Part II of the Q&A with Joe Tunzi by you, the readers of ElvisNews and For Elvis CD Collectors. Part II focuses on Joe Tunzi’s books.

Joe Tunzi on his books

21. A book on jumpsuits would definitely be a winner. But why has no one has ever done that? If somebody could pull it off, it’s you. I had high hopes for ‘Fashion’, but it turned out to be another 100% EPE book: nicely done, but it’s a book you can live without – no new information at all. Will a jumpsuit book ever see the light? (Question from Peter Verbruggen).

Joe: A book on jumpsuits would be a winner for the ‘70s Elvis fans. It would be a monumental task to undertake. The problem with this type of project to do it justice would be to include a photograph of Elvis in every jumpsuit and every combination he wore. The time consumption as well as finding photos of every jumpsuit makes it a costly endeavor.

22. As the President of the Elvis Presley fan club of Oklahoma. I am very pleased to see the upcoming book your doing "Elvis, starring in Oklahoma" My question is what is the one factor that interested you enough to do this book about some of the Oklahoma shows? (Question from Charles Reeves).

Joe: The book “Elvis Starring in Oklahoma” focuses on one specific concert, the July 8, 1975 show which kicked off the July tour. This will be the first concert book that we’ve ever done that from beginning to end that will be of Elvis on stage. The photos we have are from a Hall of Fame photographer. One of the reasons I chose this show was because there are not a lot of soundboards from this tour, which makes a book of a show from this tour even more intriguing.

23. I enjoyed your publication 'Elvis: The Hayride Years 54-56'. Co-author Joey Kent stated that he was planning a follow-up with Frank Page that would focus on Elvis's final Hayride show in December of 1956. Is this book still forthcoming? And can we expect any other books on fifties Elvis from you? (Question from Andrew Arnold)

Joe: I believe Joey Kent has a new project coming out which includes a book, a CD, and a DVD. I don’t think we will be doing a second Hayride book but I wouldn’t rule it out entirely.

24. What is the quality of the paper you have been using in your books? There have been several message board comments regarding how thin it is. (Question from Daryl Restly)

Joe: For most of our recent titles we use an 80 pound gloss. This sheet is called garda gloss. It's made in Italy and is considered a number one sheet. Brightness equals 90. Opacity equals 95. The caliper is 591 pages per inch. For the new "Oklahoma" book we're using a 100 pound sterling ultra gloss. This paper is made in the United States and is also considered a number one sheet. Brightness equals 90. Opacity equals 97. The caliper is 426 PPI.

25. Have you ever seen (or know that exists) a photo of Elvis with Jerry Lee Lewis taken later than the one from the Million Dollar Quartet session? (Question from Victor Manso).

Joe: I do not know of any other photo of Elvis and Jerry Lee Lewis other than the Million Dollar Quartet shot and I think it’s highly unlikely that a later shot exists.

26. What did happen to the original cover artwork for Elvis' albums? (Question from Joe)

Joe: Through research I’ve found that many are to be found in the RCA archives. Some are missing. I do know some people who formerly worked at RCA who have collections of artwork for singles, extended plays and albums.

27. Why didn't you use a color photograph from the benefit show on the cover of his most recent book and why did you use instead a publicity photo from "Blue Hawaii"? (Question from Daryl Restly)

Joe: If we had an original color photo from the benefit concert we would have used it since we featured the press conference and the show in the book. I don’t think some people realize how difficult it is to locate photos from that particular show. Recently, John Thornton reviewed the “Hawaii ‘61 Featuring the U.S.S. Arizona Benefit Show” book in the excellent publication “The Man And His Music” and was disappointed that the book wasn’t entirely on the benefit show. We never did advertise the book as being entirely on the benefit show, as the title of the book implies. Another thing that Mr. Thornton took issue with is why we included the photos of Elvis in Buffalo, New York in 1957. The reason is simple. Elvis wore the gold lamé in Buffalo ‘57, Hawaii ‘57 and at the benefit show. The photos from Buffalo and from Hawaii ‘57 were included in a section of the book entitled “More Gold Lamé.” It’s intention was to be a retrospective look at Elvis in 1957 when he began wearing the gold lamé. In closing, if you're going to review a book, you've got to do your homework.

28. Since the Sessions III book came out in 2004 have you been able to document any recordings that you didn't make mention of in the book? It would seem that Ernst Jorgensen hasn't been able to find any unless he has held back new finds for the 30th Anniversary next year. (Question from Daryl Restly)

Joe: Finding lost recordings has become harder than locating a needle in a haystack. Of course there are some Sun outtakes that will be on Ernst’s Sun project and there are some other tracks that may come to fruition. But it’s coming to a point where it is beginning to become more difficult. As for recordings that we didn’t mention in “Sessions III”, I am aware of tapes that come from 2 or 3 studio sessions but at this time I don’t want to elaborate on it.

One other thing I would like to mention is that the alternate take has lost a lot of it’s luster, zip, punch (or whatever you want to call it) because of a glut of outtakes found on numerous releases. It’s gotten to the point that the Elvis Channel on Sirius plays outtakes of songs more often than the masters. In a way I find that somewhat disturbing. Shouldn’t the masters get played more often? I don’t have a problem with them playing outtakes but shouldn’t they only be played in the context of programming where the show is strictly outtakes. It’s also a shame that Elvis’ original back catalog is in shambles. It’s gotten to the point where you can’t even go into a music store and find an Elvis CD the way it was originally released. Most of the albums have been expanded exponentially with bonus tracks which in some ways can actually put a damper on the listening experience. Especially if the bonus tracks are not in relation to the original album. For example, in 2000 BMG released a 3 CD set "That's The Way It Is - Special Edition" which featured "Rags To Riches" a song recorded a month after the filming was done. To make matters worse, BMG forgot to include the studio recordings of "I've Lost You" and "Patch It Up" which were originally released on singles.

29. Is there also an army year’s photo book on your list to publish? (Question from Geert).

Joe: Several years ago I used several Army photos in “Photographs And Memories” which were from the photographer who took them. These photos at the time were quite expensive to use in the book and if I were to do a book on Elvis’ Army years I would most definitely want to use more of the photographs from his portfolio. Otherwise, I have no aspirations.

30. Is there enough material to release a book on Elvis’ Last concert in Indianapolis? And is there enough material to release a book about the famous Memphis sessions or any other session? (Question from Sascha).

Joe: A book on the final concert in Indianapolis would be challenging and is a project that potentially could be done. As for the Memphis sessions, I take it you are referring to strictly the 1969 sessions. I don’t think there is enough material to create a viable product. I've already done a book called "Elvis, Highway 51 Memphis, Tennessee" which covers some of this ground already.

31. I have read the Elvis Sessions vol. III book which is fantastic, and was curious how do you find all of this information which is very extensive and very informative? (Question from Shane).

Joe: Our information for all three Sessions books is derived from several sources. It is a combination of all different people, places, and things from musicians unions to tape boxes to tapes themselves to musicians and backup vocalists’ eye-witness accounts to paperwork. The three books are not based on any single entity but they are a building process, somewhat like an ongoing puzzle that never really ends.

32. Did you hear some of the soundboards that you list in your book, and where comes the source from of that list? (question from Johan D).

Joe: Yes, I have heard many soundboard recordings. The list we used in Sessions II was taken from Joan Deary’s notes. In Sessions III we have updated that list with shows known to have been recorded or known to be in private collector’s hands. If you know something was recorded but you have no tape of it, should you list it. I believe you should list them. As I stated in the previous question, Sessions III was comprised of information from numerous sources, so why not use them.

33. I have wondered if your soundboard list of the complete tours in 1970 listed up in Session III is really true. There are many fans who don't believe that list of really sensational SBs from Elvis’ first tours after the comeback. Are these SBs in private collections or at BMG? (Question from Kenneth Pedersen).

Joe: Soundboards were recorded during the September and November 1970 tours on a reel-to-reel tape. There are photos of Al Pachucki at these shows recording them and I interviewed him several years ago and he recalled recording them.

If the soundboard lists in Sessions II and III are wrong, inaccurate, etc. then my first question is how many soundboards not on those lists have come out either legitimately or otherwise? The proof is not in the paper, it’s in your ears. If the list is indeed inaccurate I also have to ask why have several websites “borrowed” (I use the term “borrowed” lightly) the list?

34. Why is there not one picture from “Aloha From Hawaii” in you latest “Hawaii ’61” book? (Question from Jimmy Strang).

Joe: Having previously done two photo books on the Aloha concert, I felt it was better to use the outstanding photo of Elvis and Jack Lord in January ‘73 in Las Vegas. They each had a mutual respect for each other, and Jack Lord is well known for “Hawaii 5-0.” Although the book is tailored towards Hawaii 1961 I thought the photo fit the book perfectly.

35. How about a book based on Elvis's appearances on his favorite stage, the Omni in Atlanta. All of the shows here were of a high standard, especially the last one on December 30 1976. Plus there was a good variety of stage outfits over the years. I think this would be a good project to consider. (Question from Steven Wolak).

Joe: This is a project that is in the works although I doubt it will cover the December 30, 1976 appearance in Atlanta. It will however cover the June and July ‘73 shows at the Omni. I was lucky to attend the show in Atlanta on July 3 and like the St. Louis show earlier in the tour, it was truly phenomenal.

36. I always wondered if you ever had any thoughts of doing a book on the 1977 CBS Special? (Question from Gary).

Joe: This has the makings of another great project. It is all about the material though. If there were enough good photos to do a book on the CBS Special I would be inclined to do such a project. Having already done three books on Elvis’ other two television specials, this would be a natural. Having said that, a book on the CBS Special would have to be carefully crafted and being the optimist that I am, could potentially put a positive spin on the third television special.

37. On which subject would you like to write a book? (Question from Tony)

Joe: If I were to write a text book I would want to collaborate with a certain individual on a book about Elvis and the records he made. It would be a level headed, honest critique of Elvis’ recorded output during his lifetime. It would not be about his friends, associates, entourage, songwriters and what they thought of Elvis and his music. That road has been traveled enough times already. It would be an analysis of each album, each track scrutinized as to why it was recorded, why it was released. It would be my view of all of Elvis’ recorded work as a consumer when I originally bought the singles, extended plays and albums.

38. After your great book on Elvis in South Bend on 1.10.74 (Enter the Dragon) many years later a FTD soundboard of that show came out which matched perfectly the text from your book. Any chance of this happening again with your book featuring Elvis in Oklahoma July 8th 1975? (question from Geoffrey Mc Donnell)

Joe: The text for “Elvis Starring In Oklahoma” will unfortunately not be adapted from a soundboard recording because as far as I know there is no soundboard recording from July 8, 1975. That’s not to say that there couldn’t be one out there in private hands that I’m unaware of.

39. Does it cost a lot of money to get all these rare films and photos and – if you don’t mind me asking - how much would you say you have spend on acquiring the material? (Question from Mark Richie).

Joe: I really don’t even want to begin to guess how much I’ve spent on photos, film, tapes. To do a production, it most certainly costs an exorbitant amount of money. To acquire materials for future projects I try to negotiate as best I can but at the end of the day, Elvis still commands top dollar and most individuals who I’ve dealt with are fully aware of what they have. Some things certainly are overpriced.

40. First of all thanks for all that you brought to us and all the research you did please take it in a good mood but I would like to question what I regard as shortcomings about your work. Why such a big proportion of fuzzy / unclear pix in your books? why the systematic absence of a meaningful text accompanying it / can't you find someone who could do that part throughout the book instead of giving one line quote from a song (by the way the intros are usually good) And finally what is the economics of your books: some cost up to €60 and more, compare to a S. Shaver at €200 all in color and glossy paper. Can't there be something in the middle? (Question from Mikael Amsellem).

Joe: Well, fortunately or unfortunately (depending how you look at it) most of the photographs that we’ve used in our books over the years were taken by professional photographers. And I totally disagree with your assessment that we use a proportion of fuzzy, unclear photos. But no matter how good the photographer is, he or she is still going to take some photos that are not of the greatest quality. I personally believe that all the photos that we’ve ever used in all of our books are some of the greatest photography ever assembled on Elvis Presley. The photographers are some of the best in the field, some of whom have well recognized names. Another consideration to take into mind is that Elvis on stage did not stand still and pose for pictures while performing. This would only make it more difficult for even the best professional photographers to snap a crisp picture of Elvis. We have cut most of what we would consider "unusable" photos from our books.

Regarding the text, it would seem that you haven’t bought any of the recent books we’ve done lately. In the last several years we’ve incorporated very meaningful text with pertinent information to the subject matter we’re incurring. We are constantly trying to locate virgin information (something nobody knows about). Yes, some of our earlier books did not have much text but our three most recent publications “Hawaii ‘61”, “Charro!” and "The Documentaries" book are leaps and bounds ahead of some of our earlier titles as far as text is concerned.

Each book that we do has a different budget. A lot of people don’t fully understand how a price for a book is arrived at because they‘re not in the publishing business. The cost on books fluctuates not just on printing costs, but also on usage fees plus, many other things we don't do in-house, such as art direction. It’s hard to justify just how much work and payout there is for each project. We do offer our dealers a suggested retail price and most of our dealers accept this advice.

41. How many more Elvis books do you envisage to do? Many, many more I hope! (Question from Chris)

Joe: We have a lot of books, CDs, and DVDs planned for the next several years. Being the optimist that I am, I am certain that the 30th Anniversary is not the end. I still think the Elvis momentum can continue on for another five to ten more years, if not longer.

I do think that there is too much nitpicking and negativity amongst a small minority of Elvis fans. Although we all have our personality differences, we still have that common bond, which is a love for Elvis. For me personally, being an Elvis fan is very rewarding and a lot of fun. Take for example the recent announcement that the Estate is releasing an “Ultimate Film Collection.” Some have complained that they already have the films included in the set. Not every fan has these movies. To appease those who already have them, the Estate is including several photos, a music CD, two bonus DVDs and more. I also believe that it’s been mentioned that they hopefully want to do future installments with more films, some of which remain unreleased on DVD. Future installments may also open the path to finally get the extra hour of “That’s The Way It Is” material released and just maybe even more. The “Ultimate Film Collection” is a step in the right direction, without a doubt.

Part III of the interview with Joe Tunzi will follow soon. This will focus on his Elvis and his music.