drjohncarpenter on Fri Dec 08, 2017 6:23 pm wrote:JamieAKelley on Fri Dec 08, 2017 3:03 pm wrote:drjohncarpenter on Fri Dec 08, 2017 4:07 pm wrote:JamieAKelley on Fri Dec 08, 2017 12:17 pm wrote:So I take it you didn't buy the "King Creole" classic album? Because, not counting the demos since they aren't Elvis, that was scraps.
You're joking, right?
A Disc For Danny Fisher (2015 edition)
http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=89200
Actually, no I'm not. I never said you couldn't make a justification for it (though I should have said so at the time, actually), and I'm very glad I got that release. But the amazing sonic revelations aside, there's not much on there (besides the demos) that's not been heard before on other official releases.
So if "rebuying for 5%-20% we didn't have" is a bridge too far, that technically falls under that category. Again, nothing about this fact discounts how cool the release is in ANY way. But it's still 80%-90% released material. If we want to get really technical, it's two versions of the same masters on the same disc even. Now, I can knock that argument down just as fast as you can from a fan/music/historical perspective, but there's still truth in it.
All of this leading to one point: us buying complete sessions would not be that different, if at all, from the buying pattern most of us happily engage in now. Personal preference is really the only difference.
And you can add the recent MSQ and Aloha re-releases, as well. Very unique sound and great releases, but also stuff we've already had in some form.
Your analogy doesn't apply here. The truth is that 2015 FTD gave the fan everything they possibly could from the "King Creole" sessions, and all of it mastered from original, 1958 reels. The demos are there because of the lack of outtake reels, and they are fascinating on their own. They do help tell the story, and those featuring
Jimmy Breedlove are astonishingly good.
But again, not much of that hasn't been heard on "Hits Like Never Before" and various outtake-compiling box sets. The rest is justification. I say it's valid, you say it's valid, but it's much of the same even if we feel that way. Just because we like it and see the value/difference doesn't change that. We bought the same takes of the same songs we've had for awhile now. And I'm not knocking the demos at all - I'd be up for hearing a lot more, maybe a disc of the demos brought to Elvis at the sessions, like we got on this release. But I set those aside to highlight that there's not much "new" or unheard on the Elvis front for that release.
As for the argument point I highlighted, that isn't one of mine. My point remains that a second or third (or fourth) troll through Elvis studio session reels for outtakes, false starts, jokes, bum notes, and chatter isn't going to provide any insight or musical pleasure.
In other words, it won't add to his legacy.
No, I know it's not yours, I was more speaking "in general" on that point since I was on the topic.
As for musical pleasure, I enjoy being able to hear a complete session without cuts or edits, in order, for a "fly on the wall" experience as some kind of history is being made. Much like we got on the "Gold Records 2" FTD. I loved hearing that, and I'm sure you did, too. Many sessions have only been heard chopped up and out of order. I think there's merit in having it together. Your thoughts here tell me you don't, and that's all fine and good. But I say the context adds at least a bit of insight and definitely is a pleasure to hear. So, and I mean no offense with this, you don't speak for everybody.
On musical legacy.. you could argue that 1/4th to 1/2 the FTD catalog doesn't add to his legacy (if judging by how much of any live release after '72/'74 is judged on this board is any indication). It's justified to us, we enjoy it. Same for this, at least for me (and others here).
Why can import labels issue chronological session tracks? Because there is nothing to stop them. There is no corporate structure, or retail business plan, that they must adhere to in the process. Nor is there any concern about precedent, or aesthetic. All of these apply to a major label project, even those titles that come out on a collector subsidiary label.
FTD have released complete sessions (at least as much as they have) on prior releases (Gold 2, Loving You, Elvis Presley, A Boy From Tupelo, etc), so unless there's a contract for a specific session in the way for musician royalties, I'm not sure what would make this much more expensive than what they've done in the past.