The Nashville Marathon
Label:
FTD [FTD 018] [74321 95406 2]
Format:
CD
Number of tracks:
20
Running time:
68:00
Type of album:
Recording session
Linked to:
FTD discography
Year:
2002
Recording date:
June 4-9, 1970
Release date:
July 12, 2002
Singles:
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- 1. Mystery Train / Tiger Man (Jam) [June 4, 1970]: On the very first day of recording in the marathon, Elvis begins the work with a jam session to warm up the musicians. The entire band is involved and you can hear Elvis' famous guitar strumming.
- 2. Twenty Days and Twenty Nights (Take 3) [June 4, 1970]: This is effectively the first song recorded in those sessions and the take is the first to be completed. What you can notice is that, without Felton Jarvis' exaggerated overdubs, the songs, more like unplugged versions, gain new life. Here, Elvis' voice is clearer and the rhythm guitar takes the lead in the mix, bringing a very different feel to the Master (Take 9) with overdubs.
- 3. I've Lost You (Take 1) [June 4, 1970]: First takes always bring something extraordinary and this one is no exception. The piano intro by David Briggs is one of the most beautiful ever heard and the stroke of genius was to have Charlie McCoy play organ in the parts where the orchestra would be added in the overdub sessions. Elvis is still unsure about the lyrics, but this lessens as the song progresses. There is a big difference between this take and the Master (Take 7), which makes it all the more appealing.
- 4. The Sound of Your Cry (Take 3) [June 5, 1970]: Every time Elvis got carried away by the music, you could be sure that a phenomenal and long take would come. For more than five minutes, the singer gives himself body and soul to the song, making it much more personal and beautiful than what we heard on the Master (Take 11). The band is also in unison with Elvis and excited by his excitement.
- 5. Bridge Over Troubled Water (Take 1) [June 5, 1970]: In his first attempt to record one of his most iconic songs, Elvis is still testing the lyrics and finding the right rhythm. As a result, the version sounds very soft and, due to the mix, almost as if he were singing alone at the piano. Compared to the Master (Take 8), this take is quite different and could have been released as a single so that the public could have access to both great versions.
- 6. How the Web Was Woven (Take 1) [June 5, 1970]: "I like the sound of that opened string guitar on the intro", says Elvis. This is a sign that the song will flow perfectly, as he needed to like the instrumental he was listening to in order to give himself over to the song. Being the first alternative take of this composition to be officially released, we truly have a priceless pearl in our hands.
- 7. The Next Step Is Love (Take 10) [June 8, 1970]: Since this take is practically identical to the Master (Take 11), there is not much to add. However, it is worth noting that the acoustic version, without the later overdubs, sounds much better than the one sold.
- 8. I'll Never Know (Take 1) [June 6, 1970]: One of the most delightful takes released by FTD, it has several good things.
- 10. Love Letters (Remake - Take 1) [June 8, 1970]: Elvis didn't like re-recordings, but for some reason he agreed to try to improve his 1966 classic - without sounding convinced of this possibility at any point during the take or even on the Master (Take 5).
- 11. Heart of Rome (Take 1) [June 7, 1970]: Following the grueling 20 takes of "Life", this song could not sound as good as it should. It was 3 in the morning and everyone was tired, so the take gives the feeling of a rehearsal and not of a legitimate attempt to reach the Master. The Master, by the way, would not be obtained and the final version would be assembled from Take 3 and a later work part that would be joined together into a composite.
- 12. Mary in the Morning (Take 4) [June 6, 1970]: Also a song worked on at around 3am, it has a very different result than the one above. Here, Elvis was happy and in good spirits after obtaining good quality Masters throughout the night. Without the exaggerated trumpets of the Master overdub (Take 5), Elvis' voice sounds brilliant together with Charlie McCoy's harmonica and the song gains a new depth.
- 13. Sylvia (Take 9) [June 9, 1970]: Once again recorded in the middle of the night, this song never received the attention it should have from Elvis or his band. When listening to the take, you can tell that Elvis' voice is already a bit hoarse and brittle, which is why the previous take was chosen as the Master.
- 14. It's Your Baby, You Rock it (Take 3 - Alternate Master) [June 6, 1970]:Entering the Country territory, we have a welcome change after so many ballads in another take released for the first time officially. James Burton's guitar picking and Charlie McCoy's harmonica are very pronounced, giving an even more special touch to Elvis' vocal work, elevating the take to the status of Alternate Master, which would have been suitable for a single, for example, but only the Master (Take 5) would have been released.
- 15. It Ain't No Big Thing (But it's Growing) (Take 6) [June 7, 1970]: Elvis is back with his guitar and the band is united and having fun. The Old West saloon piano turns the take into a true Country classic with the help of Charlie McCoy's harmonica.
- 16. A Hundred Years From Now (Take 1 & 2) [June 5, 1970]:Elvis's relaxed playing on the guitar highlights why this song did not have a complete master and was put together from these two takes. His mischievous jokes, changing the lyrics to obscenities, and his laughter would never have given RCA the peace to release something like this.
- 18. Snowbird (Take 1) [September 22, 1970]: The following tracks were recorded as extra work for the now famous "Elvis Country" album.
- 19. Rags to Riches (Take 2) [September 22, 1970]: Eddie Hilton's guitar, who was filling in for James Burton that night, is a welcome addition to the song. Although the master was assembled from a splice of takes 3 and 4, here Elvis hits the final note perfectly and the take could well have been used, were it not for the singer's high-pitched scream at the end. "Too slow, fellas, just a hair too slow", he evaluates.
- 20. Where Did They Go, Lord (Take 3) [September 22, 1970]: FTD couldn't have chosen a better song to end this work. In addition to being Elvis' favorite song in that session, Priscilla's presence in the studio and everything the couple was experiencing at that moment is conveyed in the rendition, with Elvis giving extra meaning to the excerpt "the heart that's within me isn't bitter / it's just empty and bewildered / because her love is gone".
The Nashville Marathon is the eighteenth FTD album. It contains 20 takes recorded during the famous "Nashville Marathon" at RCA's Studio B in Nashville, Tennessee. The CD is currently out of print on the label.
1970 was one of the years in which Elvis recorded most immediate hits in the studio. Although 1971 saw over 70 recordings - with 1970 having only 59 - it was this year that produced such memorable hits as "Bridge Over Troubled Water", "Just Pretend" and "Sylvia" (although the latter was only a hit in Brazil).
While preparing for his first documentary film, "That's the Way It Is", which would begin filming in the studio in July 1970, Elvis participated in the "Nashville Marathon", a nearly nonstop recording session from June 4 to 9 of that year, plus extra work on September 22, which produced 40 Masters - including those mentioned above, which would be released over the next two years.
Below is a review of the content available on the CD.
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- 1. Mystery Train / Tiger Man (Jam) [June 4, 1970]: On the very first day of recording in the marathon, Elvis begins the work with a jam session to warm up the musicians. The entire band is involved and you can hear Elvis' famous guitar strumming.
- 2. Twenty Days and Twenty Nights (Take 3) [June 4, 1970]: This is effectively the first song recorded in those sessions and the take is the first to be completed. What you can notice is that, without Felton Jarvis' exaggerated overdubs, the songs, more like unplugged versions, gain new life. Here, Elvis' voice is clearer and the rhythm guitar takes the lead in the mix, bringing a very different feel to the Master (Take 9) with overdubs.
- 3. I've Lost You (Take 1) [June 4, 1970]: First takes always bring something extraordinary and this one is no exception. The piano intro by David Briggs is one of the most beautiful ever heard and the stroke of genius was to have Charlie McCoy play organ in the parts where the orchestra would be added in the overdub sessions. Elvis is still unsure about the lyrics, but this lessens as the song progresses. There is a big difference between this take and the Master (Take 7), which makes it all the more appealing.
- 4. The Sound of Your Cry (Take 3) [June 5, 1970]: Every time Elvis got carried away by the music, you could be sure that a phenomenal and long take would come. For more than five minutes, the singer gives himself body and soul to the song, making it much more personal and beautiful than what we heard on the Master (Take 11). The band is also in unison with Elvis and excited by his excitement.
- 5. Bridge Over Troubled Water (Take 1) [June 5, 1970]: In his first attempt to record one of his most iconic songs, Elvis is still testing the lyrics and finding the right rhythm. As a result, the version sounds very soft and, due to the mix, almost as if he were singing alone at the piano. Compared to the Master (Take 8), this take is quite different and could have been released as a single so that the public could have access to both great versions.
- 6. How the Web Was Woven (Take 1) [June 5, 1970]: "I like the sound of that opened string guitar on the intro", says Elvis. This is a sign that the song will flow perfectly, as he needed to like the instrumental he was listening to in order to give himself over to the song. Being the first alternative take of this composition to be officially released, we truly have a priceless pearl in our hands.
- 7. The Next Step Is Love (Take 10) [June 8, 1970]: Since this take is practically identical to the Master (Take 11), there is not much to add. However, it is worth noting that the acoustic version, without the later overdubs, sounds much better than the one sold.
- 8. I'll Never Know (Take 1) [June 6, 1970]: One of the most delightful takes released by FTD, it has several good things.
On its own, the take presents a light version of the song that could well have been the subject of a single or even been included on the LP "Love Letters From Elvis" instead of the Master (Take 7); in terms of instruments, the absence of overdubs highlights the acoustic guitar in a simple and effective way. Finally, this is the first time that BMG has released a section of a session in which Elvis swears, and this is the best part of all, because it shows his relaxedness and humanity.
Towards the end of the take, he laughs and says: "Son of a bitch almost fell, man! Leaning against this fucking wall, just went... And he's done it twice, man, he should know it."
- 9. Life (Take 10) [June 7, 1970]: One of the songs with the most takes during the "Nashville Marathon", it is the first Gospel song recorded by Elvis after 1968. Although somewhat rushed, this is a very beautiful take and has a rarity status equivalent to take 9 of "Anything That's Part of You", which should have been released at least as a single.
- 9. Life (Take 10) [June 7, 1970]: One of the songs with the most takes during the "Nashville Marathon", it is the first Gospel song recorded by Elvis after 1968. Although somewhat rushed, this is a very beautiful take and has a rarity status equivalent to take 9 of "Anything That's Part of You", which should have been released at least as a single.
Work on the song was so intense that the Master was only obtained on Take 20, with Elvis saying "this damn thing is as long as life!" on the previous take.
- 10. Love Letters (Remake - Take 1) [June 8, 1970]: Elvis didn't like re-recordings, but for some reason he agreed to try to improve his 1966 classic - without sounding convinced of this possibility at any point during the take or even on the Master (Take 5).
One difference that stands out for good is the arrangement heard here, which is quite different and more blues-oriented. Another is that for some unknown reason Elvis decided to start the song in the second verse.
- 11. Heart of Rome (Take 1) [June 7, 1970]: Following the grueling 20 takes of "Life", this song could not sound as good as it should. It was 3 in the morning and everyone was tired, so the take gives the feeling of a rehearsal and not of a legitimate attempt to reach the Master. The Master, by the way, would not be obtained and the final version would be assembled from Take 3 and a later work part that would be joined together into a composite.
- 12. Mary in the Morning (Take 4) [June 6, 1970]: Also a song worked on at around 3am, it has a very different result than the one above. Here, Elvis was happy and in good spirits after obtaining good quality Masters throughout the night. Without the exaggerated trumpets of the Master overdub (Take 5), Elvis' voice sounds brilliant together with Charlie McCoy's harmonica and the song gains a new depth.
- 13. Sylvia (Take 9) [June 9, 1970]: Once again recorded in the middle of the night, this song never received the attention it should have from Elvis or his band. When listening to the take, you can tell that Elvis' voice is already a bit hoarse and brittle, which is why the previous take was chosen as the Master.
It wouldn't have made much difference if this song had been more worked on than it was, honestly, because this was not a rhythm that was very popular in the early 1970s, except in Brazil, where it was a huge hit on the 1972 LP "Elvis Now".
- 14. It's Your Baby, You Rock it (Take 3 - Alternate Master) [June 6, 1970]:Entering the Country territory, we have a welcome change after so many ballads in another take released for the first time officially. James Burton's guitar picking and Charlie McCoy's harmonica are very pronounced, giving an even more special touch to Elvis' vocal work, elevating the take to the status of Alternate Master, which would have been suitable for a single, for example, but only the Master (Take 5) would have been released.
- 15. It Ain't No Big Thing (But it's Growing) (Take 6) [June 7, 1970]: Elvis is back with his guitar and the band is united and having fun. The Old West saloon piano turns the take into a true Country classic with the help of Charlie McCoy's harmonica.
- 16. A Hundred Years From Now (Take 1 & 2) [June 5, 1970]:Elvis's relaxed playing on the guitar highlights why this song did not have a complete master and was put together from these two takes. His mischievous jokes, changing the lyrics to obscenities, and his laughter would never have given RCA the peace to release something like this.
At the end of take 1, Elvis jokes: "There goes my fucking career, right down the drain, man!" Take 2 is the most serious and was used for most of the final composite.
- 17. Tomorrow Never Comes (Take 2) [June 8, 1970]: Another take released for the first time officially demonstrates all of Elvis' technique in attacking the song and building momentum with the instruments that would lead to the crescendo at the end.
- 17. Tomorrow Never Comes (Take 2) [June 8, 1970]: Another take released for the first time officially demonstrates all of Elvis' technique in attacking the song and building momentum with the instruments that would lead to the crescendo at the end.
Without the overdubs on the Master (the result of a splicing of Take 13 + Work Part Take 1), it is possible to hear Elvis' voice clearly and the breakdown it presents at the end makes everything more special, because its ending is still stronger than the one heard on the Master.
- 18. Snowbird (Take 1) [September 22, 1970]: The following tracks were recorded as extra work for the now famous "Elvis Country" album.
Elvis was irritable and rushing to finish the session as quickly as possible so he could return to Los Angeles later that night. This is passed on to the take, which is rendered in much the same way as the Master (Take 6).
- 19. Rags to Riches (Take 2) [September 22, 1970]: Eddie Hilton's guitar, who was filling in for James Burton that night, is a welcome addition to the song. Although the master was assembled from a splice of takes 3 and 4, here Elvis hits the final note perfectly and the take could well have been used, were it not for the singer's high-pitched scream at the end. "Too slow, fellas, just a hair too slow", he evaluates.
- 20. Where Did They Go, Lord (Take 3) [September 22, 1970]: FTD couldn't have chosen a better song to end this work. In addition to being Elvis' favorite song in that session, Priscilla's presence in the studio and everything the couple was experiencing at that moment is conveyed in the rendition, with Elvis giving extra meaning to the excerpt "the heart that's within me isn't bitter / it's just empty and bewildered / because her love is gone".
This version has a longer intro than the Master (Take 6) released as a single.
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