iTunes 10 New Releases
Looking 4 Myself (Deluxe Version) - Usher
Looking 4 Myself (Deluxe Version) by Usher
Bear Creek - Brandi Carlile
Bear Creek by Brandi Carlile
Phillip Phillips: Journey to the Finale - Phillip Phillips
Phillip Phillips: Journey to the Finale by Phillip Phillips
American Idol - Season Finale - Season 11 - EP - Various Artists
American Idol - Season Finale - Season 11 - EP by Various Artists
Like That - Single - T.I.
Like That - Single by T.I.
In My Life (Glee Cast Version) - Single - Glee Cast
In My Life (Glee Cast Version) - Single by Glee Cast
Like That - Single - T.I.
Like That - Single by T.I.
Bring Me Home - Live 2011 - Sade
Bring Me Home - Live 2011 by Sade
Apocalyptic Love (Deluxe) [feat. Myles Kennedy & The Conspirators] - Slash
Apocalyptic Love (Deluxe) [feat. Myles Kennedy & The Conspirators] by Slash
Sprawl II & Ready to Start (Remixed By Damian Taylor & Arcade Fire) - Single - Arcade Fire
Sprawl II & Ready to Start (Remixed By Damian Taylor & Arcade Fire) - Single by Arcade Fire
The set opens with its strongest side, the live performances from the Venus Room of the New Frontier Hotel in Las Vegas in the spring of 1956, and the March 25th, 1961, benefit performance from the Bloch Arena in Honolulu. For all of the seeming indifference of the crowd at the Vegas appearance, those are first-rate live rock & roll performances and are also as good a cross-section of his work as you could get, pared down to four tracks: "Heartbreak Hotel," "Long Tall Sally," "Blue Suede Shoes," and "Money Honey." The Honolulu benefit had appeared on vinyl bootlegs during the 1970s, but never sounding this good - there are still a few momentary drop-outs, and the noise of the screaming girls on the first numbers does suppress the music slightly (if George Martin could have heard this tape, it would have warned him of what he was in for in trying to record the Beatles in concert); but this is also about as idealized an early Elvis Presley live performance as we're ever likely to hear, backed not only by two of his original Sun Records bandmates (Scotty Moore and D.J. Fontana), but also by most of his great Nashville studio band (Hank "Sugarfoot" Garland, Floyd Cramer, and Boots Randolph). What's more, Elvis is remarkably relaxed here, joking with the crowd as he ranges across his entire career up to that point, from "That's All Right" to "It's Now or Never." The combination of the inevitable sound leakages, a few flubbed lines (on "One Night"), and Colonel Tom Parker's neglect of the musical side of Elvis' career precluded this show - Elvis' last before a paying audience until 1969 - from ever being released on its own, but by itself it's worth a good deal more than 25 percent of the cost of this set. It also makes for a fascinating snapshot of the King as he was metamorphosing musically from the young, lean, raw rock & roller into a mature, sophisticated (and genuinely great) singer.
Disc two doesn't fare quite so well, its highlight being a series of ten delightful outtakes of various movie songs (some of them not always very good as songs) and what were then previously unreleased excerpts from the TV specials from 1968, 1973, and 1977. Those tracks have been supplanted by better releases since, though they still make great listening.
Disc three's outtakes from his live late-'60s Las Vegas shows has, similarly, been made redundant by subsequent issues, and the "Lost Singles" selection was only useful at the time for gathering together nine '70s-era 45s that were out of print and not anthologized on extant albums at the time - much more valuable is "Elvis at the Piano," depicting the King working through four numbers on his own, including the unedited version of the 1973 single "It's Still Here."
Disc four contains representative excerpts from a June 1975 Dallas, TX, show, and like much of the live portion of disc three and the television broadcasts on disc two, it has been rendered somewhat superfluous.
The producers have improved the sound significantly for the CD release, which was delayed until 1998 and also gave them time to improve the packaging, though there's surprisingly little formal musical information (dates, bandmembers, etc.) listed. Although much of this box set may seem redundant to 21st century listeners, it's still an extremely enjoyable compilation with at least 20 tracks that are an essential part of any serious collection of Elvis' music. - Bruce Eder, AMG