Sat May 24, 2003 1:13 pm
Finally I obtained this cd.
Man, I have to say this is a very good release, no wonder it's number 2 on the import top 40 after American Crown jewels. Just don't understand why ACJ is on number 1.
On FTWH you here Elvis creating the songs. I just can't stop playing. I played it over and over again.
Thought I just want to share it with you.
Sat May 24, 2003 1:42 pm
American Crown Jewels was a real tidbit in its time - with 19 previously unissued recordings from '69. Those performances are far better than what you get to hear on '76 soundboard recordings found just right below on the Top 40 Import list, I think.
Sat May 24, 2003 2:54 pm
If you put three CD's in front of me -
3. FTD - Memphis Sessions
I'd take FTWH and say, "See ya later!"
It's already a boot classic, a must-own, ................ nothing short of incredible and awesome content. Unlike other boots where RCA/BMG later releases the same content (Aloha Rehearsal, '61 Hawaii, New Years '76, etc.), ............. you are likely to never - ever - hear some of the material on FTWH "officially" released.
Pure, raw, Elvis - The King - The Man, doing what he does best. That boot floored me when I first heard it.
If you don't have it, fellow fans, ........... WHAT ARE YOU WAITING FOR?!?! If you are one of the moralists who don't "do" boots, .......... it's entirely your loss.
...just a fan....
Sat May 24, 2003 3:13 pm
I found this on another site.
When the Bilko label released their "American Crown Jewels" some years ago, the Elvis World was stunned and lost for words. Never before had a non-RCA release been issued with such an enormous amount of unreleased takes that for once really mattered. Okay, in the past other albums have seen the light of day that can be considered classics in their own right but an album full of alternate material from these legendary sessions in early 1969, we bowed our heads in admiration. Oh yeah, did I mention that the sound on that classic CD was awesome and since then rarely equalled let alone improved on?
From that moment on, everyone asked for more.. and more.. and more.
Unfortunately Bilko was not able to fulfil our needs but hey, as long as you get it, who cares who gives it to you, right? So here we go, back once more to early 1969, back to the legendary American Sound studio in a nasty Memphis neighbourhood. Back to the good old days when music mattered.
1. Wearin' That Loved On Look (5:35) (7 false starts and 1 alternate take*)
From the first take of the powerful 'Wearin' That Loved On Look' you can tell he's in trouble. His voice is crackling ("it's gonna get good in a minute") and he sounds hoarse. To the musicians it can not of come as a surprise that after several days of recording he had to quit due to a throat infection. Still he put down one hell of a performance.
2. Only The Strong Survive (2:35) ( 4 false starts)
From the February sessions comes 'Only The Strong Survive'. A song that had to be restated again and again, much to Elvis' liking it seems.
3. Long Black Limousine (8:34) (Takes 1,2,4,7,8,6*)
The first song recorded during these legendary sessions and certainly one of the strongest. The story has been told many times before but Elvis really seemed to identify himself with the character in the song. A poor soul from the country making it big in the city only to return to her(or was it "his") hometown in a hearse. The complete of this song (Take 6) is hardly inferior to the master (take 9)
4. Only The Strong Survive (1:27) (2 false starts)
Two more attempts at this classic Jerry Butler song and again without success.
5. You'll Think Of Me (5:34) (takes 1,2,3,6)
Take 7 of this beautiful song has been released on "American Crown Jewels" but we dug a little deeper into the vaults and came up with two beautiful alternates (take 8 can be heard on the second disc of this set). By take 3, with his voice cracking again, he sounds irritated and a little to anxious to get the song down. Moving on to take 6 and only getting it right first line, he puts down a great and slightly relaxed take. The guitar-break needed some work though.
6. From A Jack To A King (2:49) (takes 1,2)
Though this take was released before on the "American Crown Jewels" set, we were able restore the first take and some later takes (on CD 2). At the end of take 2 we can hear him saying: "It's alright except for the words." It was a very loose take indeed probably done just to please his father who drooped by the studio. Since it was one of Vernon's Favourite songs, Elvis started to clown around with it. a fun song and by no means one he "shouldn't have recorded" as was printed in the booklet accompanying the original "Crown Jewels" set.
7. Only The Strong Survive (1:06) (1 false start)
Another attempt, another failure.
8. Without Love (3:34) (takes 1,2)
This moving piece of work was originally recorded by one of his childhood heroes, Clyde McPhatter. Only two full takes survived beside the master, you get them both on this set. Only one song could follow this gospel-tinged ballad, the breathtaking (and one take only) "I'll hold You In My Heart".
9. Only The Strong Survive (2:18) (1 alternate take)
Nearly getting there, a full take was finally in sight.
10. If I'm A Fool (6:01) (takes 1,2,3*)
This delightful ballad has him mixing up the words on the first take: "they're I am just your fool, eh, clown" - "wait a minute, you ****suckers out there". After the complete third take Chips Moman compliments him ("sounds good, Elvis") but Elvis himself takes no credit "ha, ha, rotten!" Between takes 2 and 3 Chips can be heard saying: "the heater's on, isn't it?" it was freezing outside but the heater had to be turned down because of the noise it was making. "it's a tough way to make a living, folks," Elvis was often heard saying throughout his career, he was right.
11. Suspicious Minds (7:23) (takes 1,2,3,7*)
For the first time ever, incomplete out-takes of one of the best recordings ever to see the light of day and prove for once and for all that "Suspicious Minds" was not an easy song to do. He struggles on the same line over and over again, as he can be heard on the first few takes "would I still see, see, see, **** you rider" At first they laugh about it but after the third attempt he turns to Booby Wood for help: "Bobby, do harmony with me and I'll pick it up." Clowning about the last take he jokingly sings: "I'm saving the last take for me" he recharges himself with some karate moves. By the time of take 7 he gets it right and he sounds almost triumphant when he finishes the last line "would I still see suspicion in your eyes".
12. Only The Strong Survive (6:25) (take 1. 3 false starts and 1 alternate take)
Another song that gave him trouble was "Only The Strong Survive". This one too got the full treatment after many false starts. The instrumental break that had no solo seemed to make him uncomfortable. Chips Moman however needed this break for later overdubs but Elvis was used to a guitar solo when he wasn't singing so he made his own little solo, one that certainly needed serious editing by RCA had they ever considered releasing it in the first place: "she said, boy that's one of the worst jobs of singing I have ever heard you do in your natural life. (changing his voice to a high falsetto he continues) I said, why don't you give me a friendly hance. She said, listen, you little cock-sucker." At least they had a complete take, now they needed a decent one.
13. In The Ghetto (4:05) (takes 2, 1)
The first ever tae of "In The Ghetto" must rank as one of the most thrilling performances of these sessions. He sounds relaxed but don't let that mislead you. He puts just the right amount of feeling into the song to make it a breathtaking experience. If it wasn't for the mistake he made near the end of take 1, this otherwise flawless effort could have been the big one. Chips though differently though and had him do another 20 or so takes, most of them in a different key.
1. Kentucky Rain (7:03) (take 1. 4 false starts and 1 alternate take)
The first attempt at this classic song, slower than the final version, can almost be called a take, were not for Chips Moman's interference: "I like that tempo but it needs a little edge to it". various false starts lead to a complete and slightly faster take, a sure beauty but still not satisfactory for Elvis, he felt he could do better and he could.
2. Suspicious Minds (4:44) (takes 4,5,6)
Another three takes of this beautiful Mark James composition and once more Elvis can be heard struggling with that same line. With take 8 being the master, though long overdue, we now have every available attempt at this song.
3. In The Ghetto (6:45) (takes 7,8,9,10,11)
On the first disc we heard the first two takes of this great song. Another five takes represent a further development in a different key and with several backing variations. Listen how the guitar, piano and drum parts change with every take, fascinating.
4. You'll Think Of Me (5:00) (takes 4,5,6)
Though not as strong as other takes, this one deserves to be heard by more people than just the musicians and technicians present at the recording session. "Play one more, that was my fault" comes the voice from Chips from the control room after yet another fault made in fact by Elvis himself on the opening line "there's something deep inside my soul keeps calling me". Unfortunately Elvis sounds slightly off mike near the end of take 8, he knew the song needed some more work, some 15 more takes in fact.
6. From A Jack To A King (2:25) (2 false starts 1 alternate take)
Though not complete we felt that you deserved these three takes of Ned Miller's classic. Listen to the great alternative vocal attack on the line "With no regret I stuck the cards last night".
7. Without Love (2:57) (take 4)
Every attempt at this powerful song must be heard by the serious listener, although on this take there are serious problems with the tempo for both Elvis and his band. One time Elvis sings to fast and tries to slow down the and, another time it is the other way around and during the last line they are completely lost and ruin the song.
8. Wearin' That Loved On Look (3:08) (3 false starts and 1 alternate take)
Four further takes and yet again Elvis struggles over the opening line, much to his delight, so it seems.
9. If I'm A Fool For Loving You (3:08) (takes 6,7,5)
Another three takes of this superb country ballad. No other complete take except for the one on disc one, could be unearthed bur Elvis' delivery is so beautiful on these takes we just had to include them for your listening pleasure.
10. Only The Strong Survive (3:25) (3 false starts and 1 alternate take*)
Three false starts lead into the now legendary take that was first released on "American Crown Jewels" with Elvis doing his famous monologue during the break. No further explanation necessary why we include it yet again.
11. A Little Bit Of Green (4:32) (takes 2,1*)
A beautiful second take has Elvis struggling with the line "clouds my eyes of what I've seen". Listen how he clowns with the word "Clouds." Except for his laughter near the end of the first take, this one is a beautiful version.
12. Kentucky Rain (6:42) (2 false starts and takes 7, 10)
Several further takes of this classic song. Just listen to the jazzy playing by Gene Chrisman on drums and Bobby Wood on piano during the "I showed your photograph.." verse catches Elvis off guard. After take 10, the actual master, we can hear Chips Moman say: "Elvis, you were singing the hell out of it". nothing is further from the truth. It took them six hours to record this song with it's difficult key changes and tempos but it was worth it. it would provide Elvis with his fourth hit-single from these legendary sessions.
* Denotes previously released on American Crown Jewels
This is not a review, just a copy of what the booklet says about this release.
Sat May 24, 2003 5:21 pm
N880EP wrote:If you put three CD's in front of me -
3. FTD - Memphis Sessions
I think they were all good releases in their own right, but I would agree that “Finding The Way Home” would also be my choice as the best release from the legendary American sessions. The music these releases showcase was so good that it never gets boring listening to multiple takes of the same songs, and on “Finding The Way Home”, Elvis’ enthusiasm and commitment to the music he was making really shines through, along with his infectious sense of humour. As the title of the album suggests Elvis really was finding his way again artistically after the wasted years of the mid sixties and the mediocre Hollywood soundtracks, and it’s a joy to listen to.
I thought FTD’s “Memphis Sessions” was a good single disc compilation, and it must have been a real treat for the many fans who don’t have access to bootlegs, and were hearing out takes from these sessions for the first time. It’s just a pity that this album was issued before FTD relaxed their policy towards editing out bad language, and some of the more risqué humour from the sessions was lost. I look upon “American Crown Jewels” as an alternate anthology, which makes a nice companion to BMG’s “Suspicious Minds”. It’s a good CD to play if you are in the mood for complete performances rather than complete sessions. They are all essential in my opinion, but I have to agree that “Finding The Way Home” is number one. In my opinion it’s the best Presley boot ever released.
Sat May 24, 2003 9:27 pm
FTWH is in mono and THE MEMPHIS SESSIONS stereo so you don't the same mixes twice . For me the whole lot is essential listening.
Sun May 25, 2003 1:26 am
I have FTWH, Memphis Sessions (FTD) and Suspicious Minds (BMG). I don't own American Crown Jewels. Could anyone enlighten me which tracks/takes on ACJ are exclusive to that release, are not found on any other official or non-official releases?
BTW, I can only agree with the statement FTWH is a terrific quality release. The sound quality, the music itself, the studio chatter/infectious laughing, the beautiful booklet: this sure is not a "take-the-money-and-run" bootleg release. I would rank it in my top five of favorite imports of all-time.