Today, Tomorrow & Forever (BMG Heritage 65115)

 

Today, Tomorrow & Forever, a deluxe four CD set, is RCA/BMG's "big" Presley release for 2002, next to their chart-topping, JXL single remix of "A Little Less Conversation" and upcoming #1 Hits collection.  Taking 1997's Platinum, a similar 4 CD collection, a step further, producers Ernst Jorgensen and Roger Semon have lovingly assembled a spectacular alternative career overview with an eye towards both hard core and novice fans. 

The package boasts a previously unpublished color image from Elvis' first publicity shoot for RCA, taken in New York a few weeks after signing his contract in November 1955.  It's a classy start.  The one hundred songs are chronological, crafting a sensible road map of the peaks and valleys in Presley's career.  With highlights in abundance, it's tough to name just a handful.  

CD 1 journeys from Sun Studios in 1954 to a late 1959 German home demo.  In just five years Elvis goes from being the most important name in his Memphis home to the most famous person in the Western world.  Recently discovered Sun tapes allow us to enjoy a "new" outtake from Elvis' first formal session for Sam Phillips on July 5, 1954. "Harbor Lights" details the final minutes of the old, pre-rock world, as one of several plaintive, noncommercial ballads Presley offered that hot Monday evening before he, Scotty and Bill stumbled upon rock and roll with "That's All Right, Mama" an hour later. 

Moving through thrilling alternates from sessions in 1956, Elvis lives up to his "Memphis Flash" moniker.  "I Got A Woman" is missing its first minute but remains an amazing contrast to "Harbor Lights."  The fire is all over his cover of Big Joe Turner's "Shake, Rattle And Roll," with Scotty Moore and Shorty Long's solos spitting sparks.  Turner's lascivious "dresses" verse, cut before Presley's recording is issued, remains intact.  "Rip It Up" is still a distant second to Little Richard's stunning hit single, but the middle of the disc unveils a revelatory "late show," taped May 16, 1956, by a local DJ in Little Rock, Arkansas. 

The Little Rock recording surfaced unofficially in 1989, and it's presented from a more complete, though slightly tinnier, source tape.  Elvis is in incredible form -- this is unlike anything ever seen or heard before -- the crowd goes insane from the get-go and Presley rides the frenzy like the 22 month veteran he is. 

Elvis subtly acknowledges media criticism of rock and roll as "jungle music" during his introduction to "Long Tall Sally" ("this next song here is real hot around the nation and some parts of Africa") and changes the lyrics to "Blue Suede Shoes" ("you can burn my wife, steal my car").  He indulges in some verbal interplay with bassist Bill Black at the start of "I Got A Woman."  At one point he even burps!  For some, Elvis will never be better, or wilder, than this. 

Elvis' return to Sun for the famed and fascinating "Million Dollar Quartet" jam session of December 4, 1956 is represented by an undiscovered minute from the beginning of his visit, a brief rendition of Pat Boone's "Don't Forbid Me."  If an unfettered tape is now available, it might be kind of BMG to issue it in the near future.

Elvis' 1957 recordings are given new life with various discovered tapes, including January dry mixes of "I Beg Of You," a lovely "Peace In The Valley" and a superbly declicked acetate of "Got A Lot O' Livin' To Do."  The farm version of "Loving You" is a gentle, almost acapella rendition.  And Elvis' "Jailhouse Rock" outtakes are fabulous, especially when Presley infuses a May version of "Treat Me Nice" with enthusiastic guitar slap percussion a la "Don't Be Cruel."  Although this arrangement didn't make it to single release, and the Jordanaires unique repetition of the song title would be dropped by the next take, it's still a worthy cut.  

The classic ballad "Young And Beautiful" is preceded by Elvis giggling "ol' fuddley Dudley" in response to an apparent miscue by his piano player, Dudley Brooks, while Bill Black's mastery of his new, electric Fender bass is suspect on the outtakes of "I Want To Be Free."  It's no shock that, later in the day, Black left the session in anger over his incompetence; amazingly, Elvis surprised everyone by playing the instrument in Black's absence. 

"Doncha' Think It's Time" take 48, found on an acetate at Graceland, marks the next to last gathering of Elvis, Scotty, Bill and D.J. together in a studio (Colin Escott's liner notes are wrong).  This February 1, 1958 recording, co-written by famed R&B singer Brook Benton, is so good part of it will become the single master.  Closing out CD 1 are fine versions of "I Need Your Love Tonight" and "I Got Stung" from the last 1950s studio session in June 1958, and a boogie piano demo of Sanford Clark's "The Fool" taped a year later, while Presley is stationed in Germany as a US soldier.  After 26 cuts, the listener is left knowing where Elvis had been, how he'd changed, and where he was headed in 1960. 

CD 2 begins with two highlights from Presley's return to the studio in March and April 1960 – among his very greatest work.  One is a loose, one-take-from-the-master of Otis Blackwell's "Make Me Know It," and the other a sublime reading of the old Al Jolson ballad he'd take to number one, "Are You Lonesome Tonight."  Within the month, Presley returns to Hollywood to create the first of many musically and sonically substandard film soundtracks.  Although both the uptempo title track to his 1960 film return, "GI Blues" and lilting ballad "Pocketful Of Rainbows" have charm, the quality of the material would begin to nosedive. 

The first half of the decade charts the slow course of Elvis' retreat, as studio visits diminish and soundtrack orders increase.  A beautiful gospel album session in October 1960 is exemplified by a spirited "Swing Down, Sweet Chariot."  At first Elvis is far off mic on this classic Golden Gate Quartet "jubilee" number, causing everything to halt, but he nails it with take three (four would be the master). 

One funny moment occurs during the "Flaming Star" session that same month, when engineer Thorne Nogar calls out "Flaming Arrow, take 4."  Elvis replies "Flaming Star!" and Nogar jokes, "No, I just retitled the picture."  Quality film alternates include a sweet first try at "Lonely Man" with Elvis and an acoustic guitar, a celeste version of "Can't Help Falling In Love" (ultimately used in the film "Blue Hawaii") and the rocking, inspirational "Follow That Dream," which is perfect, save a slight miscue at the end.  The work of all involved in the early 1960s was so outstanding that discarded alternates were often only a hair worse than the final choices.  In the 1970s, this would become the exception, not the rule. 

The pristine quality of Elvis' other early 1960s studio sessions are well-represented with masterful efforts on Don Robertson's "There's Always Me," "Anything That's Part Of You" and "They Remind Me Too Much Of You."  A contrast of studios and styles is evident between outtakes of "King Of The Whole Wide World" and "Gonna Get Back Home Somehow."  The former is an excellent movie tune with tempo issues, thin sound and an out of control, jazzy saxophone solo from Boots Randolph, while the latter, a minor studio classic from Pomus/Shuman, is the closest Elvis ever came to emulating a rich Phil Spector-like, wall-of-sound production.  Coming back to back, the disparity between Radio Recorders in Los Angeles and Nashville's Studio "B" is blatantly obvious. 

Ernst and Roger also dare to include some real Hollywood crap, with worthless tunes like "Mexico" and "My Desert Serenade."  This is an honest musical biography.  Wonderful falsetto aside, why was Elvis doing second-rate Hawaiian tunes like "This Is My Heaven" in 1965 when rock and roll, led by the Beatles, was again capturing the imagination of youths everywhere?  

Among some of the remaining worthy moments on CD 2 is the unveiling, after 39 years, of Elvis and Ann-Margret's duet version of "Today, Tomorrow & Forever."  It's a sophisticated arrangement, with each taking a solo verse, each alternating either melody or harmony on a verse, and finishing the song in unison.  This extra effort reflects a clear love for the song and, likely, each other.  One may thank "Colonel" Tom Parker for keeping this and two other Elvis/Ann collaborations, waxed for the "Viva Las Vegas" soundtrack, away from the public. 

The 1963 B-side of the Spiders' "Witchcraft" almost recalls the rockin' Elvis of the fifties, with a wild Boots Randolph sax solo this time, although it might have been a better remake if Elvis had tried it in a higher key.  As it is, this outtake shows how much he still loved R&B.  Intimate and insightful, Presley's personal recordings are always welcome -- the gospel of "Hide Thou Me" (a.k.a. "Rock Of Ages") is an aggressively sung and played 1966 home piano demo.  Along with friends Charlie Hodge and Red West, Elvis refuses to let the song finish, playing on and on as if his life depends on it. 

CD 3 presents the rebirth of the man and his music.  All the recordings, with exception of the pedestrian "Long Legged Girl" and reprehensible "The Love Machine," are a pleasure.  Elvis returns to cut another gospel album and a few pop singles after a two year absence and shows all his talent remains intact.  Take 2 of the piano-driven ballad "Love Letters" is given a faster tempo than the eventual single, probably due to rookie keyboard player David Briggs' jitters.  "If The Lord Wasn't Walkin' By My Side," is joyful and jaunty.  In another year's time Elvis is back to tackling tough, talkin' blues on singles like "Big Boss Man." BMG's first outtake of "US Male," take 7, is not as "dirty" as some of the unissued takes, but still has plenty of swagger. 

Elvis never worked with a live orchestra until March 1968, at Western Recorders in Los Angeles, on a song called "Wonderful World."  Opening the comedy "Live A Little, Love A Little," this quaint waltz is delivered to perfection, orchestra and all, by Presley.  He would revisit the live orchestra experience just three months later, again at Western Recorders, for his 1968 TV Special pre-recordings.  A handful of these pre-recordings are here and what a thrill they are.  The "Trouble/Guitar Man" opening segment is a first take and still damn hot.  "Where Could I Go But To The Lord" reflects how the TV Special broke the taping of songs down into segments – the backing vocalists stumble at a clear transition point, ending the take.  The true stereo single version of "Memories" is one of Presley's most affecting ballads, and a real treat. 

Exquisite beyond belief is Elvis' singing at American Studios in 1969, where the #1 single "Suspicious Minds" was taped.  BMG has delved into outtakes from these Chips Moman-produced sessions on a few prior CDs, but the single best alternate of "In The Ghetto" is given freedom on this set.  A bit more uptempo than the single, Elvis' passion on this Mac Davis protest song is contagious.  "True Love Travels On A Gravel Road" is equally attractive, even if Presley's voice cracks a bit. 

It appears "Let Us Pray" is a movie song Elvis found commercially viable.  CD 3 gives us the original vocal master version from March 1969 -- with a different, better vocal this becomes the version issued in 1970.  It brings up a fascinating query: what exactly was Elvis doing in Nashville on 25-26 September 1969?  Although barely documented by either Ernst Jorgensen or Joseph Tunzi, the two Presley "session" experts, both admit Elvis made vocal overdubs for "Let Us Pray" and, perhaps, for some of the live material from August in Las Vegas.  But, given Elvis' astonishing vocal engagement in 1969, one wonders if any new material was taped.  If not, why all the mystery? 

The five tracks that close out CD 3 with a splash are culled from that selfsame Las Vegas engagement in August 1969.  The midnight show of the 22nd must've been excellent, as all the songs come from this performance.  Elvis and the band sound fantastic -- this is rock and roll, despite the locale.  There is no comparison to later live versions of "Funny How Time Slips Away" or "What'd I Say."  Only half-jesting, Elvis introduces Jimmy Reed's "Baby, What You Want Me To Do" by calling it "the world's oldest blues, man."  As in other recent BMG reissues, the engineer continues to bury Larry Muhoberac's piano and organ in the mix, another mystery.  Whether it's an aesthetic or legal decision, the fans deserve to know the reason. 

CD 4 opens the 1970s in style with three vibrant live recordings from Presley's second Vegas engagement in February.  Elvis had decided to add Tony Joe White's recent hit "Polk Salad Annie" full time to his live show, and even this alternate choice is a definitive swamp rock delight, surpassing White's dynamic single.  Presley will never surpass the fresh approach evident on selections like "Polk Salad Annie," "See See Rider" (sic) or "Walk A Mile In My Shoes."  It should be noted that "In The Ghetto" has been needlessly excised from "Walk A Mile In My Shoes," thereby making this unique medley available only on the Vegas box issued in 2001 or the 1999 reissue of On Stage. 

The June 1970 Nashville visit yielded both hits and garbage, and in keeping with the frank nature of this collection, one hears both.  "Life" is aptly described as failed "sixties poeticism" (despite Chip Young's gorgeous acoustic guitar work), while "Snowbird" reveals an Elvis at his most committed on this quietly tragic pop tune.  It's a shame Canadian singer Anne Murray was first to make a hit with it. 

Elvis' three Nashville trips the following year get more attention on CD than ever before, revealing his surprising love of folk music in takes 9 and 10 of Peter, Paul and Mary's "(That's What You Get) For Lovin' Me" from March 1971.  Because of an eye infection the session is cut to two nights, but not before he finishes this song with typical banter: "almost threw up on the second line," he jokes before take 10.  The use of live backing vocals is a return to an old recording method, and indicative of Felton Jarvis' nominal role as Elvis' producer. 

A rehearsal of Jerry Reed's "A Thing Called Love" with Armond Morales, a member of his gospel backup group the Imperials, is curious.  By choosing to duet with Morales and using a very low voice, Elvis disappears -- it could be anyone singing.  The wimpy arrangement also kills any hit potential.  "I'll Be Home On Christmas Day" struggles between pop and blues arrangements across two sessions.  A bluesier alternate has Felton chiding "why it's so simple, y'all trying to make it hard, really."  When all Elvis' 1971 studio sessions were complete, the pop version made that year's Christmas album. 

Among the last dozen outtakes on CD 4 a few are praiseworthy.  The brilliant December 1973 Stax Studio recording of "Promised Land," Presley's most remarkable 1970s rocker, includes a nifty little "warm up" before rolling into a marvelous take 2.  Sadly, this is the last full version in the vaults.  "Your Love's Been A Long Time Coming," from the same session, is take 10, actually one try past the master eventually chosen.  It's a solid effort -- this is Elvis' kind of song, with a chorus that he simply refuses to relinquish until he feels like it. 

Both sides of Elvis' last vital single, 1976's "Hurt"/"For The Heart," are represented.  The B-side, a unusual country/pop song from Dennis Linde, the author of "Burning Love," is a little rough on take 4.  Elvis comes in halfway through the four bar intro and the musicians gathered in Graceland's "Jungle Room" never pick it up.  The A-side, another Presley homage to R&B idol Roy Hamilton, broke the top 40 in 1976, despite being a throwback to an older era.  Take 5 is as apocalyptic as the original -- Elvis' mid-song monologue and dramatic finish are terrific -- and it's a perfect choice to close this collection.