Author: TY

A year’s worth of thanks for 2012

/ TY / 4 Comments

As yet another year winds down, I’d like to take a moment to thank some of the people who helped keep The Mystery Train on the tracks in 2012.

Elvis Montage - TMT

Thank you to Mike Hermenet, Thomas Melin, and Kees for contributing guest posts.

Thanks to all who took the time to comment on a post, especially the most frequent commenters – including:

Thank you to those who participated in Elvis Trivialities. One of my New Year’s Resolutions is to create some questions that stump the seemingly unbeatable Thomas.

Thanks to Sheila O’Malley for changing the world’s perception of Elvis one reader at a time. Her Elvis Essays are both informative and inspiring.

Thank you to everyone who has linked to The Mystery Train from their sites, blogs, emails, message board comments, etc.

Thanks to Ernst Jorgensen, Roger Semon, and the rest of the Elvis gang at Sony Music and Follow That Dream Records for yet another year of high-quality Elvis releases. What other fan base gets A Boy From Tupelo and Prince From Another Planet in the same year? Not to mention all of the other terrific releases.

Thank you to all readers of The Mystery Train.

Have an incredible 2013!

A familiar winner takes all the candy in Elvis Trivialities #12

/ TY

Congratulations to Thomas (elvistoday), who unscrambled his way to victory in Elvis Trivialities #12.

He receives a Christmas gift box full of bragging rights and yet another spot in The Mystery Train’s Night Riders.

And the answer is…

Elvis Sings The Wonderful World Of Christmas (1971)

1.) “The Wonderful World Of Christmas”
2.) “I’ll Be Home On Christmas Day”
3.) “O Come All Ye Faithful”
4.) “It Won’t Seem Like Christmas”
5.) “The First Noel”
6.) “Holly Leaves And Christmas Trees”
7.) “Merry Christmas Baby”
8.) “If I Get Home On Christmas Day”
9.) “Silver Bells”
10.) “On A Snowy Christmas Night”
11.) “Winter Wonderland”

are the Elvis songs represented by the following scrambled letters:

1.) RTSHLOHICMDRADOOFLERTWWUNEFS
2.) SRHTLISCYOEMDIHALOMNBEA
3.) YOLAULTHFEFMAEIOCL
4.) MWIKSSRMATLOTTIESCHNIEE
5.) SINOEETHTRFL
6.) SRAOSESIENVDETHLLHSRLTACEYAM
7.) EMRMIARBSSATRYYBHC
8.) DGIHMOIHSAESMINACYFORTET
9.) LVBLEISSRLE
10.) NROSNASTSMHNAITOCGWIYH
11.) DILDRNRTEONNAEWW

* * *

Have a Merry Christmas!

The Mystery Train’s Night Riders

  • December 23, 2012: Thomas (0:36)
  • October 9, 2012: David (14:38) | Honorable Mention: John (22:06)
  • February 4, 2012: Thomas (13:52)
  • February 3, 2012: Thomas (2:18)
  • December 21, 2011: Wellsy (2:37)
  • October 31, 2011: Thomas (17:32)
  • October 1, 2011: Jimmy Cool (1:01)
  • September 9, 2011: Steve Brogdon (0:17) <— Record time
  • August 6, 2011: Thomas (2:26)
  • July 9, 2011: Thomas (5:26)
  • June 23, 2011: Fred Wolfe (0:18)
  • June 22, 2011: Ty stumps the train (no winner)

On That Train Tomorrow: Elvis Trivialities #12

/ TY / 4 Comments

Well, folks, this must have been the busiest December on record for me. After finishing university in May, I thought my schedule would be lighter. Instead, other commitments keep rushing in to fill the void.

One thing that helped get me though this tiring but fun month has been listening to lots of Christmas music, including, of course, many Elvis songs. With that in mind, I think it’s time for the last Elvis Trivialities of 2012.

Here we go!

Elvis Scrambles The Wonderful World Of Christmas

Will you be first to unscramble the Elvis songs?

Name the Elvis songs represented by the following scrambled letters (punctuation and spaces have been omitted):

1.) RTSHLOHICMDRADOOFLERTWWUNEFS
2.) SRHTLISCYOEMDIHALOMNBEA
3.) YOLAULTHFEFMAEIOCL
4.) MWIKSSRMATLOTTIESCHNIEE
5.) SINOEETHTRFL
6.) SRAOSESIENVDETHLLHSRLTACEYAM
7.) EMRMIARBSSATRYYBHC
8.) DGIHMOIHSAESMINACYFORTET
9.) LVBLEISSRLE
10.) NROSNASTSMHNAITOCGWIYH
11.) DILDRNRTEONNAEWW

The first person to get all eleven right in the comments below will unwrap a huge box full of bragging rights.

Good luck!

The Elvis Today Blog Volume 2 author talks to The Mystery Train

/ TY / 1 Comment

Last month, Thomas Melin released a new book, The Elvis Today Blog: Volume 2. Available from Blurb, the paperback compiles 230 more Elvis Today Blog posts. It also features a foreword by Michael Jarrett, writer of “I’ll Be Home On Christmas Day” and “I’m Leavin'”, as well as a previously unreleased interview with DJ Fontana, Elvis’ first drummer. Melin recently took the time to chat about Elvis and the 328-page volume.

The Elvis Today Blog, Volume 2

Cover of The Elvis Today Blog, Volume 2

“Since the first time I heard Elvis, when I was nine or ten years old, I’ve been a fan,” said Melin. “I became really dedicated a short while later when I borrowed a bunch of Elvis albums from a classmate.” The titles included Elvis In Concert, A Canadian Tribute, and C’mon Everybody.

Melin, who lives in Sweden and is now 45, notes that it has always been Elvis’ music and variety of singing styles that have drawn him in. “Being a fan for me also means trying to learn more about the man that was Elvis Presley by listening to alternate takes, reading books, talking to his musicians, and watching documentaries,” he said.

He began blogging about Elvis on August 16, 2007. Five years worth of posts later, he is not sure if it has changed his perspective on the singer, but feels that it has enriched his life as a fan. “I’ve been able to share my ‘Elvis experiences’ with other fans,” Melin said, pointing out that the blog has helped him get to know other Elvis fans around the world.

The Elvis Today Blog: Volume 2 picks up right where the first volume ended. It collects all of the posts from January 8, 2010, through August 16, 2012. “I think it’s nice to have them all in one place, so to speak, and to be able to leaf through the pages and read a bit more thorough when something catches your eye,” said Melin.

“The kind of posts I’ve always loved to write the most has been […] ‘Special Moments With FTD,’ where I, with the help of an alternate take, some studio banter, information in books, and last, but not least, some imagination, try to describe what was going on in the studio or on stage when the recording equipment caught Elvis in his line of work. In my second book, the one that I’m the most satisfied with is the ‘Special Moments With FTD 11’ post, describing the recording of the song ‘Guitar Man’ on September 10, 1967,” he said. The post was inspired by the 2011 FTD release Elvis Sings Guitar Man.

As mentioned, one of the special bonuses this time around is a foreword by Michael Jarrett. “It all started in December 2008 when I wrote about one of the biggest daily newspapers in Sweden ranking Elvis’ ‘I’ll Be Home On Christmas Day’ as the second best Christmas song ever,” he said. Jarrett subsequently got in touch to thank him for mentioning his song.

“From there on we have stayed in contact, and I’m honored to have Michael Jarrett among my readers, which obviously means a lot. When I asked him if he would write the foreword and he accepted, I was thrilled,” he said.

The other special bonus, of course, is Melin’s interview with drummer DJ Fontana. In April 2006, Fontana was touring Sweden as part of a Swedish group called The Cadillac Band. At that time, Melin was working as a reporter at a radio station, where he also produced a one-hour program about Elvis’ religious music. He says he “begged” his news editor to let him interview the drummer when The Cadillac Band came to town. Melin said, “I found DJ Fontana very friendly, and he seemed to enjoy talking about his time with Elvis.”

Blurb specializes in self-publishing and provided the platform for both books based on Elvis Today Blog. “What you need is a PDF version of the book to upload on Blurb, and I’m lucky to have a brother who is very, very good when it comes to design and page layout,” he said. He explains that Staffan Melin used the Adobe Suite (Illustrator, Photoshop and Indesign) on the first volume, but decided to try open source software (Scribus, Inkscape and GIMP) on the latest volume.

“This book is actually part of [Staffan’s] master’s thesis in media technology, where he examines if free software can be used for book and magazine production. Obviously, it can,” said Melin.

Elvis Today Blog celebrated its 500th post on August 16, 2012, which was also the cutoff date for the new book. Since that time, Melin has been in semi-retirement from blogging. “When I decided to take an indefinite break from blogging, it was because so much was going on in my life, mainly due to my two-year-old daughter. I just didn’t have the time or energy to write about Elvis anymore. I still don’t,” he explained.

“I still listen to Elvis all the time, and my daughter seems to like his music, too, but I would be lying if I said I didn’t miss blogging at times. That’s why I’ve written one or two posts since ‘retiring,’ and I guess it will continue that way,” Melin said.

“For now, I’m satisfied with my 500 posts and two books. Every time I look at them sitting in the shelf I feel a bit proud, thinking in my own small way, I’ve done something to keep Elvis’ memory alive,” he said. “It’s been a fun ride!”

Order The Elvis Today Blog: Volume 2 over at Blurb.

“I just can’t believe it’s me.”

/ TY / 2 Comments
Elvis talks to the media, 1969

Elvis talks to the media, 1969

“Sometimes when I walk into a room at home and see all those gold records hanging round the walls, I think they must belong to another person. Not me. I just can’t believe it’s me.” –Elvis Presley, 1969

Elvis rarely talked about his success. I was inspired to dig this quote up, one of my favorites, based on a twitter conversation I was having this morning with Sheila O’Malley (of the thought-provoking Sheila Variations Blog).

The source of this quote is from a 1969 interview with Elvis by Ray Connolly for the London Evening Standard on the occasion of Elvis’ return to live performances. You can read the full article over on Connolly’s site.

[I do not, however, agree with Connolly’s post-script that Elvis did little but disappoint after 1969. Thomas Melin over at the Elvis Today Blog has previously addressed a similar dismissal by Connolly – and, ironically, pointed to the same Sheila Variations post that helped spark my quote search this morning. The circle continues!]

REVIEW: Elvis – The Complete Masters Collection (Part 5)

/ TY

This is Part 5 of an ongoing series reviewing Elvis: The Complete Masters Collection. Read Part 4.

I’m planning to significantly scale back this review series. I’m actually up to Volume 17 now in listening, as I gave up trying to review them as I go. This is mostly because I was not patient enough to wait. The process was just going too slow and taking away from the enjoyment. However, since I already had a draft of the below review for weeks now, I figured I might as well share it with you.

CD Vol. 7: Complete 1968 Comeback Special

This volume of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents songs recorded for the ELVIS television special in June 1968.

Elvis: The Complete Masters Collection - Volume 7

01. Trouble/Guitar Man: This was the perfect way to open both the ELVIS special and the accompanying soundtrack album. Culled from 1958’s King Creole, “Trouble” has never sounded better than it does in this performance a decade later.

In the setting of the special, “Guitar Man” bares little resemblance to Elvis’ 1967 country recording. This version rocks.

Though true to the original album, I would have preferred that the overdubbed applause at the end of this studio track had been omitted for this release. Exceptions were made for other recordings on this set, including on this very CD, and this is another exception I would have welcomed.

02. Lawdy, Miss Clawdy [Live]: In the live, “sit down” segment of the show, Elvis tears into “Lawdy, Miss Clawdy.” This is a terrific rendition that helps set the tone for the entire album. Elvis is back.

Baby, What You Want Me To Do [Live]: Elvis performs a brief snippet of “Baby, What You Want Me To Do” and then launches into a fun bit of reminiscing.

Heartbreak Hotel/Hound Dog/All Shook Up [Live]: The album then transitions to the “stand up” segment with a rocking “Heartbreak Hotel,” combined with strong versions of “Hound Dog” (I love the Native-American-inspired percussion) and “All Shook Up.”

This is the best live version of “Heartbreak Hotel.” Too bad it is part of a medley and incomplete. Years ago, I made an edit of this recording and the one at his first sit down show in order to create a “complete” version for my own personal use (inspired by a similar edit of “Blue Suede Shoes” on This Is Elvis, except mine began with the stand up show and ended with the sit down show).

Sound quality is so excellent on Complete 1968 Comeback Special that it makes a recording flaw in this medley more obvious – a microphone or amplifier feedback sound is present in the background through much of the medley, beginning with “Hound Dog.” When I went back to check, I was surprised to find that this actually existed on previous release sources as well – though not as obvious.

Can’t Help Falling In Love [Live]:  Hands-down, this is the best live version of “Can’t Help Falling In Love.” Absolutely beautiful. Again, here we have excellent sound quality, but that feedback tone is also present at times in the background. I fear it is one of those things where, now that I have heard it, I will not be able to “un-hear” it.

Jailhouse Rock [Live]: For my money, there are really only two killer versions of “Jailhouse Rock.” The 1957 original and this 1968 live recording. Even just a year later, Elvis had lost the raw edge to this song.

Unfortunately, there is noticeable distortion near the end of “Jailhouse Rock,” almost like garbled tape (not the feedback tone discussed earlier). What a disappointment. Not present on previous releases, this issue was first introduced on 2008’s ELVIS: The Complete ’68 Comeback Special boxed set (Disc 3, Track 21). Also on that set, the same version of “Jailhouse Rock” can be heard without the distortion on Disc 1 – which presents the original ELVIS-TV Special album. However, the overall recording is in much lesser sound quality. I understand that tapes can be damaged, but surely a better effort could be made for one of the pivotal moments of Elvis’ career? As this also affected The Complete Elvis Presley Masters, a pricier incarnation of the complete masters [7], Sony should be embarrassed.

Love Me Tender [Live]: I have to admit, though some may not be able to comprehend this, I am not a big fan of Elvis’ original 1956 recording of “Love Me Tender.” It bores me to tears. I definitely prefer his 1968 live versions. As with “Can’t Help Falling In Love” earlier in the show, I love the velvet sound of his voice on this.

03. Where Could I Go But To The Lord/Up Above My Head/Saved: This track begins with Elvis discussing the gospel and rhythm & blues origins of rock ‘n’ roll at one of the sit down shows. It then segues into a medley of studio-recorded inspirational songs. In the actual television special, the medley is a huge production number with Elvis surrounded by dancers while the Blossoms, including Darlene Love, provide backing vocals. Though the recording is great, I find this one much more interesting to watch than only hear.

04. Blue Christmas [Live]: In both the original broadcast version of the ELVIS special and its accompanying soundtrack, creative editing inspired a myth. “I’d like to do my favorite Christmas song, of all the ones I’ve recorded,” Elvis says. He then launches into “Blue Christmas.” For years, people justifiably believed that “Blue Christmas” was Elvis’ favorite Christmas song.

It was not until the 1998 release of Tiger Man, containing the unedited version of the sit down show from which the recording was taken, that the truth became known to a wider audience. It turned out that Elvis did not sing “Blue Christmas” as his favorite but “Santa Claus Is Back In Town.” In fact, though he could not remember some of the words, he sang a bluesy version that was a highlight of that particular show. Not only that, but when he did finally launch into “Blue Christmas,” it was an extended version compared to the original master. So, not only did the TV special and original album create the “Blue Christmas” as Elvis’ favorite Christmas song myth, they even artificially shortened said song.

True to the original master as released in Elvis’ lifetime, the recording here on Complete 1968 Comeback Special matches that of the original album. Elvis performs a terrific version of “Blue Christmas,” far exceeding his 1957 studio recording. I’ll stick to the real story and full-length version on Tiger Man, though.

One Night [Live]: “I think I’ll put a strap around this and stand up,” Elvis says near the end of the first sit down show, but there is no strap to be found for the electric guitar he has borrowed from Scotty Moore. Drummer DJ Fontana announces the next song as “No Strap” and Charlie Hodge, also on stage, sings “No strap today. . .” which Elvis immediately turns into a brief parody of “One Night” by picking up with “. . . is what I’m now looking for, the things I did and I saw, would make the dream . . . where, where, where, where’s the strap?”

He then launches into the song proper, including some of the original “One Night Of Sin” lyrics that had been too risque for 1957. He soon stands up, placing one foot on his chair to prop the guitar on his knee, while Charlie (and later Lance LeGault) holds the microphone for him. While some of the “ad-libs” earlier in the night were indeed scripted, Elvis wanting to stand up with the guitar during the sit down show is not one of them. For the second sit down show, though the guitar still had no strap, it was obvious they had worked out more of the logic – including how to adjust the microphone stand, allowing Elvis to stand up a few times. It is this off-the-cuff moment in the first show that holds the real magic, though. All the fun aside, it is also a great, raw performance of “One Night.”

05. Tiger Man [Live]: Though it originally appeared neither on the ELVIS-TV Special album nor the broadcast, “Tiger Man” was actually the first recording released from those made for the 1968 ELVIS special, on the album Singer Presents Elvis Singing Flaming Star And Others. “Tiger Man” was originally slated for the special, but was replaced by “Blue Christmas” at the insistence of Elvis’ manager due to the December air date. “Tiger Man” is another wonderful performance that Elvis drives with the electric guitar. The compiler made a good choice placing it back in context with other songs from the special rather than saving it for a separate disc.

[Side note: Elvis only performed “Tiger Man” on the second sit down show. Near the end of the first sit down show, Elvis states, “We’d like to do one more song for you because we have another audience waiting to come in” and then proclaims, “Man, I just work here,” when the audience sounds disappointed. He then starts looking for the guitar strap as described with “One Night” above. While he was apparently not referring to the closer “Memories” as the “one more song,” I wonder if it was actually “Tiger Man” that he was planning to sing before being inspired to do the impromptu reprise of “One Night”? Most of the renditions on the first sit down show are superior to those of the second, so a first show “Tiger Man” might have been quite the performance if the proper guitar strap had been available.]

06. Memories [Stereo Version]: Though Elvis performed two live versions of “Memories” during the special tapings, they were not nearly as good as his studio master. Rather than use the live recording featured on the television broadcast, the ELVIS-TV Special soundtrack album featured a mono version of the studio recording with overdubbed applause. RCA sure did love faking live versions with overdubbed applause in the late 1960s and early 1970s.

In this instance, the compiler makes an exception and uses a stereo version of the studio recording, fortunately without the fake audience. Technically, this mix was never released in Elvis’ lifetime, though, for even his 1968 single of the studio version was in mono.

Written by Mac Davis, “Memories” is a beautiful song and this is, by far, my favorite version. 1968’s “Memories” would go on to play over the closing credits of 1972’s Elvis On Tour, as well as posthumous documentaries – including This Is Elvis.

07. Nothingville/Big Boss Man: I have often wondered if “Nothingville” was slamming Nashville or Hollywood (“phony little two-bit town where nothing’s real”). If “Nothingville” is about Hollywood and the movies, that puts an interesting spin on this segment of the special – which is more than a little reminiscent of Elvis’ movies anyway.  In any event, the song fits within the context of one of the show’s production numbers, but it is almost too short to really matter. Next up is a carny barker inviting passers-by to experience an exotic dancer. Elvis launches into an altered version of “Big Boss Man” where the one being worked to death is actually the dancer rather than the singer. The song loses most of its blues roots here, but the arrangement is still effective.

Guitar Man/Little Egypt/Trouble/Guitar Man: To be honest, all of track 7 is really a letdown compared to the quality of the rest of the special.

08. If I Can Dream [Stereo Version]: Always a contender for his greatest performance, “If I Can Dream” caps off the special just right – with Elvis moving forward. As with “Memories,” a stereo mix is used here that was not released during Elvis’ lifetime. The album version was in mono and included overdubbed applause on the studio recording, while the single version of the studio recording was in mono as well.

All-in-all, due to the sound issues on “Jailhouse Rock,” and, to a lesser extent, “Hound Dog,” “All Shook Up,” and “Can’t Help Falling In Love,” Complete 1968 Comeback Special turns out to be the most disappointing volume of this set thus far. A real travesty since this is some of his best material. Does anyone bother to listen to Elvis CDs prior to release?

Though a minor issue, the CD also has a misleading title, for it would take several CDs to truly represent the “complete” 1968 “Comeback Special” recordings. This is but a small sampling. Even a few Comeback recordings released during Elvis’ lifetime, if restricted to that, have been left out.

Sources

(7) “Complete Masters compared/contrasted with Franklin Mint” by elvissessions, For Elvis CD Collectors Forum, 2010.

Read Part 6.

Prince From Another Planet highlights an unreachable star

/ TY / 7 Comments

Sony released three new Elvis titles to US stores on Tuesday, all of them related to his 1972 appearances at Madison Square Garden. While I commend Sony for bringing these releases to market, they have also brought along with them much confusion over the similar contents.

I’m no miracle worker, but I’ll try to clear this up for you as best I can.

Prince From Another Planet: As Recorded At Madison Square Garden is a 2-CD/1-DVD boxed set. CD 1 is a 2012 mix by Michael H. Brauer of Elvis’ June 10, 1972, afternoon show at the Garden, mastered by Vic Anesini. CD 2 is a 2012 mix by Brauer of Elvis’ June 10 evening show at the Garden, mastered by Anesini. The DVD contains a new documentary (Like A Prince From Another Planet), footage from Elvis’ June 9 press conference in New York, and fan-shot 8-millimeter footage of the June 10 afternoon show. Also included is a 50-page book, featuring liner notes by Lenny Kaye.

Elvis Presley's 1972 New York press conference

Elvis at his June 9, 1972, press conference

Elvis As Recorded At Madison Square Garden: Legacy Edition is a 2-CD set. CD 1 is a vintage 1972 mix of Elvis’ June 10 evening show at the Garden, mastered by Anesini in 2007. This represents the 1972 album Elvis As Recorded At Madison Square Garden, which hit store shelves only a week after the actual show. Due to Anesini’s mastering, which was first released on 2009’s Elvis: The Complete Masters Collection and 2010’s The Complete Elvis Presley Masters, the sound quality is improved over the 1992 CD release. CD 2 is a vintage 1997 mix of Elvis’ June 10 afternoon show at the Garden, mastered by Anesini for this 2012 edition. This represents the 1997 album An Afternoon In The Garden.

Sony has also released a new vinyl version of Elvis As Recorded At Madison Square Garden. This 2-LP release of the June 10 evening show is a newly mastered version of the vintage 1972 mix. Despite the fact that it is now two records, this does not contain the afternoon show. The original 1972 vinyl issue of this album was only one record, but the two record format is for better sound quality.

As you can see, fans of Elvis in 1972 have a nice selection from which to choose. As for me, I went with the deluxe Prince From Another Planet set because I wanted to hear the 2012 mixes. The Legacy Edition was not appealing to me because I already have the vintage As Recorded At Madison Square Garden mix as mastered by Anesini on The Complete Masters Collection, and I was not interested in a new mastering of the 1997 mix of An Afternoon In The Garden. I may eventually pick up the vinyl, though I tend to gravitate more towards records produced while Elvis was alive.

Prince From Another Planet (2012)

I’m not going to do a formal review, but I can’t close out without saying that Prince From Another Planet is incredible. Brauer has done a fantastic job mixing these shows. Crank up your sound system and maybe, just maybe, you can be transported back to June 10, 1972, and experience Elvis at the Garden.

As you might expect, the difference is most striking on the evening show. To say that the 1972 mix was rushed would be an understatement. This new 2012 mix finally illuminates this show in the fashion it deserves.

The Like A Prince From Another Planet documentary is worthwhile. I would like to see more documentaries of this nature, highlighting specific points in Elvis’ career. It does “spoil” a lot of the fan-shot footage, though, so you may want to watch that first.

The amateur video of the June 10 afternoon show looks about as good as 8 millimeter footage can possibly appear. Do not go in expecting professional Elvis On Tour or Aloha From Hawaii quality, though. This understandably looks grainy on large television sets. Though the original footage was silent, Sony has meticulously synched the 2012 mix of the show’s audio with the footage. To put it mildly, the footage is stunning and makes for a terrific experience . . . almost.

Elvis on stage at the Garden

Elvis on stage at the Garden

Only about twenty minutes of footage from this sixty minute show actually exists. During parts of the show for which there is no footage, the screen goes black while the audio continues. There are several long stretches of songs with no footage at all. To be honest, I cannot imagine a member of the “general public” (i.e., someone who is not an obsessed Elvis fan) sitting through this. Even I became restless at times, afraid to take my eyes off the big blank screen for fear I would miss the video. Sony should have provided an option to “View All Footage” and skip over the blank portions. This is but a minor quibble, though. Keep in mind while watching this that Warner Home Video is sitting on hours of professionally-filmed 1972 tour footage of Elvis. Unfortunately, Sony has no control of that footage, so kudos to them for at least bringing us this grainy alternative.

My larger complaint with the set has to do with the packaging. It is beautiful, but fails miserably at its primary job – protecting the CDs and DVD. Good luck getting them out without scratching the discs and/or creasing the packaging. As it is, my DVD has a fault during the press conference, and I have no doubt that the packaging and my admittedly anxious hands are to blame.

Elvis and the music more than make up for these shortcomings, though. If you are a fan of Elvis in 1972, Prince From Another Planet is a must-have. If you are not a fan of Elvis in 1972, I do not think this release will change your opinion. That’s okay, though. Everyone is entitled to be wrong!

* * *

Coming so soon on the heels of the recent storm, this New York themed release also reminded me to think of those in New York and neighboring areas that are affected. I think it would be a great gesture, and certainly within the spirit of Elvis’ generosity, if Sony were to release a single from this set with proceeds to benefit disaster relief efforts. In any event, we fans can also help on our own by donating funds to the American Red Cross.