Thanks Daryl for the explanation.
colonel snow
DarylR wrote:colonel snow wrote:Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
colonel snow
That 465 pages is just a .docx file formatted to Times New-Roman 11 point and spaced at 1 1/2, which is what was requested before uploading. No photographs or documents included in any of that. That's just text. I did a word count last night covering 1968-1977 and it came out to be 203,121 words, as it stands now. This doesn't include any of the other chapters of the book, such as discography, RIAA gold & platinum, Grammy nominations, Songs & Songwriters Index, etc.
I believe that I originally had it at Times New Roman 10 point and the spacing was much less. Changing these drastically changed the number of pages, so I wouldn't look at the page count. I would look at the word count.
DarylR
bluehawaii wrote:DarylR wrote:colonel snow wrote:Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
colonel snow
That 465 pages is just a .docx file formatted to Times New-Roman 11 point and spaced at 1 1/2, which is what was requested before uploading. No photographs or documents included in any of that. That's just text. I did a word count last night covering 1968-1977 and it came out to be 203,121 words, as it stands now. This doesn't include any of the other chapters of the book, such as discography, RIAA gold & platinum, Grammy nominations, Songs & Songwriters Index, etc.
I believe that I originally had it at Times New Roman 10 point and the spacing was much less. Changing these drastically changed the number of pages, so I wouldn't look at the page count. I would look at the word count.
DarylR
Unlike you I'm out of words. Thanks for the update! I'm sure nothing is final at this point but this looks like it's going to be a multi volume publication to me.
cadillac-elvis wrote:I am curious if there will be any documentation included on unreleased concerts, home recordings, rehearsals or songs?
In the last book, there were lists but nothing to substantiate their existence.
Anyone can make up a rumor list.
And will there be any notations on material in private hands?
Also, will there be any new discoveries as far as footage goes? (this might be outside the scope of the book).
DarylR wrote:bluehawaii wrote:DarylR wrote:colonel snow wrote:Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
colonel snow
That 465 pages is just a .docx file formatted to Times New-Roman 11 point and spaced at 1 1/2, which is what was requested before uploading. No photographs or documents included in any of that. That's just text. I did a word count last night covering 1968-1977 and it came out to be 203,121 words, as it stands now. This doesn't include any of the other chapters of the book, such as discography, RIAA gold & platinum, Grammy nominations, Songs & Songwriters Index, etc.
I believe that I originally had it at Times New Roman 10 point and the spacing was much less. Changing these drastically changed the number of pages, so I wouldn't look at the page count. I would look at the word count.
DarylR
Unlike you I'm out of words. Thanks for the update! I'm sure nothing is final at this point but this looks like it's going to be a multi volume publication to me.
Yes, nothing is final. This is very much preliminary in determining who our editor is going to be. Joe, myself and another individual who will remain nameless are supposed to have another telephone conference call probably at the beginning of May. During this meeting we will likely discuss who our editor will be and an editor consultation will be scheduled. Right now, we are simply submitting a portion of the manuscript for evaluation. They are going to give us feedback on how to cut down the number of words, look for spelling and grammatical mistakes that have been overlooked, etc. I was told yesterday via email that they had received the manuscript and that I should hear from someone from administration early next week.cadillac-elvis wrote:I am curious if there will be any documentation included on unreleased concerts, home recordings, rehearsals or songs?
In the last book, there were lists but nothing to substantiate their existence.
Anyone can make up a rumor list.
And will there be any notations on material in private hands?
Also, will there be any new discoveries as far as footage goes? (this might be outside the scope of the book).
Well, of course there are unreleased concerts; albeit in soundboard quality.
As far as home recordings, there's a rumor of one but it has never been substantiated. I believe there's one individual that claims that he knows of one or has one. I've never been able to confirm this, though I have dealt with him on occasion.
As far as rehearsals, it's a bit tricky. I don't know if anyone knows this or not but Al Dvorin, before he died, had a copy of Elvis' lyrics book that was used on tour and in Las Vegas as well as Lake Tahoe. Somewhere, I have a picture of this book and somewhere I have Joe's notes on it. Years ago, Joe met up with Al's son and was able to go through the lyric book and there are some songs in there that there is no known recording by Elvis. Now, how do you interpret those songs? Did Elvis rehearse them? We can't really say for sure. Maybe some people like James Burton, Glen D. Hardin, Jerry Scheff, David Briggs, or Tony Brown may know or even someone like Terry Blackwood of the Imperials or Donnie Sumner of The Stamps. But would they even remember? I think at the very least, considering that they were in the lyric book, Elvis was considering adding them to his act; else why would the lyrics even be in there? I seem to recall that there were a few songs in there that were written by Pete Hallin that I believe were gospel songs. These songs were titled, "I Found The Lord," "Don't Throw It All Away," and "Lift Me Higher."
Unless a tape surfaces of those rehearsals, there's really no way to know. I'm aware that there is purported a 1969 rehearsal tape in private hands and Joe met with this person and he got a rundown of what is on the tape. Somewhere, I have a copy of Joe's notes on that tape.
The way we are planning on handling the rehearsals in the book is listing the dates, hours, and locations of the rehearsals in the book for each rehearsal. Then we will list the songs where we believe these songs were either rehearsed, contemplated for rehearsal or inclusion into his stage show as well as tapes of rehearsals that are known to exist or have been released. This is pretty much how we handled it in "Sessions III" but it will be augmented by photographs of Elvis Presley rehearsing in various years.
IMG953129.jpg
Although Joe has published lists of unreleased highlights and a soundboards list in several of his previous "Sessions" books, I think you have to look at how many of those recordings have come out in regards to the unreleased highlights lists. As for the "soundboards" lists, Joe and I have acquired a spreadsheet that I believe was prepared by someone close to Ernst that lists all of the soundboards that they have in the Sony / RCA archives. Mind you, this list is probably about 10-15 years old but I don't think Ernst is actively pursuing soundboard recordings unless it fell in his lap. By my estimation, there hasn't been any soundboards that FTD has put out over the last 10-15 years that isn't on the list. That said, the list doesn't include things such as the Memphis Recording Service soundboard from September 1970 Las Vegas. There are some notes on the list pertaining to each show, as it appears that someone had listened to all of the shows. These notes are generally in regard to the sound quality, etc. I do seem to recall though that there was a note pertaining to the December 1975 soundboard that came out on the "Dinner At Eight" FTD that Ernst had acquired that soundboard from Dick Bogart, a former RCA recording engineer.
Of course, anyone can make up lists. In fact, I don't want to name any names but there was an individual several months ago who called me and claimed that he had photographs from the September 1957 Christmas sessions and the March / April 1960 "Elvis Is Back" sessions and when he called, he said that he would call me the next day, which he never did. From what I understand, this individual put someone up to calling me twice and saying that he had these photographs. That's a sick individual. Joe and I have identified this individual, as he has routinely made claims about tapes, stories, etc. that he has seen or been offered, but to this day have never surfaced.
As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.
I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.
I hope I answered all your questions.
DarylR
DarylR wrote:bluehawaii wrote:DarylR wrote:colonel snow wrote:Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Another individual did supply us with the complete multi-track recordings of selections that were made on two different nights from the February 1970 engagement. You hear when they turned on and off the recording equipment during the two shows. One was the February 16, 1970 Dinner Show and the other was the February 18, 1970 Dinner Show. There's a couple of interesting things that can be heard. One is that there's a false start that precedes the master of "Proud Mary." The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance. There's also a buzzing noise that permeates the recordings from that show. Elvis also makes a funny comment about having just woken up and having eaten breakfast. He then said that during the show he got a aftertaste of bacon in his mouth.
Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.
I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.
I hope I answered all your questions.
DarylR
TheKingForever wrote:DarylR wrote:bluehawaii wrote:DarylR wrote:colonel snow wrote:Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Another individual did supply us with the complete multi-track recordings of selections that were made on two different nights from the February 1970 engagement. You hear when they turned on and off the recording equipment during the two shows. One was the February 16, 1970 Dinner Show and the other was the February 18, 1970 Dinner Show. There's a couple of interesting things that can be heard. One is that there's a false start that precedes the master of "Proud Mary." The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance. There's also a buzzing noise that permeates the recordings from that show. Elvis also makes a funny comment about having just woken up and having eaten breakfast. He then said that during the show he got a aftertaste of bacon in his mouth.
Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.
I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.
I hope I answered all your questions.
DarylR
I think you meant february 19 dinner show and LIBM from 16 feb dinner show wasnt recorded.
Thankfully the mentioned feb 70 recordings was released in great quality on bootleg in 2011 and is a favorite of mine.
DarylR wrote:The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance.
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