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DISCID=38111a17
DTITLE=Elvis Presley / From Nashville To Memphis : The Essential 60's 
DTITLE=Masters I - Disc 4 of 5
DYEAR=1993
DGENRE=Oldies
TTITLE0=Long Black Limousine
TTITLE1=This Is The Story
TTITLE2=Wearin' That Loved On Look
TTITLE3=You'll Think Of Me
TTITLE4=A Little Bit Of Green
TTITLE5=Gentle On My Mind
TTITLE6=I'm Movin' On
TTITLE7=Don't Cry Daddy
TTITLE8=Inherit The Wind
TTITLE9=Mama Liked The Roses
TTITLE10=My Little Friend
TTITLE11=In The Ghetto
TTITLE12=Rubberneckin'
TTITLE13=From A Jack To A King
TTITLE14=Hey Jude
TTITLE15=Without Love (There Is Nothing)
TTITLE16=I'll Hold You In My Heart (Till I Can Hold You In My Arms)
TTITLE17=I'll Be There
TTITLE18=Suspicious Minds
TTITLE19=True Love Travels On A Gravel Road
TTITLE20=Stranger In My Own Home Town
TTITLE21=And The Grass Won't Pay No Mind
TTITLE22=Power Of My Love
EXTD=From Nashville To Memphis : The Essential 60's Masters I - Disc 4
EXTD= of 5\n 1993 BMG Music\n\nOriginally Released September 28, 1993
EXTD=\n\nAMG EXPERT REVIEW:  Since The King of Rock 'n' Roll was the c
EXTD=omplete '50s masters, it was easy to assume that its five-disc '6
EXTD=0s sequel, From Nashville to Memphis: The Essential 60's Masters,
EXTD= rounded up all the masters from that decade, which is simply not
EXTD= the case. The producers deliberately avoided the soundtracks to 
EXTD=Elvis' movies, which perhaps makes sense, given that they are rou
EXTD=ndly and rightly disparaged as Presley's low point, which then op
EXTD=ened the doors to presenting just what they judged as the best no
EXTD=n-soundtrack recordings he made during the '60s. They also disreg
EXTD=arded the gospel recordings, saving them for the double-disc 1994
EXTD= collection Amazing Grace: His Greatest Gospel Songs, leaving thi
EXTD=s as an overview of the best of his pop and rock material of the 
EXTD='60s, all recorded after he got back from the army. Instead of be
EXTD=ing a detriment, this is a brilliant move, distilling his erratic
EXTD=, wide-ranging '60s recordings to their very best, providing a re
EXTD=latively comprehensive overview of the greatest material Elvis re
EXTD=corded during his most inconsistent decade. Its biggest flaw is t
EXTD=hat in its zeal to overlook the soundtracks, the box skips over e
EXTD=ven the hits from the films, so this does not have "Can't Help Fa
EXTD=lling in Love," "GI Blues," "Follow That Dream," "Viva Las Vegas,
EXTD=" "Little Less Conversation," and "Return to Sender," as well as 
EXTD=other, lesser hits. They are missed, particularly because there i
EXTD=s a surfeit of pop-oriented material from the early '60s. That's 
EXTD=one area where this box excels: It proves that Presley did turn t
EXTD=oward pop in the early '60s. Contrary to conventional wisdom, he 
EXTD=did not abandon rock & roll, and there are many tough performance
EXTD=s from the early years of the decade that stand their own with th
EXTD=e '50s RCA sides, but by the middle of the box -- which roughly c
EXTD=orresponds with the middle of the decade -- it becomes clear that
EXTD= Elvis needed to change his approach, and he did with stunning po
EXTD=wer. \n\nThat's where the scope of the box comes into play: By di
EXTD=sc three, there's been plenty of good, sometimes great, music, bu
EXTD=t when Elvis gets his swagger back just before the songs that for
EXTD=med From Elvis in Memphis, the growing energy is kinetic, and the
EXTD= fourth disc, along with half of the fifth, are intoxicating in h
EXTD=ow Presley rediscovers his power and starts to not only sing song
EXTD=s worthy of his talents, but have productions and performances th
EXTD=at match. This is the greatest music on this set -- "Long Black L
EXTD=imousine," "Rubberneckin'," "Wearin' That Loved on Look," "In the
EXTD= Ghetto," "Suspicious Minds," "True Love Travels on a Gravel Road
EXTD=," and "Kentucky Rain" are among the best of this batch -- toweri
EXTD=ng over the rest of the music here and holding its own with the S
EXTD=un material. This is presented in more thorough form elsewhere, b
EXTD=ut the long view and scope of this set really make his comeback d
EXTD=ramatic on From Nashville to Memphis. That narrative makes the se
EXTD=t essential, as does the judicious selection of his early- and mi
EXTD=d-'60s highlights. It's done well -- well enough to almost excuse
EXTD= the very, very big hits that are missing, even if it doesn't com
EXTD=pletely account for their absence. That is a pretty big flaw, but
EXTD= even so, From Nashville to Memphis is necessary for any serious 
EXTD=pop library, which speaks volumes for the quality of the music wi
EXTD=thin the box.  -- Stephen Thomas Erlewine\n\n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nEvery 60's song except movies, gospel and live, Decembe
EXTD=r 30, 2002 \nBy  P D Harris "Pete the music and horse racing fan"
EXTD= (Leicester England) \nMost of you have your favorite era of his 
EXTD=music. I like them all in different ways, but I like the sixties 
EXTD=best, and this box shows why. There were many aspects to his musi
EXTD=c, but this set focuses on those secular recordings that were mad
EXTD=e in the studio and which were not connected to a movie. The best
EXTD= of the movie music is available on Command performance - Essenti
EXTD=al sixties masters volume 2, which I've already reviewed, while t
EXTD=he gospel and live recordings are also available separately.\nWit
EXTD=h those exceptions, every song Elvis recorded during the sixties 
EXTD=is here. These include most of his big hits from the period, amon
EXTD=g them It's now or never, Are you lonesome tonight, Surrender, Hi
EXTD=s latest flame, Good luck charm, Suspicion, She's not you, Don't 
EXTD=cry Daddy, In the ghetto and Suspicious minds. Of course, there a
EXTD=re a few missing, because they were from the excluded categories,
EXTD= but anybody who wants a Greatest hits collection will find plent
EXTD=y to choose from.\n\nApart from the hits, you get all the album t
EXTD=racks, many of them long forgotten except by fans of Elvis. These
EXTD= include covers of Fever (Peggy Lee), Memphis Tennessee (Chuck Be
EXTD=rry), And the grass won't pay no mind (Neil Diamond), Just call m
EXTD=e lonesome (Eddy Arnold), Gentle on my mind (Glen Campbell), I'm 
EXTD=movin' on (Hank Snow) and I'll hold you in my heart (Eddy Arnold)
EXTD= among them.\n\nAmong the songs written for Elvis but which remai
EXTD=n obscure to all but his fans, there are many good songs, any of 
EXTD=which might one day be rediscovered and used in a movie or TV adv
EXTD=ertisement. The song Gently, from one of his early sixties albums
EXTD=, was translated into French and recorded by Petula Clark. I can'
EXTD=t ever remember another cover of this song in any language, thoug
EXTD=h there probably is one somewhere - just one of many great songs 
EXTD=in this set that you're not likely to hear on the radio.\n\nThe l
EXTD=ast half of the final CD is made up of selected alternate takes o
EXTD=f some of the songs, although the most famous alternate take, his
EXTD= laughing version of Are you lonesome tonight, is not among them.
EXTD= Nevertheless, this is a fine collection which will appeal to a f
EXTD=ar wider public than just his dedicated fans. \n\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nThe King's reign in the 60s..., December 18, 2002 
EXTD=\nBy  Joseph A Jones (Verona, New Jersey United States)  \nElvis'
EXTD= 1960's work, especially his movie soundtracks which are not on h
EXTD=ere, gets mostly unfairly overlooked and dismissed. Sure, after c
EXTD=oming home from the army in 1960, his style changed to a more pop
EXTD= sound with an occassional dip into the blues, (most of disc 1) a
EXTD=nd was and still is criticized for not continuing his 50s mastery
EXTD= of rock n roll. However, while Elvis was on his two year hitch, 
EXTD=music changed. The rockers like Jerry Lee Lewis, Little Richard a
EXTD=nd Chuck Berry gave way to Frankie Avalon, Bobby Rydell, Bobby Da
EXTD=rin, Fabian and in all a more pop sounding version of rock n roll
EXTD=. So when Elvis started cutting records in 1960 his sound changed
EXTD= also. Sure, "Stuck On You" was a leftover sound of the late 50s,
EXTD= but new sounds like "It's Now Or Never", "Make Me Know It" and o
EXTD=thers made the transition for Elvis and he was never more popular
EXTD=. His first four single releases went to #1 in the US with many m
EXTD=ore following through 1962. This box, which runs in chronological
EXTD= order, gives you every studio master that Elvis cut (minus gospe
EXTD=l and movie tunes). Disc one is an absolute masterpiece which cov
EXTD=ers his first studio album of the 1960s, "Elvis Is Back" as well 
EXTD=as other classic tracks from early 1961 such as "I Feel So Bad", 
EXTD="Give Me The Right", and a personal favorite "I'm Coming Home". D
EXTD=isc 2 bridges his '61 work with 1962 and part of 1963 and feature
EXTD=s excellent tunes such as "His Latest Flame", "Little Sister", "K
EXTD=iss Me Quick", "She's Not You" and another personal favorite "Wit
EXTD=chcraft". If there was to be a "weak disc" in the set, it would b
EXTD=e disc 3. It's not really weak, (it's rather good) but not nearly
EXTD= as good as the others. It features great tunes such as "It Hurts
EXTD= Me", "Memphis", "Down In The Alley", "Ask Me", "US Male" plus mo
EXTD=re. These were recorded between 1964 and 1967 which was probably 
EXTD=the lowest point of Elvis' career. Disc 4 contains the legendary 
EXTD=1969 material which cemented Elvis' comeback. While Elvis' hitmak
EXTD=ing was as prolific as it was 9 years before, he still enjoyed a 
EXTD=handful of top ten hits and his first #1 with "Suspicious Minds" 
EXTD=since 1962's "Good Luck Charm". Highlights on disc 4 are "Suspici
EXTD=ous Minds", "In The Ghetto", "Don't Cry Daddy", "Rubberneckin'" a
EXTD=nd another personal favorite "Power Of My Love". Disc 5 is a mixe
EXTD=d bag of goodies which features the last of the 60s masters, seve
EXTD=ral alternate takes and the awesome live duet performance of "Lov
EXTD=e Me Tender"/"Witchcraft" with Frank Sinatra. Wrapped up in an at
EXTD=tractive box and an excellent booklet filled with pictures, stori
EXTD=es and session notes, this set if the perfect set for the Elvis c
EXTD=ompletist to go along with the excellent 50s and the 70s boxes. \n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nThe King's post-army reign contai
EXTD=ns many jewels, April 3, 2002 \nBy  redtunictroll (Earth, USA)\nF
EXTD=or many, the raw purity of Elvis' 1950's recordings define his gr
EXTD=eatness. His post-army work is often relegated to also-ran status
EXTD=. Truly, the early recordings were filled with an overpowering in
EXTD=vention that Elvis would never fully recapture. By the time of hi
EXTD=s return in 1960, numerous changes affected his comeback. First, 
EXTD=Elvis himself had matured, and the songs that suited him just a f
EXTD=ew years earlier didn't fit the same way. Second, the music scene
EXTD= itself had moved along. Third, the 1960s saw Elvis starring in a
EXTD= progressively more mediocre string of films, churning out blande
EXTD=r and blander soundtrack material. The dilutive impact of the awk
EXTD=ward movie music makes Elvis' 1960's catalog tricky to evaluate a
EXTD=s a whole.\nLuckily, RCA's sweeping series of box sets provides a
EXTD= clear view of Elvis' mid-period catalog by removing the movie mu
EXTD=sic to its own collection. Although this relegates some fine trac
EXTD=ks such as "Return to Sender," "I Can't Help Falling in Love," an
EXTD=d "Viva Las Vegas") to reside with a large harvest of lemons, it 
EXTD=also cleanses this presentation of his non-movie work. The result
EXTD=ing five-disc "Nashville to Memphis" box set features substantial
EXTD= hit tracks and numerous lesser-known (but no less worthy) album 
EXTD=tracks, padded out by a large helping of passable chaff that, sun
EXTD=g by someone else, would still be laying in the vault.\n\nBy 1960
EXTD= the galvanic fire of Elvis' early sides was mostly extinct, repl
EXTD=aced by a variety of new direction that often bore fruit. Rather 
EXTD=than turning himself to '50s anachronism by trying to reproduce h
EXTD=is earlier sound (or, worse yet, consigning himself to a follower
EXTD='s role by aping then-current trends), Elvis dug deeply into hims
EXTD=elf, and especially into the capabilities of his voice, to find n
EXTD=ew veins of artistry.\n\nElvis' first post-Army single, "Stuck on
EXTD= You," resounds with the freedom of someone liberated from barrac
EXTD=ks life. Same for "I Gotta Know," with a backing vocal that playf
EXTD=ully tracks Elvis on the later verses. The easy swing and playful
EXTD= growl in Elvis' voice would soon become the province of pretty b
EXTD=oys like Bobby Rydell, but heard here, it's a natural maturation 
EXTD=from Elvis' earlier years.\n\nThe early- and mid-60s served up so
EXTD=me fine rock 'n' roll, including Leiber & Stoller's shades-of-the
EXTD=-Coasters' "Dirty, Dirty Feeling," the blazing "Feel So Bad," and
EXTD= Doc Pomus & Mort Shuman's "A Mess of Blues" and "Little Sister."
EXTD= Scotty Moore provided some great guitar riffs on the latter two.
EXTD= Elvis and the band jammed strongly on bluesman Lowell Fulsom's "
EXTD=Reconsider Baby."\n\nMid-tempo tunes provided Elvis the chance to
EXTD= sing happier pop like "Good Luck Charm," and the dramatic longin
EXTD=g of "She's Not You" and "His Latest Flame." The latter, with its
EXTD= loping Bo Diddley beat, piano-charged uptempo chorus and popping
EXTD= bass is a perfect frame for Elvis' voice.\n\nDramatic ballads li
EXTD=ke "Fame and Fortune," "Are You Lonesome Tonight?" and "Surrender
EXTD=" introduced a style that would stick with Elvis until the end. M
EXTD=ore sparely arranged songs like "Fever" and "Starting Today" spot
EXTD=light the sheer beauty of Elvis' voice.\n\nElvis visited Country 
EXTD=("Judy" "Just Call me Lonesome" "I'm Movin' On"), gospel ("I Gott
EXTD=a Know"), and covers of Bob Dylan ("Tomorrow is a Long Time"), Ch
EXTD=uck Berry ("Too Much Monkey Business") and others. A few covers, 
EXTD=such as an oddly orchestrated take of "Suspicion" and a hurried, 
EXTD=horn-heavy arrangement of "Fools Fall in Love" miss the mark.\n\n
EXTD=Those interested in the hits and lost gems (and there are plenty,
EXTD= including "Devil in Disguise," "Don't Cry Daddy," "Finders Keepe
EXTD=rs, Losers Weepers," "It Hurts Me," and "Love Letters") may be ov
EXTD=erwhelmed by the dross and clunkers. "The Girl of My Best Friend"
EXTD= is too soft for Elvis, and come off as a Brill Building reject. 
EXTD="Girl Next Door Went A'Walking" could have been drawn from one of
EXTD= Elvis' lesser soundtracks, and "Just Tell Her Jim Said Hello" sh
EXTD=ows that Leiber & Stoller were just as capable of writing duds as
EXTD= hits.\n\nThe arc traced by this collection begins in 1960 with a
EXTD=n outpouring of Elvis' pent-up artistic expression. By mid-decade
EXTD= the great songs get fewer and further between. You can almost he
EXTD=ar the air rushing out of the initial bubble of enthusiasm. As th
EXTD=e decade wears on, the productions take on unfortunate contempora
EXTD=ry trends (e.g., faux sitars). Their are still high-points at dec
EXTD=ade's end (the trio of "In the Ghetto," "Suspicious Minds" and "K
EXTD=entucky Rain," for example), but the material is more uneven and 
EXTD=the enthusiasm often wanes.\n\n1969 provided some fine performanc
EXTD=es, including "Power of My Love," "Without Love There is Nothing,
EXTD=" "After Loving You," and a cover of Johnny Tillotson's "It Keeps
EXTD= Right On A-Hurtin'." But the year also produced less successful 
EXTD=choices such as the soul-dance "Rubberneckin'" and an overwrought
EXTD= remake of "From a Jack to a King." Covers of "Hey Jude" and "Onl
EXTD=y the Strong Survive" find Elvis adding little to the originals.\n
EXTD=\nDisc 5 includes several alternate takes (including "In the Ghet
EXTD=to" "Suspicious Minds" "Kentucky Rain") presented in rough form (
EXTD=e.g., no backing singers). The lack of final production leaves th
EXTD=e focus on Elvis' vocals, generally reaffirming the producer's ch
EXTD=oice of take for the hit single. Also included are snippets of st
EXTD=udio dialog, and a 1960 Presley/Sinatra live television performan
EXTD=ce of the duo trading "Love Me Tender" and "Witchcraft."\n\nThe s
EXTD=ound throughout is superb, mostly the product of RCA's Nashville 
EXTD=Studio B. The backing, especially on the early tracks, retains so
EXTD=me of the rock 'n' roll group energy from Elvis' early years, but
EXTD= by mid-decade, though all very professionally arranged and playe
EXTD=d, the songs sound more constructed than evolved. The accompanyin
EXTD=g liner notes from Elvis biographer Peter Guralnick are top-notch
EXTD=, as is the accompanying discographical information. \n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nwhat happened?????, July 6, 2001 \nBy  roge
EXTD=r akino (elk grove, california United States)\nthis set is very n
EXTD=icely packaged and the remastering is top notch. so i leave u wit
EXTD=h this question. how in gods blue blazes can the leave out the so
EXTD=ng 'if i can dream'? of all the songs that really touched a chord
EXTD= with all the was going on in the 60's they have the nerve to lea
EXTD=ve this off the lineup. it really was a disappontment, which is w
EXTD=hy i give this set only 4 stars. someone at rca does'nt have a cl
EXTD=ue. very disapponting. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Must-H
EXTD=ave, October 15, 2001 \nBy  Phil Behnke (Portland, OR USA)\nOf th
EXTD=e three main box sets (50's, 60's, 70's) this one is my favorite.
EXTD= The reason is Elvis' voice is in absolutely top form. Especially
EXTD= on songs like "Fame and Fortune"! Not even Bing Crosby could've 
EXTD=done that one better. And that's saying a lot. The first couple o
EXTD=f discs are simply incredible. Elvis was apparently nervous when 
EXTD=he was in the Army waiting an excruciating two years to find out 
EXTD=if America still wanted him on the throne. Maybe that's why his p
EXTD=erformances are so mesmurizing. He wanted to out-perform his 50's
EXTD= records, and without a doubt (vocally) he did. There are some fi
EXTD=ller songs on disc 3 that are of the same caliber as his movie so
EXTD=undtracks, but at least they are fun. I'm glad they were all incl
EXTD=uded anyway. Disc 4 features many great tracks such as "Suspiciou
EXTD=s Minds", "And the Grass Won't Pay No Mind", "Anyday Now", "Long 
EXTD=Black Limosine" and many more. Disc 5 features a lot of filler (l
EXTD=ike unpolished versions of songs like "Kentucky Rain") but the be
EXTD=st track on #5 is the great duet with Frank Sinatra "Love Me Tend
EXTD=er/Witchcraft", a clever combo of the two songs sung together. A 
EXTD=lot of critics say Elvis recorded nothing but movie soundtracks d
EXTD=uring the 60's, but this box set proves otherwise. Only a couple 
EXTD=of these songs were from the movies. It's interesting to hear the
EXTD= decline in song-quality in the middle of the box set (in other w
EXTD=ords in the mid-sixties.) It's obvious that there was a time when
EXTD= he wasn't getting good songs anymore. But the songs from the beg
EXTD=inning and end of the decade remain classics and Elvis never soun
EXTD=ded better. It is disappointing that "If I can Dream" is missing.
EXTD= But that's forgivable considering the excellent booklet and line
EXTD=r notes that come with this set including tons of great pictures.
EXTD= If you are just getting into Elvis though I would start with the
EXTD= 50's box set first. They are better when heard in order. \n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nnow it can be told, July 24, 2000 \nBy
EXTD= A Customer\nThe Elvis 60's have been vastly under-rated by criti
EXTD=cs and supposed fans alike. This collection does not include much
EXTD=, or any, of Elvis's substandard soundtrack work from the 60's an
EXTD=d includes many of the excellent Nashville tracks from the end of
EXTD= the decade. The material is not always top-rate in and of itself
EXTD=, but every song on this collection is made great by Elvis. Not o
EXTD=nly is this collection notable for Elvis's vocal power, but for t
EXTD=he use of fuzz-guitar and musical styles that give you an idea of
EXTD= just how up with (and ahead of) the times Elvis was during the 6
EXTD=0's. This collection represents some of the best music made in th
EXTD=at decade, bar none. If you haven't guessed yet, it was listening
EXTD= to this collection that sent me over the top for Elvis, rather t
EXTD=han some of the starter set greatest hits packages RCA has put ou
EXTD=t in the past. (Well, actually, the real kick over the edge alway
EXTD=s will be the original Sun Sessions, but that's another story com
EXTD=pletely.) This set is the ultimate proof of the old adage that it
EXTD= is the singer and not the song that makes a recording great, as 
EXTD=Elvis twists some mediocre songs (amidst some great ones, as well
EXTD=) into real rock classics. \n\n\nHalf.com Details \nContributing 
EXTD=artists: Frank Sinatra, Ronnie Milsap, The Imperials, The Jordana
EXTD=ires \n\nAlbum Notes\nFROM NASHVILLE TO MEMPHIS contains 130 trac
EXTD=ks (19 previously unreleased) and a 94-page booklet with a comple
EXTD=te '60s discography, session notes and many rare photos. It comes
EXTD= with a sheet of color stamps depicting 36 Presley album covers f
EXTD=rom the '60s.\n\nPersonnel: Elvis Presley (vocals, guitar, piano)
EXTD=; The Jordanaires, Charlie Hodge, Millie Kirkham, Joe Babcock, Th
EXTD=e Imperials, June Page, Dolores Edgin, Sandy Posey, Mary Greene, 
EXTD=Mary Holladay, Donna Thatcher, Susan Pilikington, Sonja Montgomer
EXTD=y, Hurshel Wiginton, Frank Sinatra (vocals); Scotty Moore, Harold
EXTD= Bradley, Neal Matthews, Jerry Kennedy, Chip Young, Jerry Reed (g
EXTD=uitar); Charlie McCoy (guitar, harmonica, organ, bass); Grady Mar
EXTD=tin (guitar, vibraphone); Hank Garland (guitar, electric bass); P
EXTD=ete Drake, John Hughey (steel guitar); Ed Kollis (harmonica); Gor
EXTD=don Stoker (accordion, piano); Boots Randolph (saxophone, vibraph
EXTD=one, shakers, claves); Rufus Long (saxophone); Ray Stevens (trump
EXTD=et); The Memphis Horns (horns); Floyd Cramer, Henry Slaughter, Da
EXTD=vid Briggs (piano, organ); Ronnie Milsap, Bobby Wood (piano); Bob
EXTD=by Emmons (organ); Bob Moore, Henry Strzelecki, Tommy Cogbill, Mi
EXTD=ke Leech (bass); D.J. Fontana, Gene Chrisman (drums); Buddy Harma
EXTD=n (drums, tympani).\n\nCompilation Producers: Ernst Mikael Jorgen
EXTD=sen, Roger Semon.\nEngineers include: Bill Porter, Ron Steele, Ji
EXTD=m Malloy.\n\nPrincipally recorded at RCA's Studio B, Nashville, T
EXTD=ennessee and American Studios, Memphis, Tennessee between March 2
EXTD=0, 1960 and February 22, 1969. \n\nIncludes liner notes by Peter 
EXTD=Guralnick.\nDigitally Remastered by Dick Baxter (BMG Recording St
EXTD=udios, New York).\n\nUnlike its predecessor THE COMPLETE 50'S MAS
EXTD=TERS, the '60s box set FROM NASHVILLE TO MEMPHIS does not include
EXTD= all of Elvis Presley's recordings from a single decade. To whitt
EXTD=le the set down to a manageable five discs, RCA reissued Presley'
EXTD=s movie soundtracks and gospel recordings separately, focusing th
EXTD=is set instead on Elvis' secular single and album releases. The s
EXTD=et starts promisingly with Presley's brilliant first post-Army re
EXTD=cordings, originally released on the album ELVIS IS BACK! The mid
EXTD=dle discs in the set, however, demonstrate that at some point in 
EXTD=the early Sixties Elvis stopped receiving publishers' best materi
EXTD=al.\n\nThe singing is still great, but too many of the songs are 
EXTD=as mediocre as Presley's soundtracks of the period. Fortunately, 
EXTD=the story told by FROM NASHVILLE TO MEMPHIS has a happy ending, a
EXTD=s the set wraps up with the King's triumphant American Studio rec
EXTD=ordings, which include the hits "In the Ghetto" and "Suspicious M
EXTD=inds." Even Presley's lean years yielded their share of great rec
EXTD=ordings, making FROM NASHVILLE TO MEMPHIS an essential addition t
EXTD=o any serious music fan's collection.\n\nIndustry Reviews\n5 Star
EXTD=s - Classic - ...FROM NASHVILLE TO MEMPHIS reveals that reclaimin
EXTD=g [his] roots meant Elvis' artistic resurrection....[it] belies a
EXTD=ny notion that only the '50s Elvis was vital....[Elvis] remains t
EXTD=he finest singer rock & roll has ever produced...\nRolling Stone 
EXTD=Magazine (11/11/1993)\n\n...[FROM NASHVILLE TO MEMPHIS] is the so
EXTD=und of Presley calming down, recognizing his talents, acknowledgi
EXTD=ng the craft of the song rather than merely the lascivious bluste
EXTD=r...\nMelody Maker (10/23/1993)\n\n7 - Very Good - ...These are t
EXTD=he most majestic performances of his career, songs that stretched
EXTD= all his resources, the consummate artist of his era re-identifyi
EXTD=ng with the very land he once sprung from like a thunderbolt....\n
EXTD=New Musical Express (10/02/1993)
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