+++ Matrix numbers were originally given ONLY for recordings chosen for release. This is not without exceptions - just the main idea. In general RCA do not give matrix numbers anymore, although I still do for RCA releases. However, We/I do not give numbers for soundboard materials. In relation to BURBANK 68, some performances historically used the same matrix number.
+++ The show with FADED LOVE will be released, however we don't know exactly when, as we only plan a few months in order to be flexible with RCA's demands. In general we have VERY few soundboards from 69-73, and a lot from 74 -77, although many are still missing from this period as well.
+++ We are waiting to hear from TURNER about their plans, and would ideally want to tie in with their activities, mainly to achieve maximum publicity effect. TURNER are still considering how they want to treat ELVIS-ON TOUR. Eventually we will release something from the movie.
+++ Well spotted. RCA's tape of the show was missing the intro to POLK SALAD, due to tape change. We had to get the opening bars from another show. A little bit of cheating, I will agree, but better than releasing it without the intro.
+++ Wow. After running around trying to find a copy of WELCOME TO MY WORLD (haven't played it in years), and starting to a-b versus
other takes, two things becomes clear:
1) I was wrong (nothing new)
2) The solving of this creates another mystery.
The version on WELCOME TO MY WORLD is actually a remixed version of the master take (take 3). However the engineer who mixed this forgot that a new ending was recorded (Work Part 1), and replaced the take 3 ending on the original record master. When examining the session take the following turned up:
1) Take 1 - incomplete
2) Take 2 - not on the reel. Only the slate and the words "good James" left. Something was taken out.
3) Take 3 - not on the reel. Only the slate and Felton applauding the take. This is only natural since take 3(the master) and the work part ending is on the reel with all the masters. The sum of this is that we have corrected a mistake here, and created another question. What happened to take 2 of MAKE THE WORLD GO AWAY. That's what I consider a bloody brilliant question. This web-site will be the first to know if we find the solution.
+++ We work closely together with EPE, and since they have decided NOT to have ELVIS IN CONCERT in the market, we have gone along with that. I agree that FTD could be an option for a release here, but we don't have photos from the two shows, and I don't know if EPE does.
+++ Decisions like this are taken way above my head. It's a question of company policies that are taken at corporate level. The problem here could be that improved technical standards may reveal more flaws and and noise than it may actually improve the sound - remember that Elvis tapes were recorded in accordance with the technical standards of the time, not in the digital domain.
+++ It's possible, but financially it may be very difficult, as working with visuals are much more costly than just working with audio.
+++ Nothing is decided yet. RCA is still discussing the strategy for 2002, and the releases to go with this event.
+++ Absolutely. Some stuff will already be released in november on SILVER SCREEN STEREO.
+++ We don't have anything unreleased like that. Whatever we have had, has been released.
+++ The tape was removed from RCA many years ago. I think I may have found it, but I will not know until a month from now.
+++ We try to cover as many different subjects as possible. Sometimes we hold back on a certain release, because we are hopeful that we will be able to find more material. We mix the releases, so that most fans will get what they want within a certain year, although of course that means that some of the releases will have less appeal to some fans.
+++ Brilliant thinking - this of course the story behind the surviving outtakes of the Jan 10-11 and April sessions in 1956. However, in 1959 tape costs were not a big problem. Additionally the tapes were out in Indianapolis where there was no studio, and even worse, I know a man who worked there, who confirms that the tapes were actually destroyed. A very sad story - but not an uncommon one.
+++ I haven't heard the CD. The producer must have gotten back to the session reels, and without permission, just used the outtakes. The reason they sound so good, is that I recently acquired the original 3 track tapes of the two songs, and I'm very annoyed of this abuse. These should have come out on an Elvis CD, and not be used to force collectors into buying an Ann Margret CD they may not want. More information to follow.
+++ I think Elvis fans have come to expect more and more as the years have passed. Remember how we were all terrible excited when LEGENDARY PERFORMER VOL. 1 came out. A few outtakes - the rest masters -and we were in heaven. I question the term "so many" as at least the FTD releases keep selling in spite of angry letters and sometimes poor reviews. We will definitely close the FTD level if it turns out that people don't like the material, the idea or the way we deal with it. However - just now - it's the opposite picture. In general I believe people who are dissatisfied are quick to write complaints. Happy people just listen to the music and enjoy it. I've studied the criticism and fully understand some of it. However you will find - and definitely on the message board of this website -criticism that is so stupid that it's not even worth responding to.
+++ FTD is locked into the digi pack solution we have used from the start. This was chosen so as to distinguish FTD product from normal RCA releases. We try our best to make varied artwork, but it's hard to please everybody. You are not very specific about what it is that you don't like, but if your criticism has to do with "not enough pages", we have to say that it's both a financial consideration, but also a question of time available.
+++ Many of you may remember that it wasn't always so. However, after we had talked freely about what tapes were missing, we started getting calls from a small group of fans who "knew" where various tapes had gone. We spent a LOT of time discussing with these people, checking the information through endless expensive phone calls and sometimes travel. It never led to anything other than just an enormous waste of time. One fan kept calling me about the lost ELVIS IS BACK outtakes, claiming he knew where they were, but just couldn't tell me now. He kept returning to the subject for more than year. Sometime during that period I actually found these tapes and acquired them for RCA. I didn't tell that particular well informed fan about my find, and he just kept going on about where they were even after we had them in our vault. Some of you may remember stories about SUN tapes, or outtakes of Hound Dog, or Hal Wallis vault finds - what happened? Only one thing - some people created these stories based on a supposed knowledge of what RCA had - and basically tried to fool all of us. The irony multiplies, when you see some of these fans praised for what they do for the Elvis world on your own message board.
+++ First of all. The people who start complaining about the poor mixes on the soundboards have lost the plot entirely. You cannot mix the soundboards as they are either 1 track(mono) or 2 track (stereo). It's true you can remove hiss, but the more hiss you remove the more of the original recording disappears as well. There is no miracle machine here, but if you are good you can definitely improve the material (as on the LIVE IN LAS VEGAS box). However I've been reading stuff where fans have applauded bootlegs that has had so much hiss reduction that they come out totally flat and lifeless - that's poor engineering. A specific example. Why so much hiss on UNTIL IT'S TIME FOR YOU TO GO on 6363 SUNSET. As this was not really a recording session, things weren't done with the same care and skill as normal. The problem here is that all of the hiss is on Elvis' vocal track - basically because his vocal was recorded at a much too low level. If you remove the hiss, Elvis' voice will be totally lifeless. I will admit that if we had had a large budget, we could possibly have improved this more than we already did - however such budgets are not available for FTD. Some fans have stated that we are no good at mixing. I find that quite rude, since none of these individuals have ever heard the original tape, and therefore basically talk without any knowledge on the subject matter. Additionally the quality of Elvis' recordings changed from 1969 and onwards, as the producer didn't have to create the finished music on the spot, but could repair, overdub and change things. For instance, in 1971 in Nashville, Elvis rushed the recording sessions, with the consequence that the engineer had very little time to adjust anything, and often had to make corrections on the individual instruments as the takes kept rolling.
+++ As stated earlier, economics play a role here. However that's not the only issue. THE FTD label is aimed at serious collectors who we expect to basically have all of Elvis normal RCA CD's. You don't have to own Joe Tunzi's or my Recording Sessions books to have the proper information -you will find that on many RCA releases. Our focus is the music, and we want to only add what you don't know already (mainly take numbers)
+++ I don't know why people think so. They cost the same as any other new CD - we charge the fan clubs the same as the record companies charges their dealers.
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