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Rock - Released June 17, 1969 | RCA - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released April 8, 1960 | RCA - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released March 23, 1956 | RCA Victor

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released August 12, 1963 | RCA - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
The original Elvis' Golden Records, Vol. 3 was, like its predecessors, an unprecedented release -- no one in rock & roll up to that point, other than Elvis, had ever legitimately earned a second greatest-hits volume, much less a third. This is also the place where the legitimately softer, more mature Presley replaces the angry young Elvis represented on the first two volumes. On a sexual level, songs like "Stuck on You," "It's Now or Never," "Fame and Fortune," "I Gotta Know," and "Surrender" offer seduction rather than diverting violation. He might no longer have been a rebel, but as represented on the original ten songs of this album, he was still making the Top Five and even the top of the charts regularly with work that was legitimately fine early-'60s rock & roll and pop/rock. "His Latest Flame" or "Good Luck Charm" might not have been groundbreaking musical statements of the caliber of "Heartbreak Hotel" or "Blue Suede Shoes," but in Elvis' hands they were worth hearing over and over. The original 12 songs have been augmented by six more, including "Can't Help Falling in Love" (which should have been on this disc to begin with) and the hauntingly beautiful "Girl of My Best Friend," which was a number two hit in England (and may be the prettiest song Elvis ever cut), plus "Wild in the Country" and "Wooden Heart" (a hit in Europe) from G.I. Blues. The producers have stuck with the most tasteful and intriguing numbers from the films, within the time frame of the original release, the annotation is thorough, and the 1997 remastered sound runs circles around all prior editions. © Bruce Eder /TiVo
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Rock - Released February 9, 1999 | RCA Records Label

Distinctions The Qobuz Ideal Discography
Elvis Presley's legendary recordings for Sun Records had been reissued many times before Sunrise appeared in early 1999, most notably in the 1987 collection The Complete Sun Recordings. Despite its title, The Complete Sun Recordings was missing a few odds and ends, plus its sequencing on CD was a little didactic, resulting in a repetitive listen. Those flaws are corrected on the exceptional Sunrise, a generous 38-song double-disc set that contains all of Elvis' Sun recordings, including alternate takes and several previously unreleased live performances. The compilers wisely decided to devote the first disc to the original takes, dedicating the second to alternate takes: six live cuts from 1955 and four private demos from 1953 and 1954. This sequencing emphasizes the brilliance of this music. Not only is listening to all 19 masters in a row quite breathtaking, but the second disc winds up as a revelatory experience, since it offers a kind of alternate history by following Elvis' pre-professional recordings from his Sun sessions to early live performances. As such, Sunrise is essential for the curious and the collector alike. © Stephen Thomas Erlewine /TiVo
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Rock - Released November 22, 1968 | RCA - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released June 15, 1974 | RCA - Legacy

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How much did Colonel Tom Parker flood the Elvis marketplace in the early '70s? Between 1969's From Vegas to Memphis to 1974's Elvis Recorded Live on Stage in Memphis, Presley was releasing a live album nearly every year (1971 was skipped). Each one was tied to an event -- a televised concert from Hawaii, his first concert in New York -- but, decades removed from this era, it's easy to forget that at the dawn of the '70s, seeing Elvis on-stage was in itself event, as he spent the better part of the '60s making movies instead of playing live. In fact, the last time he had played in Memphis, Tennessee was in 1961, so even though it was the last in a long line of live records, the homecoming concert captured on 1974's cumbersomely titled Elvis Recorded Live on Stage in Memphis was something special: it captured a beloved hero returning home. Presley made sure he was prepared for the occasion, running through much of the set two days prior the March 18 Memphis concert at the Richmond Coliseum. The 2014 Legacy Edition of Recorded Live on Stage contains that concert as its second disc (this second disc also has five very relaxed, very spare, quite appealing rehearsals from August 1974, cut just prior to an appearance in Vegas) and it's quite a bit different in tenor than the released record; it's loose and rollicking, with Elvis and the TCB band feeding off the energy of an exuberant audience. In contrast, the Memphis concert -- here on the first disc, in the expanded, full-concert addition originally released on Follow That Dream Records in 2004 -- is precise, professional, and deadly, a testament to the Presley team being a well-oiled machine. As this full-length Legacy Expansion reveals, far from being just another Elvis live record, Recorded Live on Stage in Memphis is a little bit of dynamite, proof that on a good night in 1974, Elvis was still as good as rock & roll got. © Stephen Thomas Erlewine /TiVo
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Rock - Released September 24, 2002 | RCA Records Label

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Rock - Released August 10, 2018 | RCA Victor - Legacy

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“Since I was two years old, all I knew was gospel music. It became such a part of my life, it was as natural as dancing. A way to escape my problems, and my way of release.” Elvis fans are well aware of their idol’s veneration for gospel. Fans who are always willing to expand their already XXXL music library. Even when the attempt ostensibly looks like a cash grab… This Where No One Stands Alone celebrates the King’s gospel side. Produced by Joel Weinshanker, Lisa Marie Presley and Andy Childs, the album released in August 2018 features re-orchestrated versions performed with artists who worked with Elvis on stage or in studio, like Darlene Love (who sang with him for the first time during the NBC TV special in 1968) and Dr Cissy Houston (who, along with the Sweet Inspirations, performed with the King on stage from 1969). Where No One Stands Alone also includes a duo with his daughter Lisa Marie Presley on the eponymous song. “It was a very powerful and moving experience to sing with my father, she writes in the album’s sleeve notes. The lyrics speak to me and touch my soul. I'm certain that the lyrics spoke to my father in much the same way.” Also featured are some classics so dear to the King, like Crying In The Chapel, How Great Thou Art, You’ll Never Walk Alone and Saved composed by Jerry Lieber and Mike Stoller, as well as So High, Stand By Me, In The Garden and the indispensable Amazing Grace. Titles for the most part borrowed from two gospel albums, How Great Thou Art released in 1967 and He Touched Me in 1972. Concretely, only the King’s voice was retained. The parts with the Jordanaires, guitarists Scotty Moore, Chip Young and James Burton, Floyd Cramer’s piano and D. J. Fontana’s drums were all scrapped. For those who know the original recordings, it’s a painful amputation. Even upsetting… Yet the work offered here is honest and doesn’t distort the King’s initial intention nor the spirit of his interpretations. Quite logically, this 2018 production brings a “contemporary” touch without vainly and hypocritically trying to remain young and modern. The master’s voice remains intact and staggering as ever. The union between the King and the Lord could only be divine… © Max Dembo/Qobuz
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Rock - Released August 9, 2019 | RCA - Legacy

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Christmas day is every day for Elvis fans! As if the royal archives were a well that never dries up. If you thought they’d about run out of unpublished material, Legacy Recordings are out with new rarities like a magician playing some sort of bunny-in-the-hat trick. On the menu of Summer 2019, this wild Live 1969, a giant box set (216 tracks!) celebrating the 50 years of Elvis’ concerts at the Las Vegas International Hotel. After eight years in the shadows, the King was back on stage for 57 sold out concerts! During one of these shows, he was backed by the Imperials and the Sweet Inspirations for backing vocals, and musician-wise, a large orchestra as well as a group which would become the TCB Band later on. This is when he would sing the mythical Suspicious Minds for the first time live. Live 1969 includes 11 complete sets, of which four are complete for the first time, and two are never-before published, those from August 22nd and 25th). You’d have to be afflicted with serious Elvisitis to listen through the 13 hours and 15 minutes of these performances. But this series of concerts is mythical, since it surfs off of From Elvis in Memphis, the album which had been published two months earlier in June 1969. In January of the same year, the King, losing steam, had joined the American Sound Studios with producer Chips Moman to put his resurrection on tape, with this total country-soul masterpiece. It would prove one of the high points of his studio career, on which his voice reaches previously unheard heights. All of his technique is there! His vocal range is impressive and the instrumentation as well as the production are breathtaking. It’s an essential 15th album which was concluded by the heart-wrenching In The Ghetto. This Live 1969 boxset proves that the King’s royal comeback was also royal on stage. Even in his later hits from the end of the 50s, Presley, who was then 34 years old, delivers stellar performances. During the summer of 1969, the planet might have been twisting and shouting the sound of amplified rock & roll like never heard before (the Woodstock festival took place during that same month), but Elvis fancied playing the classy, classical crooner. Timeless, above the rabble. Way high up above. © Marc Zisman/Qobuz
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Ambient/New Age - Released November 24, 2017 | RCA - Legacy

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The third recording featuring the Royal Philharmonic Orchestra with Elvis Presley, Christmas with the Royal Philharmonic Orchestra is no different, no better or worse, than the two hit records it follows. Like those albums, it's a puffy, pompous march through familiar tunes, all turned purple due to heavy-handed arrangements that favor onslaught, not subtlety. Presley sounds good but that's mere circumstance: he was recorded with musicians he trusted, never expecting he'd be cut off from his crew, mutated into a middlebrow mediocrity. Christmas with the Royal Philharmonic Orchestra can be pleasant enough because it's always a pleasure to hear Presley sing and the supporting Philharmonic plays with skill but, like its companions, it's music for people who love the idea of Elvis Presley and not his music. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 2, 2007 | SBME Strategic Marketing Group

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The problem with compiling an essential best-of compilation covering the phenomenon that was (and is) Elvis Presley is the very man himself, who has passed from this mortal coil into the iconic pop culture stratosphere where even his own death is questioned and Elvis sightings are as frequent as fleas. Then there are the thousands of performers who daily dress up as Presley himself and sally forth into the world like perfectly gyrating replicas of either the early or later Elvis (body physics dictate that you can't be both). Elvis may have left the building, but not really. His image is everywhere, and his fans are legion and devout. So how does one pick his essential sides when "Do the Clam" is a classic in the Kingdom of Presley simply because Elvis did it? He recorded Tony Joe White's "Polk Salad Annie" in 1970. It was hardly the best version ever of "Polk Salad Annie" but it was Elvis' version of "Polk Salad Annie," which puts it in rarefied class of its own, and making it, like "Do the Clam," absolutely essential in some quarters. When you're larger than life, words like essential have to expand or be left wanting. The Essential Elvis Presley boils this imposing legacy down to two discs of 20 tracks each, and approaches the problem of what is truly essential by choosing to compile all of Elvis' significant charting hits, beginning with his 1954 cover of Arthur Crudup's "That's All Right" from Sam Phillips' Sun Records and continuing chronologically through Presley's long association with RCA Records through the year 1976. That means, while there's no version of "Do the Clam" ("Polk Salad Annie" is here, though), there are classic sides like 1956's "Heartbreak Hotel," "Don't Be Cruel," "Hound Dog," and "Love Me Tender," 1957's "Jailhouse Rock," 1961's "Little Sister," and 1969's "In the Ghetto," "Suspicious Minds," and "Kentucky Rain." There are 17 number one hits and a whole lot more. Elvis fanatics are going to complain about what isn't here, of course. Elvis is the King, after all, and therefore by definition everything he recorded ought to be essential. And everything he recorded is indeed essential on some level. But these are the sides that broke through to the deepest level of the world pop culture that Elvis helped create. These are the songs that broke him and then sustained him on radio and television and at the movie theaters. Die-hard Elvis fans will undoubtedly already have everything collected here. This is a set instead for folks who want to have at least one Elvis anthology in their collections, and want the hits they remember and don't much care if those hits are from the early Elvis or the later Elvis or the dear departed Elvis. Just the hits, bartender, shaken not stirred. That means no version of "Do the Clam," singular as it is. © Steve Leggett /TiVo
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Rock - Released October 30, 2015 | RCA - Legacy

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Rock - Released October 15, 1957 | RCA Victor

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Elvis' 1957 original Christmas album is one of his most inspired early outings and the first time he tackled anything resembling a thematic concept. Split evenly between rockers and bluesy numbers like "Santa Claus Is Back in Town," "Blue Christmas," and "Santa Bring My Baby Back to Me," perennials like "White Christmas," "I'll Be Home for Christmas," and "Silent Night," and straight-ahead gospel favorites like "I Believe," "Peace in the Valley" and "Take My Hand, Precious Lord," the disc revealed a different side of the rocker for the first time on a public instead conditioned to expect something outrageous. One of the King's shining moments, this is quite simply still one of the best holiday albums available. © Cub Koda /TiVo
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Rock - Released August 23, 2019 | RCA - Legacy

1969 marked a turning point in the eventful life of the Elvis Presley, the King of Rock. While John Lennon stated that “without Elvis, there would be no Beatles”, the King was no longer at the forefront of rock’n’roll in 60s America where the Fab Four reigned supreme along with the Stones, Bob Dylan, the Beach Boys et al… However, in December 1968, Elvis was back. In a one-man show broadcast on NBC, the King resurfaced classier than ever sporting a black skin-tight leather coat and surrounded by faithful musicians and friends from his career’s beginnings, headed by D.J. Fontana and Scotty Moore. On the show, Presley performed refined and exquisite renditions of some debut tracks, singing incredibly well while daring to incorporate a little self-deprecation. The following year, Elvis rode the wave of this Comeback Special and decided to record new songs with a more contemporary sound. In January 1969, he entered the studio with Chips Moman and released fantastic tracks such as Suspicious Minds, In the Ghetto, Don’t Cry Daddy, Long Black Limousine, Inherit the Wind, Rubberneckin, and Without Love… Such were the sessions that produced the two final opuses from the King: From Elvis in Memphis and From Memphis to Vegas/From Vegas to Memphis, which were released in 1969. As indicated in its title, American Sound 1969 deals vigorously with this magical time in Elvis’ career. A copious quintuple album of 90 tracks mixing studio masters with demos, rehearsals, rarities and some unedited material from sessions in Chips Moman’s American Sound studios. It was Moman who had the idea of returning Elvis to soul, country and blues. The King proves with this record that his talent for interpreting was still intact despite the fact he hadn’t released a hit since 1965 and was somewhat displaced by the upcoming generation. This massive offering released in August 2019 is of course tailored for Elvis buffs (it includes nine version of In the Ghetto and seven of You’ll Think of Me!) who will delight in witnessing the step by step conception of such marvelous, sometimes deeply moving songs. © Marc Zisman/Qobuz
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Rock - Released October 10, 1995 | RCA Records Label

Since From Nashville to Memphis: The Essential 60's Masters gave up the ghost of being a complete overview of Elvis Presley's '60s recordings, the compilers of the companion five-disc box set Walk a Mile in My Shoes: The Essential 70's Masters -- the third and final installment in RCA's justifiably acclaimed Elvis box set reissue series -- decided to throw even the illusion of comprehensiveness out the window and just serve up five discs and 120 tracks of highlights. Instead of adhering to a strict chronological sequencing, which the two previous boxes did, this is divided into two discs of singles, two discs of studio highlights, then one disc that attempts to present the ultimate Elvis Presley live show by culling peaks from several gigs throughout of the decade. This is a sharp move, since there is simply too much recorded material from the '70s to be presented either completely or chronologically, and his high points are easier to digest broken down in this fashion. Truth be told, he didn't have too many outright classics during this time -- just "Burning Love," "Always on My Mind," "Raised on Rock," "Promised Land," and "Moody Blue," along with 1971's excellent album Elvis Country (I'm 10,000 Years Old) -- but it was a far more consistent era than the '60s, and it was more adventurous in terms of material and production, never sounding like pandering, which the early '60s could on occasion. This is more evident on the studio highlights than on the singles discs, particularly because those two discs delve into records like Elvis Country, but the end result is a set that is far more consistent and entertaining than From Nashville to Memphis, even if it doesn't sustain the delirious heights of his late-'60s comeback. If the fifth, final live disc is the kind of thing that you listen to only once or twice, it still crackles with energy, and the two studio highlights discs prove that Presley was still a sensitive, inventive interpreter of strong material, and the productions have a rich, robust diversity that keeps this interesting and enjoyable. To say that the '70s recordings are more consistent than the '60s is true, but it does give the impression that Elvis was as consistently brilliant as he was a decade earlier. That's simply not the case -- the best of the '60s recordings overshadows the best cuts here without effort -- but this does have a diversity of material and sound (even if it sometimes borders on the splashy excess of Vegas) that not only keeps it interesting, it proves that, when pressed, Elvis was still restless and inventive. Maybe the music here isn't as outright classic as those on the previous box sets, but it captures its era just as well, and provides the final piece of musical narrative while serving up some terrific music. And if the final chapter of the most iconic figure in American popular music is not essential to a library, then you don't truly care for American popular music. © Stephen Thomas Erlewine /TiVo
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Rock - Released October 21, 2016 | RCA - Legacy

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The Wonder of You is a sequel in the truest sense: it delivers more of the same thing that made the 2015 album If I Can Dream into a surprise hit around the globe. The gimmick behind both of the albums is taking original Elvis Presley vocal performances and setting them to brand-new orchestral arrangements from the Royal Philharmonic Orchestra. The Wonder of You isn't as splashy as its predecessor, lacking duets with Michael Bublé and Il Volo (the bonus track, "Just Pretend," does feature Helene Fischer), and it also doesn't contain quite as many rockers as If I Can Dream. All this means The Wonder of You is thoroughly middlebrow, largely consisting of ballads and soft pop tunes, all given pompous pops arrangements. Occasionally, the new versions aren't too far away from the originals -- usually, this would be for such '70s Vegas showstoppers as "I Just Can't Help Believin'" -- but there's still a disconnect between Presley's vocal performances and the cheerfully cheesy orchestrations, particularly on numbers like "Kentucky Rain" and "Suspicious Minds," recordings that benefited from the interaction of Elvis and the musicians in Chips Moman's American Sound Studio. To the creators of The Wonder of You, all that matters is the power of Presley's performance, which the Royal Philharmonic Orchestra accentuates. It, like If I Can Dream, is executed well -- the separation between the old tapes and new performance is seamless. © Stephen Thomas Erlewine /TiVo
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Rock - Released February 2, 1973 | RCA - Legacy

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Rock - Released April 6, 2018 | RCA - Legacy

The intent of Thom Zimny's documentary The Searcher is to showcase the artistry of Elvis Presley, an aspect that can sometimes get overwhelmed by Presley's enduring popularity. Appropriately, its accompanying soundtrack -- available either as a single CD/LP or in a triple-disc deluxe edition -- follows the same aesthetic, showcasing Elvis as an artist, not a hitmaker. Of course, there are plenty of hits here, especially on the three-CD edition, which contains two discs of Presley recordings and a disc split between Elvis inspirations, selections from the evocative score from Mike McCready, and a version of "Wooden Heart" by Tom Petty & the Heartbreakers. The key is context: "Hound Dog" leads into "(There'll Be) Peace in the Valley (For Me)," "Suspicious Minds" is heard in an alternate take where Elvis is still sorting through the song, "Heartbreak Hotel" is paired with the hard blues of "Lawdy Miss Clawdy." The first disc relies on early material, the second latter-day material, and the editorial touch is a bit more evident on the latter: Since the '50s sides are so frequently reissued, there isn't much room for surprises, but the late-'60s and '70s material -- not unfamiliar, but not as common as the '50s -- makes the case for Presley's artistry quite nicely. Ultimately, this isn't for Elvis fanatics -- there's not much in the way of rarities -- but as an introduction to Presley's work, this is quite good, and it's an excellent way to dig deeper than the hits. © Stephen Thomas Erlewine /TiVo
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Rock - Released July 15, 1997 | RCA Records Label

Released on the eve of the 20th anniversary of Presley's death, Platinum: A Life in Music attempts to trace an alternative history of Elvis' career by concentrating on alternate takes and unreleased material. Over the course of four discs, 23 hit singles are interspersed with 77 previously unreleased items. The hits function as touchstones, so the listener has an idea of where Elvis was in his career when he was recording such unreleased gems as a 1966 cover of "Blowin' in the Wind" or the 1959 "Bad Nauheim Medley." Certainly, the sheer amount of unreleased material means that Platinum: A Life in Music is targeted at hardcore collectors, but what is surprising is how listenable the set is, even for casual fans. The homemade recordings and demos are occasionally sonically rough, but the rarity of these items make the sound a moot point. Some of the performances aren't particularly remarkable -- alternates of "Always on My Mind" and "Heartbreak Hotel" simply sound like the released versions, only not as good -- but there's an abundance of gems scattered throughout the set, making it worthwhile for any serious Elvis collector. © Stephen Thomas Erlewine /TiVo

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Elvis Presley in the magazine
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