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on 5 May 2017
Elvis backing in Memphis in the studio after all those films very cool.
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on 21 September 2017
One of Elvis best Albums
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on 3 April 2017
The King at his best.
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on 1 June 2017
Excellent vinyl exceptional service
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on 23 August 2017
This double disk collection is fantastic and has so many beauties on it.
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on 28 May 2017
EXCELLENT/PERFECT
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on 12 February 2016
RCA Legacy Edition was conceived as a project where two of Elvis’ popular albums were grouped together, and released as a box set. In this From Elvis In Memphis set, the two albums are 1) From Elvis In Memphis (Billboard 13/1969 and UK 1/1969)(16 tracks with 4 bonus tracks) and 2) Back In Memphis (US 183/1970)(20 tracks with 10 bonus tracks).

Elvis Presley’s Memphis sessions proved that sometimes you can go home again. It was January 1969, and Elvis had not recorded in his hometown since leaving Sun Records for RCA in 1955. But the renewed focus and ambition sparked by his wildly successful TV comeback special the previous month propelled him back into a Memphis studio, where in just two weeks of sessions, he made some of the most memorable and artistically satisfying music of his career.

This burst of inspired creativity resulted in the critically acclaimed album From Elvis In Memphis and its companion LP Back In Memphis. “Suspicous Minds,” “In The Ghetto,”
“Don’t Cry Daddy,” and “Kentucky Rain” were among the unforgettable hits that results.
There is also an excellent informative booklet many gorgeous pictures. I learned from the liner notes that “In The Ghetto” was not without its own troubles. Written by the soon-to-be performer Mac Davis, the song’s political content (gentle, almost vapid by today’s standards) unnerved some of Elvis’ friends, apparently worried that he would alienate his fan base – byu taking a stand against a cycle of poverty and violence. (The Comeback Special’s “If I Can Dream” was more political than this song, and it had been praised.) Moman, employing some of the psychology that any real producer keeps in his quiver, declared that it would be a perfect song for Rosie Grier or Roy Hamilton (a childhood hero of Elvis). Elvis did not have to be asked twice to perform this song. His performance, unadorned, passionate, empathetic, is a masterpiece - and a hit. In hindsight the reservations about the song seem laughable, but only few short months earlier, Elvis’ people had him singing “Dominic” to a bull!

The audio was very well remastered with no hiss. Elvis’ voice was front in the center. If you should buy these two albums on CDs individually, firstly, the sound would be much more inferior, 2) there is no booklet and bonus tracks.

This RCA Legacy Edition series is very well done. Other legacy editions include Elvis (legacy edition), Elvis Is Back, and Elvis Country, all very well done.

Elvis is our king, with 165 charted singles and 130 charted albums. This Legacy Edition set gave me beautifully remastered music (with bonus tracks) and a great booklet. Somehow, I do not feel that I am being squeezed by the music industry to the last drop of my hard-earned dollar. I feel very satisfied. This set is highly recommended.
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on 9 March 2013
This is one of Elvis Presley's finest recording sessions and is further proof of his mind boggling versatility.

The year was 1969. Elvis was 34, had been married for two years, and now a father to 8 month old baby daughter Lisa-Marie. The conveyor belt Hollywood movie years from 1960 to 1969 had been a drain on his professional status, self-esteem, and reputation as rock's greatest star. But all this was about to change as he sealed up his acting career for good with a poignantly titled film called Change of Habit.

Spurred on by the highly acclaimed 1968 television special aired a month earlier, Elvis walked into American Sound Studios in Memphis Tennessee and laid down some of his best tracks. Directed by the studio owner Chips Moman and produced by Felton Jarvis - both highly accomplished in the music industry - and backed by some of the finest musicians available, Elvis had more than enough enthusiasm and energy to get the entire session wrapped up in three separate visits to the studio totalling 18 days between January and February 1969.

The resulting output was dynamic. Though the original 1969 release of From Elvis in Memphis is already highly acclaimed, I can assure you that at least 34 out of the 36 tracks on this Legacy Edition are `masterpieces'. I cannot stress enough the brilliance and importance of this colossal album. Other than creating evergreen songs like `In The Ghetto', `Kentucky Rain', and `Suspicious Minds', just wait till you hear the remaining tracks. It is Elvis at his most soulful and like you have never heard him before.

This is undoubtedly one of Elvis Presley's most important work and should rank with the brilliance of his world changing 1950s recordings and the early sixties sessions. I guarantee you hours of exhilarating listening pleasure and a totally different Elvis from the one you may know.

This double cd set is of great sound quality and comes in an attractive (but fragile) gatefold package. Every music fan should own a copy. Buy it or plead guilty!
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Considered by many to be his best album and they may well have a point. Coming off the successful "1968 Comeback Special" and itching to lay down some tracks of somewhat greater significance than the vacuous soundtrack material that he'd been lumbered with for much of the decade, Presley would appear to have been given his head for much of the time on these sessions. He was assigned a sympathetic producer in Chips Moman who was well versed in soul, blues and country and most points in between. Moman's own CV even included a solid dose of old-fashioned rock'n'roll having done a stint in the road bands of both Johnny Burnette and Gene Vincent.

The songs on "From Elvis in Memphis" reflect just that musical pedigree. Plenty of soul in Jerry Butler's "Only the Strong Survive", Chuck Jackson's "Any Day Now" plus the storming opener, "You're wearing that Loved-on look" written by Dallas Frazier, a man more known for country material but also not averse to penning something in a southern soul vein like this one. Frazier also contributes "True Love travels on a gravel road" which is okay-ish but less distinctive. There's also C&W here in Johnny Tillotson's pop/country "It keeps right on a'hurtin`" plus the more up to date "Gentle on my Mind". Not forgetting the up tempo near rock'n'roll of Hank Snow's "I'm Movin' On". Opening with some guitar picking and a train whistle before the gospel choir start upping the heat - I wonder if someone had listened to the Ray Charles cut where the Raelettes performed a similar function - no matter this one rolls along very nicely.

That leaves us with blues and "Power of Love" covers that genre rather nicely. Opening with an aggressive guitar riff from someone who might just have heard of (or even played alongside) Steve Cropper, Elvis is in more forceful mode than at any time since recording songs like "Hound Dog" and "Jailhouse Rock".

There are four tracks I haven't mentioned. These are the tracks that really make this album a monster. "In the Ghetto" is the by far the most well known of these and it's rightly been lauded by many. This is Elvis about as far out of his comfort zone as he gets. The performance is both intimate and dramatic though for me there's a level of artifice present which sometimes leaves me slightly uncomfortable. There's no doubt that as Presley had developed, he'd changed from an artist who performed on instinct - and in the early days those instincts were invariably right - to one who was very self-aware. The development of this self-awareness was gradual during the pre-army RCA days but his first post-army album showed a changed performer. The old devil may care approach was present in only a few of the songs like the heavy blues, "Reconsider Baby".

But the old Presley is back with us totally on "After Loving You" which has the feel of a tossed off live take. It's the sort of performance that no one but Presley ever gave but only gave, increasingly infrequently. There are elements of blues, gospel and country all intertwined with an Elvis who's completely immersed in the song. It's at the opposite end of his performing spectrum to "the Ghetto" but both are great tracks for different reasons. The backing is restrained putting all the focus on Elvis.

"Old Black Limousine" does the really difficult thing and combines both approaches. It's rather stagey like "The Ghetto" but after the slow intro it moves more into more of a white soul belter. Often described as a country song, it's not, but its lyrics certainly come from the western tradition. Elvis smoulders his way though it and really puts his all into the closing stages.

And that leaves me with "I'll hold you in my arms till I can hold you in my heart". This one is a country song but delivered unlike any other country song you`ve heard. Take all the words I said about "After Loving You" and double them at least. That's the intensity you get here. Once again simple support, piano, organ and guitar but above it all Elvis is in his own world, almost speaking in tongues at times. Each time you expect it to end he soars into another middle eight. At four minutes and thirty seconds it's too short. Good as other tracks are on the album they pale beside this one.

And unfortunately pale is the term to describe much of Disc 2 which is the studio portion of the "From Memphis to Vegas / From Vegas to Memphis" album. These are the tracks which were left on the cutting room floor after the "From Elvis in Memphis" album was assembled. They're all very competently put together but few of the songs managed to spark Elvis into the larger than life performances which we got with the initial album. One of the better tracks is "Stranger in my Hometown" which was originally written and performed by the slightly obscure blues artist, Percy Mayfield. Both Elvis and the band give the song a forceful performance and the lyrics seem rather apt, what with Elvis returning to Memphis to record. Elsewhere he gives us a very playful rendition of Ned Miller's country crossover hit "From a Jack to a King". I can only describe this one as delightful - Elvis is having such fun with the song. Most of the rest of the tracks are ballads of which, "Without Love" is the standout. Predictably dramatic but great performance nevertheless.

The extras we get are mainly singles and B sides which were also recorded during the same Memphis sessions. Head and shoulders above the rest of them is "Suspicious Minds" about which I'll say no more because you'll probably already have heard it several million times already (though I do have rather dim memories of a certain karoake session!).

In terms of rating, "From Elvis in Memphis" on its own must be worth ten stars. The second disc would get a lot less from me but unfortunately the songs on that second album seemed to set the mould for Elvis in the '70's apart from the concert material.
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TOP 1000 REVIEWERon 19 April 2013
"From Elvis In Memphis" was a No.1 album in 1969 and deservedly so. Here Elvis is approaching his peak as an artist having made his glorious 1968 T.V special.
The album starts strongly with "Wearin That Loved On Look" and "Only the Strong Survive" and just keeps going. Now of special note here are "After Loving You", "True Love Travels On A Gravel Road" (one of the best Elvis recordings not released as an A-side single), "Any Day Now" are presented here with the best sound I've ever heard for these reecordings. This includes the 60's Masters Volume 1 box set.
Any album that boasts "In The Ghetto" as it's closing track is always going to be a masterpiece.

"Back In Memphis" continues in the same vein. "Inherit The Wind" and "This Is The Story" rank alongside "True Love Travels On A Gravel Road". Elvis was rejunivated as a mature superstar at the time of these recordings and leaves no one in doubt who is the "The King".

The legacy edition then concludes with a run through of the singles master from the time allowing "Suspicious Minds", "Don't Cry Daddy", "Rubberneckin'" (original version) and "Kentucky Rain" to be brought into the mix.

Individually the albums were fantastic, put them together on this legacy set with the extras, and you have an unsurpassed master.
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