In 2008 Follow That Dream Records released a collector's edition of "That's The Way It Is". The two compact discs are housed in a 7" digipak, which also includes a booklet with background information and pictures. The discs contain the tracks of the orginal longplayer as well as bonus tracks, rough mixes and outtakes. The audio restauration was done by Jean-Marc Juilland and his results sound just as good as the work by Vic Anesini as released on "The Complete Elvis Presley Masters" (2010) and "The RCA Album Collection" (2016). The collector's edition of "That's The Way It Is" is not available on the streaming platforms, because FTD sticks to physical formats...for whatever reason.

With this review I focus on the tracks, that are not available on the original album or the singles of that time. To read about RCA's "That's The Way It Is" album of 1970 just tap HERE. 

Without doubt this performance could have been released, too.

While the original album includes the studio version with overdubbed applause, FTD presents a real live recording. It was taped during the dinner show on August 11, 1970 and was selected as a master at the time. So at least Elvis and Felton Jarvis considered to release an actual live recording on the album. Without doubt this one here wouldn't have done the king's image any harm. It's great!

During the rehearsal sessions Elvis had tagged the chorus of The Beatles' (almost) current hit "Get Back" to his own best seller "Little Sister". On August 12, 1970 he tried out the medley in concert and included it in his guitar-session. It's fun to hear him jumping back and forth between the songs with the band always having to be on their toes to follow him. From 1971 to early 1973 he often included the medley in his shows, albeit in a more coordinated way.

Elvis obviously liked the current catalogue of The Beatles, because he also included "Something" in his shows. During the "Elvis Summer Festival 1970" he just performed George Harrison's lovely ballad twice, but during the next Vegas engagement it was a regular feature of the show. In 1973 he sang "Something" during the "Aloha" concert and released this version on the accordant soundtrack album. The version here was taped on August 11, 1970 (midnight show) and was discussed to be included on "Love Letters From Elvis" in 1971. Compared to the "Aloha" version I like this one better.

The first take sounds more like a rehearsal than a serious attempt to record the song. But I like this take very much, because it's loose as a goose.

Take number 2 is nothing but rehearsals and a false start. The third one falters after a short while. The following takes are rehearsals and coordinations between Elvis and the band. The takes number 6 and 7 are long false starts.

Take number 8 is left out, because it's the well known master. This 9th attempt is also a complete performance and was filed by Felton Jarvis as an "alternate master".

Here we get to hear a warm up, played before the actual sessions started.

First we hear just the band. After the musicians have familiarized themselves with the song the recording starts. The first two takes are used to work out the intro, the third one is the first complete performance of "Twenty Days And Twenty Nights". Of course it's not perfect, but for a first walkthrough it works very well. 

Once again the group rehearses before they start the actual recording session. Elvis suggests a higher tempo, but still the song is played significantly slower than the live renditions. I like the faster versions better. On the first take the king misses the break and wants to continue with "who can tell when summer turns to autumn". He corrects himself at the last second and turns the word "who" into a humming of the melody. He also mixes up the lyrics and sings "feelings can't stand in for reason" and therefore expresses the opposite of the actual text.

The performance is quite reserved and the arrangement isn't completely worked out yet.

This is one of FTD's horrendous handicrafts. Of course it's nice to listen to, but a collector's label should present the recordings as they are and not edit something.

The rehearsal can be heared more or less in the background. After this short sequence we jump to the actual recording session. Here the mix is fine again. Elvis starts way too hesitant and therefore has to cancel the take. The next attempt to record "The Next Step Is Love" is more or less a rehearsal of the intro. The king doesn't know how to time the first line of the song (yesterday has slipped away). Take number 6 is a complete performance, but Elvis still doesn't know what to do with this very line.

Elvis and the band coordinate themselves, then the ending of the song is rehearsed. More execises are following, one of the topics is the intro. Take number 1 sounds a little insecure.

Everyone rehearses a bit, as a joke Elvis intonates "Carmen". The producer organizes the process and the actual recordings are started. The takes number 1 and 3 are nothing more than false starts, the fourth doesn't get old because Elvis misses the key change. The next take features the king singing about a clock on the window instead of a clock in the window and finally is canceled after he gets completely tangled up in the lyrics.

The rough mix is a quick and not completely worked out audio mix of the master take. The purpose is to present the result to the decision-makers. 

The first take is canceled after Elvis has to laugh. On the second attempt he sings "warm as the sunlight, shining golden on her hair" instead of "...shining on her golden hair" and abortes the recording after having gotten tangled up in the lyrics once more. Before the next take is started, Elvis sings "noting's quite as pretty as Charlie in the morning". Take number 3 lasts only a few seconds. With the 4th take the group finally manages a complete performance. In general the ballad works well. The only major mistake is made by Elvis, who  goofs up the timing at one point.

Elvis wants the song to be played faster. The first take is a false start, the second one a complete performance. Even though the king had requested a faster tempo, it's still comparably slow and the song drags a bit.

Take number 1 is a short false start, afterwards Elvis coordinates himself with the drummer. The second take is a complete performance, but it's obvious that the details have not been worked out yet. Here and there the king mixes up the lyrics and his timing isn't perfect, too.

The 7th take is canceled because Elvis doesn't come in on point. The next attempt is aborted because Elvis gets tangled up in the lyrics and sings nothing but drivel. On the 9th take he gets out of tune and swears "goddamnit". Walkthrough number 10 is a complete performance, but the king doesn't know to emphasize all the words.

The first two takes are nothing but a few bars of the intro. Take 6 works well, but some details still have to be ironed out.

Felton Jarvis switched on the equipment in the middle of the reheasal session. When Elvis fails on the bridge to the thrid verse, he remarks (regarding the piano) it would sound like "Lawdy Miss Clawdy". Take 5 is a complete performance, but at one point the king's voice cracks.

Because it's the same key Elvis intones "I Got A Woman". Take 5 is canceled after Elvis choked. The next attempt fails, because the king is not in sync with Charlie Hodge.

The album ends with a rough mix of "Twenty Days And Twenty Nights". Here we get to hear the song without the overdubs and without any fading.