CD Review - Close-Up

The songs on 'Close-Up' offer a different listening perspective than is found on the normal BMG/RCA releases. The inclusion of studio chatter between takes and during false starts allows you to better appreciate and experience the atmosphere of the recording studio while there are many rare gems included that deserve a wide listening audience.  Ernst Jorgensen and Roger Semon have produced another quality offering showcasing the incredible and diverse talent of the world's greatest singer.

The four CDs showcase 89 previously unreleased and 'remastered' recordings and each CD covers a distinct period in Elvis' recording history:

Unreleased Stereo Master from the 50s

On the first CD of the set we relive in glorious stereo (or is it binaural?), some of Elvis' seminal recordings from the era of Presleymania. Songs that strike a chord include 'Don't Leave Me Now' (Elvis piano version), a fast version of the normally slow film ballad, 'Loving You' and the nightclub master of 'Young and Beautiful'. Some great doo-wop vocal backing on 'Have I Told You Lately That I Love You' really lifts the recording while it is always great to rehear the incomparable Jailhouse Rock (the MASTER take!) and the infectious, 'I Beg of You'. The sound quality of the 50s masters is incredible and this is a very strong opening disc!

Unreleased Movie Gems

Although only Elvis' first four films of the 60s are canvassed: G.I. Blues, Flaming Star, Wild In The Country and Blue Hawaii, the selection of tracks is solid. The tracks are never before heard alternate masters and they offer a nice balance between ballad and up-tempo numbers. From a fast version of 'Big Boots' to a solo version of the haunting, 'Lonely Man', these recordings challenge any conceptions that Elvis' film music was second-rate. Listen to this disc late at night with the lights turned off. You'll swear you're right there as Elvis goes on a Moonlight Swim or cuts it up on Slicin' Sand.

The Magic of Nashville

For fans preferring Elvis in a more poignant moment, there are many treats to savour on 'The Magic of Nashville'. We are treated to several underrated recordings: 'Just Tell Her Jim Said Hello' and 'Ask Me' were two mid-60s tracks deserving of greater chart success than they realised as singles, while 'Singing Tree' and 'I Met Her Today' are near faultless in their delivery. For those who enjoy a greater toe-tapping experience, 'Kiss Me Quick' has always been a very popular dance number and there is also a great rendition of 'His Latest Flame' and the expressive 'The Girl of My Best Friend'.

Elvis Live in Texas

The back cover notes suggest that Elvis' concert at the Convention Center in San Antonio, Texas on 18 April, 1972 presents him at his peak. While my view is that Elvis' live performance peak was from mid 1969 to mid 1971, there is no doubt that the San Antonio concert is a high energy experience with great audience reaction and The King in good spirits and vocally very strong. The song list is standard for the time and the (stereo) audio quality is first rate with great balance between Elvis, the band and the audience.

The 48 page booklet complementing the box-set features thoughtful and incisive liner notes from Colin Escott and a large selection of color and black & white photographs designed to please all fans. Escott's narrative is a wonderful exploration of not only the recording sessions themselves, but also of the political shadows that surrounded the making of the music. His commentary on the musical challenges that frustrated Scotty Moore, Bill Black and D.J. Fontana is potent while his explanation of the differing musical strategies required to underpin shows in Vegas and on the road illuminates an area little commented on in the past.

Reading Escott's perceptive liner notes as you listen to each CD is a value-added experience. He is adept at cutting through to the heart of matters - about the vocal-guitar recordings on 'Close-Up':

'There's nowhere to hide on these wonderfully understated performances, and his voice never sounded better'.

Elsewhere he observes: Over the course of the October 30, 1960 session, for instance, guitarist Hank Garland initated a Neapolitan mandolin on 'Surrender' and then switched to acoustic guitar for a rousing tent show revival version of the gospel standard 'Working On The Building'.