The Collapse of the Elvis Bootleg Empire; Has Ernst Won the War?

Back in 1999 Ernst Jorgensen and Roger Semon convinced BMG to let them start the FTD collectors label in order to counteract the Elvis bootleg companies which had been selling unreleased material to fans since the very first bootleg back in 1970. Of all the bootleg labels that have come and gone the 'Madison' label was one of the very few that always produced high-quality releases - and which happened to start at the same time as FTD. In 2021 ‘Madison’ have returned with the new bootleg ‘A Legendary Performer Volume 9’ but all is not what was promised. EIN’s Piers Beagley checks out the lack of new material and considers that this is the end of the bootleg era...

This EIN Spotlight questions whether the Elvis bootleg industry has finally exhausted its supplies and that Ernst Jorgensen, Roger Semon and the FTD label have finally won the war against the illegal bootleg industry.

The release of the recent Madison bootleg ‘A Legendary Performer Volume 9’ seems to be genuine proof that the bootleg era is over and that collectors are now being fooled by the deliberately misleading pre-release publicity.

The fascinating ‘Bootleg Elvis’ book was published back in 2012. The wonderful 632-page tome examined all the VINYL Elvis bootleg releases in great detail starting with the very first ‘Please Release Me’ beautifully titled album back in 1970.

Famous Elvis bootleggers such as Sam Theaker (aka Vic Colonna), Ger Rijff, Paul Dowling and others also told their part of the story.  As we all know at the time RCA had no concept of what fans wanted to hear, it was certainly not “Elvis Sings for Children and Grownups Too!’. These insiders, and true Elvis fans, worked hard to track down rare Elvis material and get unreleased product out to Elvis’ ever-loving fan base. While they may have made some money on the side there is no doubt that there intentions were solid.

One of Sam Theaker / aka Vic Colonna's original adverts featuring seven classic bootleg vinyl albums, costing as little as $8.00 each! This was the time when bootleggers sold albums full of unreleased Elvis gold for money that fans could afford.

Sadly the world has changed and with the Elvis-barrel scraped to the bottom it now seems that the bootleggers are out for the money and little else.   

The book’s introduction neatly explains..

… One could positively argue that bootlegging, although against the law, did something good for the fan who was allowed to listen to versions of songs or unreleased material that RCA was not willing or able to release.

Supporting the arguments, we agree that even though these records are illegal, at least most of them were produced with good intention. There are other pirated releases in existence for which not good intention, but where pure greed was the driving force.

Some of the bootleg newly discovered studio sessions were intriguing. It was possible to speculate that the people responsible for selected pirated releases perhaps had, and to this day have, a rather easy access to certain unreleased song material. That unsatisfying situation for Presley's record label was known for years and so in 1999, in an attempt to halt the Elvis bootleggers a dedicated collector's label Follow That Dream was brought to life in Denmark, the native country of one of RCA/BMG/Sony's executives, who is one of Presley's most avowed admirers.

Strangely however, more often than not, a bootleg compact disc was released first with newly found studio sessions or live concert recordings in some instances slightly muffled. Yet only weeks or months later the FTD collector's label released close to identical material, only this time in crisp clear stereo sound.

At the time of writing this book (2012), almost everything that Elvis Presley ever said or sung, even home-recording, is available on either a bootleg, a collector's label or on official mass product. In addition parts of recording sessions for the bulk of his movies as well as their original soundtracks are widespread. Not to forget all the RCA recording sessions for studio albums. Most of them are available to the fan in brilliant quality. Finally hundreds of concerts, recorded live from the audience or from the mixing console present the singer from 1969 to 1977 culminating in his final performance on June 26,1977.

With such a wealth of material available of Presley singing, talking, joking, laughing, burping, coughing and spluttering, there seems not so much unheard of sounds from Elvis left. Still, we will never know what surprise or two the future will hold for all of us fans and collectors.

 

Back in 2012 the book notes that the most recent “new” discovery was a home-recording of Elvis singing ‘Let Me Be The One’ (released at the time by the Audionics label) and in a weird coincidence it is also included, nearly a decade later, on the new Madison ‘A Legendary Performer Volume 9’.

When Ernst Jorgensen stated the FTD label was created.. “To steer fans away from buying illegal bootleg product. The RCA Records label and EPE vigorously prosecute any company or individual who violates their copyrights, trademarks and other right.”..  the Madison label, which happened to start around the same time, would be the prime example of who FTD were competing against. 

Madison’s first three releases 'Breathing Out Fire' (Dayton October 6 1974 E/S), 'Don't Think Twice' (Las Vegas, February 2 1973 M/S) and 'Elvis - Event Number 8' (Houston Astrodome,March 3 1974) which all came out in 2000 were absolute stunning releases and essential for any serious Elvis collector. The design, usually with a 16-page booklet featuring rare photographs, was top-notch and the early releases included informative sleeve notes credited to FECC contributor Johnny Savage.   

In was five years later in 2005 that Madison decided to release their series of ‘A Legendary Performer Volume’ compilations cleverly imitating Joan Deary’s early RCA releases.

Most fans seriously enjoy a chronological journey through Elvis’ recorded legacy and even more so if the material is previously unreleased. FTD’s early releases such as ‘Out In Hollywood’, ‘Fame and Fortune’, ‘Studio B Nashville Outtakes’ followed a similar format.

EIN reviewed Madison’s first ‘A Legendary Performer Vol.5’ as, ”So clever and with such exceptional packaging, that I only wish FTD had got there first as an official release. There is also no doubt that the most important tracks here will come out on FTD in the future.”

While the following Volumes 6, 7 & 8 were not as good (i.e, fake left-channel only soundtrack material presented as ‘Undubbed Masters’, tracks lifted from other bootlegs) there was still much to be enjoyed.

The Legendary Performer series ended in 2006, while Madison as a label also stopped in 2009.  

*Please see update below about the Legendary Performer series being continued by the Wolf Call label.

So what a surprise for fans to see the announcement last month on the FECC website that the Madison label was back - and with a follow-up ‘A Legendary Performer Volume 9’. There was also the added excitement that there would be future volumes.

The publicity excitingly promised..

After a long break the Madison label is back with a number of new releases to delight you. 
One of our favorite projects was the Legendary Performer volumes, and we are continuing with this series with many new volumes in the pipeline.  Our plan is to include many unreleased tracks - which is very rare nowadays, as most releases offer nothing new.

Our first release is A Legendary Performer Volume 9 and is dedicated to “The Crazy Canuck”.  In this volume we have included a number of unreleased tracks and it comes - as you have come to expect from the Madison label - with a beautiful 16 page booklet.

In this new volume we have included 23 tracks that will offer something for everybody. For example, ‘(Let’s Have A) Party’ has never sounded better (it has been taken from a different source master).  We have also included an unreleased alternate take of ‘I’ve Got Confidence’ from 1971, and ‘Stay Away’ (Take 13) appears for the first time in pristine stereo, not the fake stereo that is now popular these days. 
The same goes for the x-rated version of ‘Only The Strong Survive’, which appears in true stereo for the first time. Also, we have included the previously unreleased take 10 of ‘Padre’.  Meanwhile, ‘Stranger In My Own Hometown’ is the unedited, overdubbed, master which comes in great sound and runs for a full 5 minutes, while ‘Promised Land’ (Take 1) is taken from a different mix and sounds so much better – along with many others.
Stay tuned, we are back!

The packaging and presentation of this new Madison release is as stylish as ever however it wasn’t long before fans realised that they were being ripped off.

The publicity of “Our plan is to include many unreleased tracks” just didn’t stand up. The compilation in fact was so disappointing, containing almost nothing that Elvis bootleg collectors didn’t already own.

Previous Madison purchasers (and, yes, that includes EIN) were pretty insulted that three of the ‘new’ tracks were duplicated from previous Madison ‘Legendary Performer’ releases! 

When people started discussing their disappointments the FECC message board reacted badly. EIN was banned for three months for the simple question (that you could ask about any future Elvis release) “Who is writing the sleeve notes?” Another FECC member, ElSandro, who noted that three tracks were duplicated from previous Madison releases, also had his post removed.

When EIN suggested on the Phoenix discussion board that we would write this article and wanted fan input, the thread 'Madison / FECC and the collapse of the Elvis Bootleg Empire" - Has Ernst won?' was frozen by the moderators with its input deleted. Similarly an ongoing discussing about this particular Legendary Vol.9 release has been locked.

By giving away free copies Madison – or any company - can of course enlist Elvis collectors who will then loudly praise their product, no matter how many negative points are raised, and keep hitting the discussion thread until it is locked. It is a pretty regular move by various naysayers.

As Stephen Stills of Buffalo Springfield sang, “There's something happening here. What it is ain't exactly clear.”

The comment from ScottWalker seems to confirm a lot of collectors’ feelings..   “A fraud? I don’t think so. I don't want to justify it but it is an illegal product, so don't be surprised if you have been misled. This Legendary Performer vol. 9 is actually a good trick. Gotcha!!! For the ones who bought it, like me, they fell for it. Good marketing.”

When Madison suggests that “we are continuing with this series with many new volumes in the pipeline” one has to really question why this first release in over a decade is so poor. Some fans have questioned whether it even is by the real Madison team or perhaps a clever copy from another dodgy bootlegger?

To help demonstrate how Ernst and FTD appear to have won the bootleg war this is a simple overview of the tracklist and what to expect.

1. Maybellene [Reworked version August 20, 1955] – Overdubbed ‘Tunzi’ remix previously out in 2005.
2. Don't Be Cruel [Live, September 9, 1956] – Actually from January 6th 1957 and the audio sounds far superior on the recent MRS ‘Elvis On Television’ Public Domain release.
3. (Let's Have A) Party [a better-quality source master] * - Nothing you cannot do with your own audio equaliser.
4. Got A Lot O Livin' To Do! [Movie version - composite - from an acetate] * - Not a rare acetate but a faked splice, using the intro from ‘Mean Woman Blues’ edited to the officially released ‘Got A Lot O' Livin' To Do! (opening)’ (see Keith Flynn website for all the details)
5. Ain't That Loving You Baby [Fast version - spliced tks 7,8 & 1] -  Other companies including RCA have done the same over the years. A new faked splice, it does sound fine.
6. Fountain Of Love [Takes 8, 6] – Previously on Madison ‘Legendary Performer Vol. 6’
7. The Bullfighter Was A Lady [Takes 2 & 3, Spliced] – The “he wanted to fuck her that night” take spliced. The STAR label has done similar.  See “Fun In Acapulco Sessions”
8. Please, Don't Drag That String Around [Takes 3, 5] – Previously on Madison ‘Legendary Performer Vol. 5’
9. Memphis, Tennessee [1963 - Rejected Master] – Copied from FTD’s ‘The Making Of Viva Las Vegas’.
10. Easy Come, Easy Go [Take 9] - Yet another previously on Madison ‘Legendary Performer Vol. 5’
11. Stay Away [Take 13 in Stereo]* - Previously released in mono, while not the most essential Elvis track, this Stereo version is genuinely new.
12. Only The Strong Survive [Take 6 – ‘Dear Georgie’ - X-Rated)* - Well-known to collectors this is a previously available bootleg mono release. This version is not from the genuine RCA stereo master tapes and sounds ‘Fake Stereo’.
13. Stranger In My Own Hometown - [Unedited, overdubbed master] * - Running slightly longer than the Overdubbed Master, with the overdubs ending a bit before the song ends, a great song now with a little bit extra.  
14. I've Got Confidence [Take 3, From Acetate] * - The sound is poor and it is not Take 3 but the previously released Take 2 which sounded better on the old bootleg ‘For The Good Times’. 
15. Padre [Take 10] * - Despite the publicity pretending this was unreleased take 10, this is FTD released Take 11 with the ending edited. And if ‘Padre’ is a supposed highlight of your compilation you do have problems.     
16. It's Over [April 10, 1972 Multi-Track from Acetate] * - Not of the best audio quality and from the On-Tour Richmond concert. 
17. I Got A Feelin' In My Body [Unreleased studio rehearsal with take 1] * - A different rehearsal compared to the “Elvis At Stax” version. Here we do get a very enjoyable 1 minute 20 seconds of an alternate rehearsal. The SONY officially released Take 1 follows.   
18. Promised Land [Take 1 - X-rated version – Better Mix] * - The well-known "Motherfucker" version previously released on the VENUS  bootleg ‘On A Jet To The Promised Land’.
19. Let Me Be The One [Home Recording, April 1974] – As noted in our article above, this was copied from the 2012 ‘Audionics’ bootleg.  
20. Love Coming Down [Undubbed Master] – Previously bootlegged on ‘Live, Live, Live, Vol. 2’, there is a different undubbed version on the FTD ‘Our Memories Of Elvis’. 
21. And I Love You So [March 17, 1976 - live edit] – Copied from the bootleg ‘Springtime Tours '76 -'77’ with Elvis’ mid-song interruption edited out. An obvious edit you can easily do at home.
22. My Way [March 27, 1977] – Another song copied from the Audionics bootleg ‘Springtime Tours '76 -'77’.
23. For Ol’ Times Sake (Duet with Tony Joe White) – It sounded good as an idea but this was a truly bad ‘Guitar Man’ overdub recording. Even worse this version sounds copied off You-Tube. The recent bootleg ‘Work In Progress’ featured it in much better audio quality. Needless to say it is a truly dreadful result which explains why FTD never released it.

* Denotes 'Previously Unreleased' according to the Madison publicity.

So while there is no doubt that Elvis collectors truly enjoy these kinds of compilations this new Madison release features such little new material that most collectors could compile a similar version themselves. And if the genuine “Madison” team were behind this release, then they must surely have known that their publicity was being deceitful about what was on offer.

Purchasers have since commented that this is no longer a “release-for-the-fans” but purely a last-ditch money-making exercise. Not only have Madison repeated their own material but a large amount has been copied directly from other bootlegs, FTD and even sourced from You-Tube.  

There is of course more Elvis material for collectors being released. Companies such as ‘Straight-Arrow’ pump-out the rare AUDIENCE recordings of previously unexplored live concerts, the ‘ELVIS-ONE / Bootleg’ series straddles the EU Public Domain law with its extensive on-going compilations and the MRS label cleverly produces Book/CD and VINYL combos of Public Domain material.

However this Madison ‘A Legendary Performer Volume 9’ release surely proves that there is basically nothing left in the bootlegger’s barrel. Can anyone who bought this release really think that it contains more than a few minutes of quality new Elvis material to add to their collection?  

   
While FTD continues with its “Complete Sessions” final wrap-up of RCA studio recordings this really does leave nothing left for anyone esle in the Elvis vault.

The new bootleg ‘A Legendary Performer Volume 9’ is dedicated to ‘The Crazy Canuck’ - FECC associate and Elvis super-fan Claude Baker - who passed away in September 2016.  One can only imagine how disappointed he would be with this new release. 

EIN Conclusion: There are rumours of Madison's up-coming ‘A Legendary Performer Volume 10’ and while Ernst Jorgensen has stated in the past that he has a hard time keeping up with all the new bootlegs I am sure that nowadays he sleeps well at night knowing that his and FTD’s work in protecting Elvis’ recording legacy from the illegal bootleg market is finally done. 


Spotlight by Piers Beagley.
-Copyright EIN August 2021
EIN Website content © Copyright the Elvis Information Network.

The Dangerous World of Elvis Bootlegging; Vic Colonna reveals all! For the true fan the Elvis world goes way beyond the endless RCA ‘Greatest Hit’ compiles. The real Elvis musical excitement has always been found in the underworld of bootlegs of officially unreleased material. Of course it is the popularity of Elvis Bootlegs that paved the way for Ernst & Roger to create the ‘FTD’ Fan Club label. In the mists of time these bootlegs were of course vinyl albums with stunning classics as the ‘Behind Closed Doors’, ‘The ’68 Comeback’, ‘From The Waist Up’ etc all featuring unreleased classic Elvis recordings that eventually RCA would issue. Vic Colonna is one of the great names from this mysterious world that many fans will recall. EIN was delighted to discover that Vic Colonna is not only alive and well - but is also writing a book about the exciting world of Elvis bootlegs, and we were more than happy to ask the great man some questions. Go here for his revelations and photos. (Interviews, Source;EIN)

Paul Dowling in-depth EIN Interview: Paul Dowling is without doubt one of the major names in the Elvis World. He started collecting and selling Elvis vinyl over 40 years ago and has one of the world's largest Elvis Presley record collections. He started his "WorldWide Elvis" shop back in the seventies, way before the internet, where fans could get hold of rare Elvis records and memorabilia. With such a fascination with Elvis, Dowling not only became a big name in the early years of Elvis bootlegs but later became friends with Ernst Jorgensen and helped RCA with various official releases. In this fascinating interview Paul Dowling discusses .... - How he became part of the Elvis World - How he became one of the world's most famous Elvis bootleggers - The shock of Elvis' death - The classic bootlegs, THE DORSEY SINGLE , TV GUIDE PRESENTS ELVIS, The 68 COMEBACK LP.. - Unreleased Elvis material  - includes the possibility of 'Don't Be Cruel' outtakes!  - Famous Elvis Bootleg customers such as Elton John and RCA's 'Elvis producer' Joan Deary Go here - & Don’t Miss - this exclusive interview with EIN's Piers Beagley - an essential read for Elvis collectors. (Interviews; Source;ElvisInformationNetwork)

Bootleg Elvis (Book Review): Illicit Elvis recordings released by underground labels on pristine black or colored vinyl! For many fans the thought and memories of that important part of the Elvis music scene still resonates in 2012. And now one of the year's greatest book releases has been published, Bootleg Elvis.......a high quality, incredibly well researched narrative and visual history of the 900+ Elvis bootlegs released on vinyl. EIN recently delved deep inside this formidable book to sample its veritable treasure trove of Elvis delights! Old and new fans take note!! Read EIN's detailed review

Elvis: A Legendary Performer Vol.5 – (Madison): With hard-core Elvis collectors complaining about too much already available material dominating this new import CD, EIN’s Piers Beagley was wary as he explored this new homage to old RCA producer Joan Deary. However what he discovered was a clever, stylish and cheeky box of Elvis delights! (CD Review, Source: EIN)

'Elvis~ A Legendary Performer Volume 7' - CD Review: Following The Colonel’s marketing example of ‘too much is never enough’, Madison released yet another volume in their ‘Legendary Performer’ series. With their high productions values can this really be as good as the first two in the series, or is that the sound of scrapping at the bottom of the barrel that we can hear! EIN’s Piers Beagley opens the lid and looks into the depths. (Source: EIN)

Ernst Jorgensen interview about 'The Complete Masters' and more: Recently radio personality Mike Ragogna from KRUU-FM got a chance to interview Ernst Jorgensen in length about the new 'Elvis Presley Complete Studio Masters' box-set. Ernst provides some interesting answers as well as his own view on Elvis' musical legacy. "Elvis lives in the minds of those musicians who took over from him. You get people like The Beatles, Bob Dylan, Bruce Springsteen, and U2 --everybody somehow relates to those early Elvis recordings, and they meant something in their personal lives, and subsequently, he became an inspiration for their professional lives." Go here for the full interview & Complete Masters images. (News, Source;HuffingtonPost/EIN)

Rex Martin (Worldwide Elvis News Service Weekly) talks exclusively to EIN: EIN recently had the pleasure of spending several hours talking to Rex Martin publisher of the legendary publication, the Worldwide Elvis News Service Weekly. The result is a fascinating multi-part interview beginning today. In Part 1 Rex speaks about his early years, becoming an Elvis fan, why he started the fondly remembered weekly, his trips to the US and what he has been doing since he ceased publishing the Weekly in 1978. For those not familar with Rex's publications, the "Weekly" revolutionised how fans right around the world received their Elvis news while his Elvis booklets (see opposite) offered well researched and rare material for readers to enjoy. EIN invites you to take a trip down memory lane and witness a very important part of Elvis world history.... (Source: EIN, Dec 2008)

Ernst Jorgensen & Roger Semon discuss the FTD label back in 2002: Ernst Jorgensen & Roger Semon are the producers behind the Follow That Dream fan club label. They are the tireless & respected keepers of Elvis’ musical legacy. One of the highlights of Elvis Week 2002 was a session to discuss their FTD project. A fascinating meeting, where all kinds of points were raised and Ernst revealed some interesting inside information, including some of the material he has left and future releases. EIN’s Piers Beagley was there to ask some questions and takes notes... (Interview, Source: EIN)

Joseph Pirzada opens up to EIN: On the 53rd anniversary of the first radio broadcast of That's All Right, Mama, Joseph Pirzada, the man behind the MRS volumes and the exciting new release, "Tupelo's Own Elvis Presley", talks candidly to EIN about what was involved in producing his sets and the politics of the Elvis world. Thought provoking, strong, and challenging, this is an interview sure to cause controversy! (Source: EIN, 7 July 2007) Read Part 1

Roger Semon interview with EIN: Roger Semon, along with Ernst Jorgensen, is the co-producer of everything Elvis at SONY/BMG. It was in fact the UK Roger Semon produced 'E.P. Collection' that spearheaded the fabulous re-packaging of Elvis' musical legacy leading to the creation of the FTD label. Roger recently took time out of his busy schedule to talk with EIN about future releases, how he met Ernst Jorgensen, the future of FTD, 'Clambake', 'Tickle Me', 'Jailhouse Rock' and much much more. (Source: EIN, February 2007)

'ELVIS On Television The Complete Sound Recordings' Review: The 60th anniversary of Elvis’ first appearance on national television is celebrated with this 2CD/100-page set. The new MRS box-set was publicised as containing the complete archival recordings of Elvis Presley’s television appearances from 1956-60. For the first time ever, these tracks been painstakingly remastered and restored. The recordings contain all song tracks, comedy sketch routines and interviews including the extended Wink Martindale interview. The 100-page book is a chronological photo journey following Elvis from the very first in 1956, to his appearance on The Frank Sinatra show in 1960. It contains liner notes accompanied by many rare and new unpublished photographs. In the individual chapters Gordon Minto provides the main details and highlights of each TV performance. Matching the text, each chapter features around 15 pages of significant photographs, a surprising number of the in colour. Go here as EIN's Piers Beagley checks out this new MRS CD/Book package with an in-depth review along with some scans from the book showcasing some excellent Elvis images. (Book/CD Reviews, Source;ElvisInfoNetwork)