" silver Box Set.
Also Sprach Zarathustra (Live in Murfreesboro, May 6)
See See Rider (Live in Murfreesboro, May 6)
I Got a Woman / Amen (Live in Murfreesboro, May 6)
Love Me (Live in Dallas, June 6)
If You Love Me (Live in Dallas, June 6)
Love Me Tender (Live in Dallas, June 6)
All Shook Up (Live in Dallas, June 6)
Teddy Bear / Don't Be Cruel (Live in Dallas, June 6)
Hound Dog (Live in Dallas, June 6)
The Wonder of You (Live in Dallas, June 6)
Burning Love (Live in Dallas, June 6)
Introductions / Johnny B. Goode (Live in Dallas, June 6)
Introductions / School Days (Live in Dallas, June 6)
T-R-O-U-B-L-E (Live in Houston, June 5)
Why Me Lord? (Live in Jackson, June 9)
How Great Thou Art (Live in Dallas, June 6)
Let Me Be There (Live in Dallas, June 6)
An American Trilogy (Live in Dallas, June 6)
Funny How Time Slips Away (Live in Shreveport, June 7)
Little Darlin' (Live in Shreveport, June 7)
Mystery Train / Tiger Man (Live in Shreveport, June 7)
Can't Help Falling In Love (Live in Shreveport, June 7)
TCB Band:Guitar: James Burton
Guitar: John Wilkinson
Guitar & Vocals: Charlie Hodge
Bass: Jerry Scheff
Drums: Ronnie Tutt
Piano: Glen D. Hardin
with: Vocals: J.D.Sumner & The Stamps
Vocals: The Sweet Inspirations, Kathy Westmoreland
Joe Guercio and his Orchestra
Legacy Edition Produced by Ernst Jorgensen
Art Direction & Research by Roger Semon
Audio Mastered by Vic Anesini
|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 .
See EIN review of 'Aloha From Hawaii' 40th Anniversary' release
See EIN review of 'Prince From Another Planet’
See EIN review of 'A Boy From Tupelo'
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: