"Elvis is history," Carl Perkins once said, "and anytime anyone or anything becomes history, whether it be Pearl Harbor or Elvis, it will never go away. The world will never tire of his songs." TCBCast is an unofficial fan podcast featuring co-hosts Gurdip Ladhar and Justin Gausman, along with regular guest co-hosts Ryan Droste and Bec Wyles, plus an array of Elvis fans and experts setting out to better understand that history, and those songs. Tackling topics from throughout Elvis's lifetime and beyond, TCBCast seeks to offer thoughtful, intelligent, heartfelt and honest discourse on Presley's career, his influences, the people who made his work possible, and the cultural phenomenon surrounding his iconography. TCBCast is not associated with or endorsed by Graceland, Elvis Presley Enterprises, Authentic Brands Group or Sony.
TCBCast's resident doo-wop king, Gurdip Ladhar, has been lured from hiding with the promise of getting to discuss Elvis' finest doo-wop-inspired records, as Gurdip, Bec and Justin discuss their top 5 each and ponder whether or not Elvis' cross-genre habits can be neatly put inside the boundaries of what was less of a genre and more a retrospective label applied to describe common fads in songwriting and arrangements for vocal groups within rhythm & blues and pop music that converged most prominently and popularly in the 1950s-1960s. For Song of the Week, Bec builds a "House of Sand," looking into the upbeat and lightweight production number from 1966's "Paradise Hawaiian Style." Then finally, Justin tackles the history behind Elvis' version of "Your Cheatin' Heart," first released on the "Elvis for Everyone" album in 1965 despite being recorded in 1958, which doo-wop version of the song inspired Elvis', and why Hank Williams' landmark original posthumous hit remains one of the finest country records of all time. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Olivia, Ryan, Bec & Justin continue their exploration of 1968's "Live A Little, Love A Little" discussing the final act or so of the film, including the musical sequences "A Little Less Conversation" and "Almost in Love," as well as digging more into the major differences between the novel it as based on, "Kiss My Firm But Pliant Lips." Where in the film we see Elvis' juggling two jobs as photographer, in the novel, the equivalent protagonist is trying to juggle two jobs and two women, and the gang weighs the climax of the novel where it all comes to a head with the adaptation's more simplified (and somewhat confusing) but perhaps more thematically interesting resolution. Plus, they glean historical context such as what scene Elvis was filming when news broke that Dr. King had assassinated, and other insights on the making of the film from the highly recommended biography of Norman Taurog, "Elvis' Favorite Director" by "Live A Little, Love A Little" screenwriter Michael Hoey. Also discussed are more of "Kiss My Firm..." author Dan Greenburg's works, including two Elvis-themed children's books from decades later, one called "Elvis the Turnip and Me" and another "Attack of the Evil Elvises," as well as possible insights (and disappointing discoveries about Greenburg) on real-life inspirations for Bernice & Alice from his 1972 memoir, "Scoring." Be sure to also check out Ryan's new Substack over at https://substack.com/@mrdrostehistory If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
As selected by TCBCast's patrons as the next movie starring Elvis to review, the gang is gathered to talk about what is, coincidentally, Olivia's favorite Elvis movie: "Live A Little, Love A Little." While Justin and Gurdip had previously done an episode all the way back in 2018 about the film, this time around we've got Ryan, Bec, Olivia and Justin all on board to talk about re-experiencing the film in 2026, with added context as Olivia has also picked up a copy of the Dan Greenburg novel the film is adapted from, "Kiss My Firm But Pliant Lips." We discuss co-star Michele Carey, the stacked supporting cast including former superstar Rudy Vallee, Dick Sargent, Don Porter, Sterling Holloway, Eddie Hodges and Celeste Yarnell, as well as recount details from screenwriter Michael Hoey's biography of director Norman Taurog, "Elvis' Favorite Director." This first part of the two-parter covers the first hour or so of the film and the featured songs "Wonderful World" and "Edge of Reality," but as the film's narrative diverges from the back half of the novel substantially, part two will dig more into the differences, as well as the other two musical sequences. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Justin is joined for this episode by Ryan Droste, who, hearing the call of duty as TCBCast's American-history-teacher-in-chief, swung by to discuss Elvis' Independence Day concerts; briefly the 1955 and 1956 performances early in his career, but primarily the July 4, 1976, show in Tulsa, Oklahoma, celebrating America's 200th anniversary. Fifty years later, on America's semi-quincentennial, the guys revisit the soundboard recording, as heard on FTD's 2017 release The Bicentennial Show. Staying on theme, the duo's Songs of the Week highlight America as well: Ryan's pick of "Hawaiian Sunset" from the soundtrack of Blue Hawaii pays homage not only to the 50th state, but to an earlier Sammy Kaye song of the same name that songwriters Sid Tepper & Roy Bennett clearly were drawing influence from. Then, finally, Justin looks into the story behind "America the Beautiful," its writer, Katharine Lee Bates, the trip to Peaks Pike, Colorado, that inspired the poem, our readings of its other, less famous verses and, of course, Elvis' performances of the song version in 1975/1976 intended to celebrate the bicentennial.
Inspired by a listener email, Justin and John Heath (of EAP Society and Atomic Wax) got into a vigorous debate over whether Elvis's musical output in the years following his return from the US Army were creatively stagnant, or a different sort of ambition, with Elvis intentionally exploring new sounds and styles, finally trying to marry the country, blues and rock and roll he had already mastered with traditional pop stylings he had aspirations toward but not perfected during the 1950s. Across hit singles and albums like "Something for Everybody," "Pot Luck," and the "lost" album from the 1963 sessions, as well as soundtracks such as Blue Hawaii, Fun in Acapulco and Viva Las Vegas, the guys try to trace Elvis' creative journey, comparing Elvis' artistic flourishes, direct influences and creative engagement during the period before the slog of poor Hollywood movies hampered his investment in material. Finally, Justin prompts John to jump in a time machine and play armchair producer, suggesting some theoretical material that Elvis might have shown even greater investment, bringing himself more fully to the proceedings - and just to be fair, Justin does the same! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. This episode's debate continued into a short post-show, exclusive to our Patreon backers!
Bec & Justin continue their exploration through Elvis' creative journey during his military service. The piano-driven tracks on Elvis' 1958-59 home recordings from Germany notably feature much heavier distortion due to the tape recorder likely having been set either on or directly next to the piano, which Elvis plays heavy-handedly, but they remaing intriguing listens. While Elvis backs off from gospel, we instead hear him now exploring further ideas for his upcoming albums and singles, such as the operatic "There's No Tomorrow," the underlying public domain melody of which would become "It's Now or Never," "Soldier Boy," and "Such A Night." Elvis also sings songs that would not surface again until many years later in his recording career such as "I'll Take You Home Again Kathleen," "I Will Be True" and "The Fool." But perhaps most fascinating are, as usual, the songs that Elvis never revisited professionally: "Apron Strings," a song originally demoed for him but later recorded by Cliff Richard, the mysterious "The Titles Tell," long known merely as "Number Eight," and of course, Elvis' poignant version of "Earth Angel" by doo-wop group The Penguins, among others. Finally - after having investigated for ourselves, do the recordings align with the widely-discussed insinuation that Elvis' time in the military was what turned him from dangerous rocker to smooth pop star... or is the story more complicated? Also, Justin sneaks a mini-Song of the Week midway into the episode, discussing briefly a little about Danny & The Juniors' iconic 1950s party song "At the Hop," which Elvis references during these home recordings.
Across this episode and the next, Justin and Bec are taking an extensive look at Elvis' home recordings made during his time in the US Army while serving in Germany. Though none of them surfaced until after his death, as we learned from "The Colonel & The King" last year, Elvis was explicitly encouraged by his manager to record material at home in secret. Excerpts from the tapes have appeared on such releases as A Legendary Performer Vol. 4, A Golden Celebration, Home Recordings, and Memphis Recording Services' "Made in Germany" - and by sheer coincidence, on the day we recorded the episode, the official Elvis collector's label Follow That Dream announced an upcoming 2026 box set "Elvis - Soldier Boy" that will feature two books and new restorations of these home recordings. What we hear on the tapes is a a fly on the wall glimpse of a deeply private celebrity during a period of intense homesick and loneliness, coping with the grief of having lost his mother and being away from everything he's come to know as a successful musician and film star... but also a determined, fully invested artist developing his skills. Plainly evident is Elvis exploring concepts and styles with friends, family and creative collaborators like Red West and Charlie Hodge, for his return to his career upon the end of his military service. Songs like "Like A Baby" and "Are You Lonesome Tonight" foreshadow Elvis' singles and secular "Elvis is Back" album from 1960, while his love of gospel continues to be evident as "He Knows Just What I Need" and "His Hand in Mine" similarly nod toward the coming gospel album. Yet there on these tapes that Elvis never again touched (on known recordings, anyway): Hank Williams' "I Can't Help It If I Still In Love With You," Nat King Cole's "Mona Lisa," and Don Gibson's "Oh Lonesome Me," and many more! Was he just fooling around with songs he'd heard, or was he seriously considering these for his upcoming albums? And with material like "Are You Sincere," "Stand By Me" and "Danny Boy" popping up here, too: how do these home recordings fit into the larger puzzle of Elvis' musical journey from pre-Sun Records all the way to the Jungle Room? We ponder all that and more. A technical note: Aside from clips from the above box sets/compilations where specifically mentioned, most of the audio from the home recordings you'll hear is audio that has been "re-balanced" on a per-track basis for the purposes of education, analysis and historical interest. While the new FTD set is not available yet, and MRS's release was a decently faithful restoration of the tape, other releases have featured excessive noise removal, so much of what you hear in this episode are careful adjustments that aim to retain full content and quality while making the vocal nuances a bit clearer as though the tape recorder had been a bit closer to Elvis & the other vocalists' mouths rather than closer to the instruments. Hopefully you may hear little inflections or details you hadn't ever heard before!
This week, we're heading down to New Orleans circa 1958 to revisit the soundtrack and recording sessions for the iconic musical drama "King Creole." The Dixieland aesthetic gave Elvis an opportunity experiment, melding his now-signature rock and roll style with a small jazz ensemble, creating a soundtrack LP that had a distinct sound all its own. Although few outtakes remain, the songwriter demos for nearly the entire soundtrack provide insight on how Elvis and the band further developed such classic songs as "Trouble," "Hard Headed Woman" and "Crawfish" into the final forms heard in the film. Bec also takes the opportunity chat a bit about her appreciation for the movie itself, highlighting some of her takeaways from her most recent viewing, and posing questions about the Michael Curtiz-directed film as one of Elvis' best starring roles. For Song of the Week, Justin provides a little insight on what influences may have led Elvis to experimenting at home in the mid-1960s with an early 1950s pop ballad, "My Heart Cries for You." Finally, Bec rounds out the episode with a reflection on the intimacy of the underrated "I Miss You" which was also a home recording of sorts - as it was recorded professionally by RCA in Elvis' Palm Springs home! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Gurdip & Justin decided for this week's episode to select 10 songs apiece that Elvis was the first artist to record and release commercially and discuss why they're our favorites and what about them showcases Elvis' capabilities as an interpreter and recording artist. Naturally, Gurdip's list skews heavily toward the 1950s and early 1960s with a mix of hits like "Jailhouse Rock" and "I Got Stung" but a few surprises. Justin's list spans the breadth of Elvis' career, from "Heartbreak Hotel" to "It's Easy for You," the last song on Elvis' final album, Moody Blue. We hope you enjoy this breezy, positive and hopefully insightful episode as we're rolling up on the start of summer in the northern hemisphere. The whole episode is a big gush-fest about our love of Elvis' music! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
This week, Justin and Bec put on their dancing shoes and boogie back to the week of June 5, 1976 (just a hair under 50 years ago) to see what was happening in the world of American music and where Elvis' latest single "Hurt/For the Heart" ranked on the pop, easy listening and rock charts, before delving into what surrounded "Hurt" as it reached its highest peak at #6 on the Country chart - and RCA's Elvis compilation "Sun Sessions" was nearing the top of the country LP chart, too! What they're surprised to find is not only a popular culture swept up in both disco and 1950s nostalgia, but a snapshot of a time when connections to Elvis seep into most of the rest of the genre of country music, with songs like "Suspicious Minds" and and artists who ALSO once recorded at Sun Records like Johnny Cash, Conway Twitty and Narvel Felts or have other Elvis connections (Elvis movie demo singer Glen Campbell shows up too!) bringing their own stylistic throwbacks to the Top 10. For Song of the Week, Justin solves a mini-mystery surrounding what 1962 movie scene specifically inspired Hank Cochran to write the country classic "Make the World Go Away," which featured prominently on "Elvis Country" and Elvis was filmed performing during the making of "That's The Way It Is" in 1970. Then finally, Bec touches briefly on Elvis' studio and live versions of Kris Kristofferson's "For The Good Times." If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Gurdip joins Justin to catch up on the latest Elvis news, read some listener feedback and hold a debate: if the guys were forced to select between only Elvis' Golden Records Volume 1 or Volume 3 on vinyl to give to a new fan, which would they recommend? Each makes a case for one of them. Volume 1, released in 1958, of course features many of Elvis' most iconic hits from 1956-1957 including signature songs like "Hound Dog," "Jailhouse Rock" and "All Shook Up" - but it is as good of an album as 1963's "Volume 3" which includes many of Elvis' masterfully sung singles after his return from the Army, such as "It's Now Or Never," "His Latest Flame" and "Are You Lonesome Tonight?" For our listeners who are older fans - did you have these in your collection, and do you have a preference? For the newer fans: do you think such classic compilations are still useful, when today other more and thorough refined collections/playlists are available digitally? And to our non-American fans: isn't it weird that you were marketed Elvis' American gold records first and foremost instead of what may have been more locally popular? If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Justin is joined in this episode by Helene de Roux, writer and director of "Welcoming Grace," a new short film made to promote ZEISS's Aatma camera lenses, but featuring a narrative built around two Elvis fans meeting for the first time in real life and forming a bond despite many differences and minor obstacles. Helene is a fellow listener and patron of TCBCast, you'll have heard her words before on the show as she's written in a few times, but now you'll get to hear her voice as they geek out about Elvis and filmmaking. She even plays a round of Elvis trivia! It's highly recommended that you give "Welcoming Grace" a watch, free on YouTube, to get the most enjoyment out of that part of the discussion: https://www.youtube.com/watch?v=YjRWmSfH_Sg For Song of the Week, Helene circles back to one that Gurdip covered way back in 2018 to provide greater context for and history behind "Let It Be Me," the English language version of Gilbert Becaud's "Je t'appartiens" made famous by the Everly Brothers and featured in Elvis' setlist (and the "On Stage" album!) in 1970. Similarly, I dug into Elvis' hit version of "My Boy," the localization of Claude Francois' 1970 single "Parce que je t'aime mon enfant" and originally recorded in English by Richard Harris. Timestamps: 0:00 - Start & Introducing Helene 16:53 - "Welcoming Grace" 59:00 - TRIVIA! 1:11:45 - SotW: Let It Be Me 1:51:25 - SotW: My Boy If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Olivia joins Justin this week for a Song of the Week special as they deep-dive the stories behind two of their favorite Elvis songs. Olivia's up first, examining Elvis' exellent 1970 cover of Anne Murray's classic country hit "Snowbird" and the tragic story of its songwriter, Gene MacLellan. Then, Justin saddles up and goes tilting at windmills in an attempt to explore the fascinating history behind "The Quest/The Impossible Dream" from the Broadway musical "Man of La Mancha," which Elvis is most known for having have performed in 1972 at Madison Square Garden, but is also unique in being the only song Elvis ever used to close his shows post-1969 besides "Can't Help Falling in Love." Justin looks back to understand why the song resonated so much with Elvis, why he may have chose to feature the song when he did, what versions he took influence from, how his deeply personal interpretation varies from the many dozens that came before him, and ponder why he stopped performing it. Also explored are the song's explicit ideas of heroism, sacrifice and fearlessness in spite of impossible odds - and the tension and dissonance between that message and Elvis' own human shortcomings. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Bec and John pitched Justin on the idea of assigning them ANY album from across Elvis's entire discography, from any time or country, and the two of them would have to try to make the case that their pick is better than the other's, even if it may challenge them to do so. So Bec was assigned the #1 2016 UK album "The Wonder of You with the Royal Philharmonic Orchestra," the sequel release to "If I Can Dream," which we have not covered on TCBCast before! Produced by Nick Patrick, Don Reedman and Priscilla Presley, same as the first volume, which Bec really liked, can she make the case that it's a strong listen - or was there are precipitous drop-off in experimentation in favor of an overly safe, commercial follow-up, featuring recognizable hits like "Suspicious Minds," "Kentucky Rain" and "Always On My Mind"? John, on the other hand, being an avid study of Elvis' gospel music, was assigned the 2018 album "Where No One Stands Alone," a #1-charting album from the US's Top Christian Albums, which John had never listened to before except for the title duet with album co-producer Lisa Marie Presley. Although original backing vocalists who worked with Elvis such as Darlene Love, Cissy Houston, Bill Baize, Terry Blackwood, Armond Morales, Ed Hill, Jim Murray, Larry Stickland and Donnie Sumner were brought back to add authenticity to the project, the new arrangements by producer Andy Childs reflected contemporary changes in the field of American gospel music that when applied to Elvis' songs... well, let's say John will have his work cut out for him making a strong case for it being the better record. (Note from Justin: "Where No One Stands Alone" had been briefly reviewed at release on a very early episode of TCBCast, which Gurdip & I would probably re-evaluate our opinions from as well with hindsight.) For Song of the Week, John takes the opportunity of just having passed Easter to reflect on Elvis' interpretation of Shirl Milete's "Life," which was released as a single in 1971, and explores how its "Christianity-by-New-Age" approach may have resonated with Elvis' spiritual perspective on life, love and creativity. Then Bec digs into Pomus-Shuman's "Night Rider," featured on both the Pot Luck album and in the film "Tickle Me," highlighting its eerie lyrics despite its deceptively upbeat arrangement. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
There's an old saying that when life hands you lemons, make lemonade - Bec, Ryan and Olivia challenge themselves to make the most out of the weakest films in Elvis' cinematic canon, spotlighting their favorite and most redeeming musical performances from their least favorite Elvis movies. For Song of the Week, Olivia deep-dives the fascinating history of what, for Elvis, was a throwaway goof during the making of That's The Way It Is, as "Froggy Went A-Courtin'" evolved from cutting political satire to folk tradition and finally to children's song. Then, Ryan celebrates the songwriting strengths of Elvis's buddy Red West, picking "If You Think I Don't Need You" from the soundtrack of 1964's iconic "Viva Las Vegas." If you enjoy TCBCast, please consider supporting us with a donation on Patreon. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Bec is joined this week by John Michael Heath to rank their all-time favorite co-stars from across Elvis's Hollywood career. From Debra Paget to Mary Tyler Moore, which ladies made the cut? You'll just have to give it a listen and find out... For Song of the Week, Bec spotlights the playful "Cross My Heart and Hope to Die" from 1965's "Girl Happy." Then John reflects on the somber brilliance of Elvis's interpretation of the classic folk tune "Danny Boy" - including his 1958 home recordings and the beloved 1976 "Jungle Room" version. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.
Gurdip, Justin, Bec, Ryan and Olivia reflect on 400 episodes of TCBCast, discussing our favorite music, movie, Elvis influence episodes, songs of the week and even our favorite Gurdip moments. We also pay homage to a dearly missed friend. Oh, and Justin made a couple new Elvis discoveries that we bring up right at the end that we guarantee you've never heard before. Thank you to all of our fellow Elvis fans, music and film history enthusiasts and friends who've followed us so far. We're so immensely grateful to Elvis Presley for his work and cultural contributions that has meant so much to us and has brought such wonderful people and experiences into our lives, and connected us all to you.
Olivia joins Justin this week for a meaty follow-up to our EPiC review. Not only does she chime in with her thoughts and observations from her viewing experience, the duo also read and react to all of YOUR many wonderful emails, comments and submitted audio reviews of the film from TCBCast's Patreon supporters. Then, Song of the Week IS BACK, BABY!! Olivia, taking cues from EPiC, is feeling the "Sweet Inspiration," discussing the history behind the iconic hit recording by The Sweet Inspirations, its American Sound connections, and the time during the August 1970 engagement (narrowly missed by the TTWII film crew) that Elvis sang it to the Sweets, live on stage! Justin couldn't let the news slip by that Neil Sedaka had passed away, so he reflects on Elvis' 1976 interpretation of Neil's heartbreaking "Solitaire," and deliberates over whether Elvis' own preferred recording process by '76 may have accidentally led to a more claustrophobic final arrangement. They also consider the value of Bergen White's orchestrations and the thematic resonance Elvis may have felt with co-writer Phil Cody's lyrics. Thank you to all of our listeners for your support coming up on 400 episodes, and especially to our TCBCast patrons who wrote in to provide their insights and reactions to EPiC. We loved hearing all your perspectives! Timestamps: 0:00 - Intro & Olivia's Review 17:45 - Patron & Collaborator Reviews of EPiC 1:25:30 - SOTW: Sweet Inspiration 1:43:31 - SOTW: Solitaire
Ryan, Bec, Gurdip and Justin pile in for a round table discussion on Baz Luhrmann's EPiC. You don't need us to tell you it's worth seeing or that it's good - there's no shortage of other opinions you've heard affirm both, so we just dive right in. We discuss our perspectives on how the film presents Elvis and his creative process, major sequences of significance, any insights we picked up along the way, as well as the contexts of our viewing experiences (including the responses of guests we took with us, and anecdotal demographics), and our major takeaways from this remarkable cinematic remix, not simply of Elvis's words and performances, but of the work left behind by Denis Sanders, Pierre Adidge and Bob Abel. Finally, Justin wraps the episode with a sort-of Song of the Week, discussing how Baz Luhrmann's "Everybody's Free (To Wear Sunscreen)" provided him with some illumination as the Elvis fandom comes to reckon with EPiC as a new collaborative reinterpretation, unpacking the mindblowing critical reappraisal of Elvis' 1970s era in the media reviews of the film, examining a few criticisms of Luhrmann's 2022 film and EPiC from certain corners of the fandom, and bringing the "art vs archive" arc that he and Bec had begun last September after the Toronto premiere (episode 376) to a conclusion. This episode contains excerpts from Rolling Stone Australia/New Zealand's interview with Baz Luhrmann, which we highly recommend watching in full on their YouTube channel.
Gurdip, Justin and John quickly gathered last night to discuss initial impressions of the soundtrack album for EPiC which is now available on all major music platforms for purchase and streaming. At the time of recording, John's the only one to have seen the film, so we're judging it based on how it works as its own cohesive presentation, keeping in mind that like all Baz Luhrmann soundtracks, it's a companion piece, but also a standalone work. There's plenty of hubbub in the Elvis community about the remixing and re-recording of some elements for the soundtrack, but we have exclusive insights on some of the creative choices made for the film and album from Jamieson Shaw, music producer and supervising music editor on EPiC. Shaw very kindly responded to some questions we asked him via email, which John reads aloud for us on this episode (though without attempting Jamieson's Australian accent). We also break down plenty of the new mash-ups and discover the component elements from across Elvis's catalogue that were utilized in devising these more artful reinterpretations. We recommend checking out the soundtrack for yourself on your preferred music platform or choice or available physically on CD/vinyl from Sony Music!
