Taken from :http://www.theelvisforum.com/elvis-today-f3.html
Great track info by Keith Flynn ....always a joy to read his comments regarding new releases.http://keithflynn.com/
I’ve just finished listening to the new Venus release – “Unedited Masters – Hollywood To Nashville 1972-1980” and what a treat it is! Continuing the same theme as their last releases this contains some overdubbed and undubbed masters in exceptional sound quality, which were either edited or faded for their official releases but are heard here for the first time in their entirety. Six tracks from March 1972 start, then in no sort of order we get tracks from 1975, 1976 and 1980.
Here’s a quick track-by-track rundown:-
First up is takes 5 and 6 of ‘Burning Love’. Take 5 is only a short false start with no Elvis involvement so it’s no surprise that it wasn’t included on FTD’s “Standing Room Only”. Take 6 contains the count-in but also contains later overdubs too, as the overdubbed cowbell and additional guitar overdub can be clearly heard. The song runs through for another twenty seconds or so to the end and isn’t faded like the released master, finishing with Felton Jarvis proclaiming “That’s a gas… let’s listen to it”.
Next is what is listed as the undubbed master of ‘For The Good Times’ although it contains Elvis’ own Harmony vocal overdub, so it isn’t purely undubbed. Previously only available from an acetate source, here it comes from a tape source in fantastic quality. Great to hear.
Take 1 of ‘Fool’ appeared on FTD’s “Standing Room Only” but it was faded on there. We can now hear why it was faded as it runs completely to the end on here. Elvis does a very emotional and powerful rendition of the song almost perfectly and then finishes with “Fool, you could have made her want you… Fool, you could have made her blow you…” right out of the blue! Little things like this reveal the real Elvis at that time, always the joker.
I’ve always loved the overdubbed master of ‘Always On My Mind’ containing overdubbed brass and strings, since I first heard it on RCA’s “Always On My Mind” album in the eighties. Here it’s presented unedited and in a different mix which contains the piano intro that was mixed out of the RCA release. We’ve had this same mix from an acetate source before, but here it comes from a tape source in great sound quality. The original released master of “Always On My Mind” had these overdubs removed before release in 1972.
Next we have the overdubbed master of “It’s A Matter Of Time” released for the first time from a tape source, where previously it was released from an acetate source. As with “Always On My Mind”, the original released master of “It’s A Matter Of Time” had these overdubs removed before release. It’s nice to hear this but I can see why the overdubs were removed before release.
The unedited overdubbed master of ‘Fool’ is next. We’ve had this from an acetate source for years although it was faded early. More recently we had it from a tape source on the CD that came with the “Live Live Live Volume 2” bootleg DVD, but again it was faded early. Here we have it with count-in and running through to the end with Felton saying “Good, good, let’s listen to it… very good”. Again, the sound is better than we’ve had before too.
The undubbed master of ‘Always On My Mind’ is next and sounds fantastic. This was first released on “Pure Diamonds Volume 4” where it always sounded rather “Tinny” where here it sounds fuller and punchier and has a slightly different mix.
This wraps up the 1972 tracks for now until the last track of the CD ‘Where Do I Go From Here’, and I was saddened by the fact that the brass and string overdubbed version of ‘Separate Ways’ wasn’t included, but this must not exist on tape, only on acetate. In my opinion the overdubs really bring that song to life, making it sound completely different, and not in a bad way.
Now we come to the first of the 1980 re-recordings that were done as part of sessions for the “Guitar Man” album. I’ve never really been a big fan of these recordings personally but it’s still nice to hear tracks laid down for the album that were not used, and have remained unreleased until now.
‘For Ol’ Times Sake’ is the first new unreleased recording from these sessions and it is a joy to hear. The press release states that it is will give you goose-bumps and wet eyes, and that it shows that Felton Jarvis was a genius at times. Well I don’t know about that but it is eerie listening to it as you’re hearing a brand new version of the song, and although as already stated, I’m not a fan of these re-recordings, this is a real sure-fire winner, and why it wasn’t included on the “Guitar Man” album originally or later on FTD’s “Too Much Monkey Business” is a mystery indeed. The harmonica is an excellent touch by Tony Joe White, although I cannot hear any backup vocals by him, so this must be the original re-recording from January 28 1980 and not the finished overdubbed master. I have heard it said that this track was to be used on FTD's "Too Much Monkey Business" but the tape was damaged, but perhaps it's the overdubbed master that is damaged.
The 1980 re-recording of ‘Bitter They Are, Harder They Fall’ is next and again it’s completely different to the original master, although not as good as the previous track. Still nice to hear, as it’s unreleased until now.
Back to 1976, I suspect we should have got the next track on the Venus release “Welcome To The Jungle – The Last Farewell” but for some strange reason it wasn’t there, and it first appeared on the CD that came with the “Live Live Live Volume 2” bootleg DVD. What is listed as being the unedited undubbed master of ‘The Last Farewell’ we get the short false start of Take 4 then Take 5 spliced with the ending from Take 3, which is the spliced undubbed master. For the life of me I cannot detect any difference to the “Live Live Live Volume 2” version, although it could be louder!
Next is what is listed as the unedited master of ‘Way Down’. This has the count-in then a different mix to the master than heard previously, and finishes the ending with the infamous “Dog Bark” brought up into the mix. Very clever!
We get the unedited undubbed master of ‘Pledging My Love’ next although it doesn’t mention the fact that it’s undubbed. We first got this on FTD’s “Jungle Room Sessions” and later we got it with additional dialogue on a previous Venus release “Welcome To The Jungle – Way Down”. Here we get that again in what appears to be a better source and slightly different mix.
Next up is the unedited undubbed master of ‘She Thinks I Still Care’ which first appeared on the CD that came with the “Live Live Live Volume 2” bootleg DVD. Again, I cannot detect any difference to the “Live Live Live Volume 2” version, although I could be wrong.
As with the previous track I cannot detect any differences with the unedited overdubbed master of ‘Moody Blue’ as released on the CD that came with the “Live Live Live Volume 2” bootleg DVD, but they do sit nicely on this “Unedited Masters” series from Venus.
Back again to the 1980 re-recordings and now we get ‘Hey Jude’. This originally didn’t make the line-up for the “Guitar Man” album, although we did get it eventually on FTD’s “Too Much Monkey Business”. Here we get it unedited, running on for almost another minute taking the running time to just short of five minutes!
Next is the re-recording of ‘She Thinks I Still Care’ from October 1980, which uses the vocals from Take 2b of the song rather than the original master vocals. This was used on the original “Guitar Man” album, but here it’s unedited and runs on for a further minute longer than the original faded version, and includes the “Son of a bitch” ending. Another song that works really well being a re-recording.
Back to 1975 - We had the unedited overdubbed master of ‘Fairytale’ on a previous Venus release “Christmas Today” but now it’s apparent that here we have a much better source and it definitely sounds different now with much better clarity on Elvis’ voice and all instruments.
Back to 1972 now. We got the undubbed master of ‘Where Do I Go From Here’ on FTD’s “Standing Room Only” where it also contained the take count-in, but here it’s presented without count-in and in a different mix which really packs a punch. Excellent sound quality again.
All in all, another winner from Venus, although the layout of the tracks could have resulted in a better listening pleasure, rather than jumping from 1972 to 1980 and then back and forth, but that’s only a minor complaint.
With everything Venus have brought us so far I cannot imagine what they will bring us next – Is there anything left?