A Squirrel Loose at the Big, Freaky International Hotel (Part 2)

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This is Part 2 of a look at Sony’s Elvis Live 1969 boxed set (2019), which contains all 11 concerts RCA recorded in Elvis Presley’s August 1969 engagement at the International Hotel in Las Vegas.

[Read Part 1.]

“It’s getting loose at the International, boy!”
–Elvis Presley, 1969

The 11-disc Elvis Live 1969 is unfortunately housed in an 8-inch format box, such as used for 2012’s 3-disc Prince From Another Planet, rather than the 12-inch style, such as used for 2014’s 10-disc That’s The Way It Is: Deluxe Edition or 2018’s 6-disc ELVIS: ’68 Comeback Special – 50th Anniversary Edition. The 12-inch style harkens back to the days of LP record albums, while the 8-inch style is out of place on both CD and record shelves. Use of the 8-inch box was evidently a cost-saving move, but the set would have benefited so much from the larger format. Even at 8-inches, the set at a glance appears beautiful, but looks can be deceiving.

Elvis Live 1969 includes a 50-page booklet documenting the 1969 Vegas engagement. The opening Foreword, as with some of the marketing material associated with this set, quotes Elvis from his 1972 press conference for his Madison Square Garden appearances three years later about why he returned to performing live. As he tells the same story no less than 11 times on this very set, I would have preferred the use of 1969 quotes.

Reading like one of the over-the-top press releases that Sony lately uses to promote Elvis CDs, the unsigned Foreword also notes:

“After Elvis’ disastrous two-week 1956 Vegas engagement at the New Frontier Hotel, thirteen years later, his victorious live return in the same city made the meteoric success of his sold-out run (July 31-August 28, 1969/29 shows in total) that much sweeter.”

I call this out not to sicken you with the syrupy language, but to highlight an error. Elvis performed 57 shows during the date ranges of this engagement, not 29. The singer performed two shows a night throughout the month-long engagement (July 31 consisted only of the Opening Show). Even the very boxed set that the Foreword introduces features 11 shows recorded in the course of 6 days (beginning with the August 21 Midnight Show and concluding with the August 26 Midnight Show).

A bigger guffaw occurs in the tracklisting at the end of the booklet. Both CD 5 and CD 9 are listed as the “August 25, 1969, Midnight Show.” CD 5 actually contains the August 23 Midnight Show. Thankfully, the disc contents and label are correct.

Regarding such mistakes, you might ask, “Who cares?” Apparently not those responsible for Elvis releases. Allowing myself to veer off track just for a moment, Sony’s Follow That Dream (FTD) collectors label for Elvis fans routinely releases such errors. Two of the most embarrassing examples when it comes to text are misspelling “Presley” on the spine of 2008’s Wild In The Country and misspelling “Burning Love” on the back cover of this year’s St. Louis/Spokane. On the same St. Louis/Spokane release, the back cover numbers tracks 15-20 as: 15, 16, 16, 16, 21, 20. Though collectors pay premium prices for these releases compared to mainstream CDs, FTD is a small, boutique label with minimal resources and a limited target market. Sure, most 5-year-olds could have caught the counting errors, but let’s not talk about that.

Getting back to Elvis Live 1969, I note the two sloppy examples in the booklet (and there are others, but that is not the focus of this review) as unfortunate indicators that the carelessness condoned at the small FTD label has bled over into a full-fledged release like this one on the main Sony Legacy label.

Sony Legacy’s ELVIS LIVE 1969 boxed set – booklet in foreground of CD holders (2019, from TY’s collection)

The rest of the booklet consists primarily of excerpts from Ken Sharp‘s excellent Elvis: Vegas ’69 book from 2009. Those who were there, including Elvis himself, tell the story of the concert engagement through first-hand accounts. If you are a fan of the era, as I am, the full book is definitely worth seeking. However, the booklet as presented in Elvis Live 1969 provides a nice, abridged version to go with the CDs.

The 11 CDs are packaged in two cardboard holders. “Packaged” is a polite term. They are mercilessly wedged into two cardboard holders. Use caution extracting a CD to prevent damaging the disc, the holder, or both. Why Sony continues to use ridiculous forms of packaging, which so often fail to serve the singular purpose of protecting the discs, is beyond me. While I backed mine up to iTunes, if you plan routinely to play the original discs I would suggest you place them in more accessible cases as to avoid almost certain damage over time.

Use of imagery from vintage International Hotel menus and advertising in the holder for CDs 1-5 is fun, and I wish that concept had been extended to both holders. Some of the interior Elvis photo choices for the holders are baffling, including two, count them, two photos of Elvis apparently raising his armpit to the audience in the holder for CDs 6-11. These are, of course, shots capturing a split moment in time while Elvis is in motion, but why spotlight such awkward photos when better ones are available elsewhere in this very same set?

I must remind you that I did not set out to write a review when I began this post a week ago. I, therefore, have gone about this in a different manner than if I planned it out in a logical fashion. So, I have covered thus far mixing and packaging, but what I have mostly left out to this point is the star of the show, Elvis Presley.

When it comes to the Elvis aspects of Elvis Live 1969, I must admit to a small degree of disappointment. I have enthusiastically reviewed a number of previous releases of individual concerts from this engagement in the past, so I was surprised at this reaction.

Compared to That’s The Way It Is: Deluxe Edition, which similarly compiles 6 of his shows from his 3rd engagement at the same Vegas hotel the following summer, Elvis Live 1969 feels like a slight let-down.

While Summer 1969 wins out in head-to-head comparisons of the same songs in just about every case (“Words” and “I Can’t Stop Loving You” being the only two exceptions that come immediately to mind), the overall Summer 1970 shows are superior, if that makes any sense, at least during the filming of That’s The Way It Is, with better/more varied setlists and a more polished performer. In both seasons, Elvis is at the very top of his game, to be clear, but Summer 1970 is more entertaining than Summer 1969. How blessed we are, as fans, to have his two best concert series so well documented.

Next week, we’ll dive into more of the Elvis details as we continue and possibly conclude our look at Elvis Live 1969.

Blessings,
TY

[Read Part 3]

“He holds in his hands the depths of the earth and the mightiest mountains. The sea belongs to him, for he made it. His hands formed the dry land, too.”
Psalm 95:4-5

A Squirrel Loose at the Big, Freaky International Hotel (Part 1)

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“Welcome to the big, freaky International Hotel, with these little, weirdo dolls on the walls and these little funky angels on the ceiling. You ain’t seen nothing until you’ve seen a funky angel, boy. I tell you for sure.”
–Elvis Presley, 1969, on the ornate design of the hotel’s concert showroom

Sony Legacy last year released Elvis Live 1969, a boxed set containing all 11 concerts RCA recorded during Elvis Presley’s August 1969 engagement at the International Hotel in Las Vegas, Nevada.

The concert series, which spanned 57 shows from July 31 to August 28, represented the singer’s first appearance on a public stage in nearly 9 years – though he had performed 4 shows in front of small audiences at NBC’s studio in Burbank, California, as part of taping his ELVIS television special the previous summer.

RCA cherry-picked 12 of the strongest performances from 3 of the 1969 shows to form the Elvis In Person portion of the From Memphis To Vegas/From Vegas To Memphis double album, released in November 1969. A year later, RCA re-released Elvis In Person as a stand-alone album with the same content.

As for the rest of the performances, they amazingly remained in the vault until after Elvis’ death. While RCA released several individual songs over the years, including a compilation disc on 1991’s Collectors Gold boxed set, a complete 1969 show did not officially surface until 2001’s Live In Las Vegas boxed set.

By the time of Elvis Live 1969 last year, however, 7 of the 11 shows had already been released in their entireties on CD, with a good portion of songs from 3 of the 4 remaining shows having been released as well – many of them on Sony’s Follow That Dream (FTD) collectors label for Elvis fans.

Elvis Live 1969 stands out among the previous releases because it gathers all of the recordings in one place for the first time, with homogeneous sound quality. The recordings capture the August 21-26 portion of the engagement.

Sony Legacy’s ELVIS LIVE 1969 boxed set (2019, from TY’s collection)

Mixed by Matt Ross-Spang in what was apparently a marathon session, Elvis Live 1969 features a “slapback” echo effect mimicking the sound of Elvis’ first recordings in 1954 & 1955 at Sun Studio in Memphis. Ross-Spang had applied the same effect to alternate takes on 2016’s Way Down in the Jungle Room, an overview of Elvis’ last formal recordings in 1976 at Graceland.

As it was not representative of the original intent in 1976 or 1969, some fans have been quite critical of Ross-Spang’s slapback effect. As for me, I don’t mind it at all. It breathed some life into the 1976 studio recordings and brought Elvis’ music full-circle, in a sense, with an homage to the Sun sound. Though less effective on the 1969 live recordings, it’s not too distracting. On a few songs, such as “Mystery Train,” which of course originated in the Sun era anyway, the effect can actually be phenomenal.

Where I differ from Ross-Spang on Elvis Live 1969 is on some of his mixing choices, especially as far as which instruments are prominent. For instance, horns overwhelm a portion of James Burton’s lead guitar solo in the middle of the “Blue Suede Shoes” opener on all 11 shows. The horns weren’t even audible at all during Burton’s solo on the original Elvis In Person album and most of the subsequent revisits of this material.

The horns distracting from the lead guitar vaguely reminds me of Elvis’ February 11, 1956, appearance on Stage Show (CBS), the Jackie Gleason-produced television series hosted by Tommy and Jimmy Dorsey. In his third of six appearances on the program, Elvis debuts “Heartbreak Hotel” for the national TV audience. At the point where Scotty Moore would normally rip into his now classic electric guitar solo, a trumpeter improvises a jazz-inspired solo instead. While I enjoy jazz, it did not work in the context of this rock ‘n’ roll song. Fortunately, Moore is able to let loose in performances of “Heartbreak Hotel” on two subsequent shows. The 1969 “Blue Suede Shoes” is thankfully not affected to nearly this extent, though, for Burton is at least playing his solo!

Another example is that Larry Muhoberac’s piano is mixed far too loudly on certain shows, especially the August 26 Midnight Show, the last 1969 concert captured. Was Ross-Spang running out of time or is this truly how he felt the show should sound? “Mystery Train/Tiger Man,” which should be a showcase for the guitar and drums, suffers greatly from the distracting and overbearing piano in this particular show.

The August 25 Dinner Show and August 26 Dinner Show versions of “Mystery Train/Tiger Man” are similarly impacted by too much piano in the mix. Five of the remaining shows that include this medley fortunately keep the piano at low or moderate volumes, while the August 25 Midnight Show version, which was the performance used as the master on Elvis In Person, actually strikes a great balance – having the piano quite present but at an appropriate level.

Of course, it is all a matter of taste. For an Elvis live show, I want the lead guitar (Burton), Elvis guitar (when applicable), drums (Ronnie Tutt), and bass (Jerry Scheff) prominent in the mix among the instruments, generally in that order of priority, but certainly varying to some extent per song.

The rock ‘n’ roll numbers, at least, should heavily feature guitar, drums, and bass. That is the core of rock ‘n’ roll, Elvis style. The piano, other guitars, and orchestra should be present as needed, but not so much as to overwhelm that core. The piano is far less annoying on a slow song like “Love Me Tender,” for instance, where it better suits being prominent in the mix.

To be clear, the mixing on the majority of these shows is great. For example, “Mystery Train/Tiger Man” is mixed to perfection on the August 22 Midnight Show and is of course buoyed by a committed and powerful vocal performance by Elvis, as with many of the songs in this boxed set. This version of “Mystery Train” I can’t help but crank up every single time it comes on, much as I do with the 1955 Sun studio master.

Ross-Spang also tends to favor the Sweet Inspirations over the Imperials, as far as the background vocalists – an approach I heartily support. Millie Kirkham notwithstanding, Elvis sounds better with female voices behind him instead of males, and I love the Gospel-infused quality of the Sweet Inspirations. I should note that I intend no disrespect to any of the musicians and singers involved, all of whom are very talented. I am just talking about how I best feel the music when it comes to Elvis.

Before I get too far off track here, I think that covers it for the technical aspects of the set. I actually wasn’t even intending for this to become a review per se, but I just go where the writing leads me.

Next week, we’ll continue our look at Elvis Live 1969 and, possibly, get to the actual reason I started this post.

Blessings,
TY

[Read Part 2]

“Speak up for those who cannot speak for themselves; ensure justice for those being crushed. Yes, speak up for the poor and helpless, and see that they get justice.”
Proverb 31:8-9

Back on the Track: The Mystery Train Runs Again

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Elvis Presley plays electric guitar for fans during taping of 1968’s ELVIS special (NBC)

Greetings Elvis fans & other travelers,

Welcome to The Mystery Train. Please find your seats quickly and secure all loose articles.

When I parked The Mystery Train six years ago and walked away, I wasn’t sure if I’d ever return. While I remained a fan of Elvis Presley, I was burned out on writing about him. Other things affected me as well.

Since then, just about every facet of my life has changed. Most notably I accepted Jesus Christ, and life began again for me. In many ways, I became a new creation. I had heard such stories, but never really believed them.

One of the few constants through the ongoing changes has been Elvis headlining the soundtrack of my life. I have discovered a lot of new (to me) music to love by other artists, but Elvis remains in that grand mix, continuing to lead the pack with his incredible gift.

After much prayer, I was recently led to write more and fire up The Mystery Train again. The primary focus will be on Elvis as an entertainer, meaning his music (including television appearances) and his movies. I will offer my thoughts and opinions on related topics, old and new, often with a personal perspective. It will be interesting to see how my new outlook on life affects my views. As before, I’ll definitely be looking for you to chime in as well. While there’ll be an occasional bonus post, my goal is to maintain a weekly cadence this time around.

I have been an Elvis fan for as long as I can remember. I am a second generation fan, and Elvis passed away before I could experience him live in concert. His death when I was 2-years-old is actually one of my earliest memories.

I can find something to enjoy in most aspects of his career, though my favorite span is 1966-1970 if pinned down. There is no doubt that his influential peak was 1954-1958, and those years represent some of his finest work as well. I play almost all of it, though, and I love much of it. There is a stretch from 1964 to 1965 that I find tough to slog through. I also tend to avoid his 1976 concerts. Though I will call things as I see them, I generally prefer to bring a positive approach, as there is certainly enough negativity already in this world.

Speaking of the world, it has almost completely changed as well since The Mystery Train last came ’round the bend. The most stunning of those changes have occurred this year, with the COVID-19 crisis that continues to disrupt everything and everyone. When will we return to normal, and what will “normal” look like once we get there?

Dramatic social movements are also underway here in the United States. Will the current generation finally be the ones to solve the systemic problems that have plagued this nation since its very inception?

Friends, I pray for your health and well-being during this time and going forward. May we all be the change that is needed.

All aboard! This train is leaving the railway station once more. Please keep your arms and legs inside the vehicle at all times. Hold on tight, and enjoy your ride.

Your conductor,
TY

“Anyone who belongs to Christ has become a new person. The old life is gone; a new life has begun!”
from 2 Corinthians 5:17

A Quick Look at ELVIS PRESLEY: THE SEARCHER Soundtrack [Pastimescapes blog]

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ELVIS: THE GREAT PERFORMANCES (1990) and ELVIS PRESLEY: THE SEARCHER (2018) soundtracks (Front)

ELVIS: THE GREAT PERFORMANCES (1990) and ELVIS PRESLEY: THE SEARCHER (2018) soundtracks (Front)

Just a couple of shots of the beautifully packaged soundtrack to the upcoming HBO documentary Elvis Presley: The Searcher. This is the 3-CD version. 1-CD and vinyl versions are also available. The soundtrack hit stores yesterday.

I threw a standard-sized CD case in there for size comparison (The Great Performances).

ELVIS: THE GREAT PERFORMANCES (1990) and ELVIS PRESLEY: THE SEARCHER (2018) soundtracks (Back)

ELVIS: THE GREAT PERFORMANCES (1990) and ELVIS PRESLEY: THE SEARCHER (2018) soundtracks (Back)

I’m not opening this until after I watch the documentary, so this is all I can really say about the soundtrack for now. Both parts of Elvis Presley: The Searcher premiere Saturday, April 14.

See below for the documentary’s trailer:

Vinyl Elvis: ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (1972) [Pastimescapes blog]

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ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

Elvis Sings Hits From His Movies, Volume 1
Label: RCA Camden [Reissue: Pickwick]
Catalog Number: CAS-2567
Recorded: 1962-1967 | Hollywood, CA; Nashville, TN
Released: 1972 [Reissue: 1975/1980]

A glance by an unknowing fan at the front cover of Elvis Presley’s Elvis Sings Hits From His Movies, Volume 1 (above), might lead her or him to believe that the album contains Elvis singing live versions of various movie songs in the early 1970s. While that might have actually made for an intriguing concept, the reality is this album, first available on RCA’s Camden budget label in 1972, simply re-releases a number of songs as recorded for or during the time of his mid-1960s movies. As with the original soundtracks of that era, the result is a mixed bag – ranging from stellar to awful.

Side 1 of ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

Side 1 of ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

Side 1

  1. Down By The Riverside and When The Saints Go Marching In (1965)
    A pleasant-enough medley, from Frankie And Johnny, opens Side 1. The Dixieland-infused “Down By The Riverside/When The Saints Go Marching In” is fun, but suffers from a chintzy arrangement typical of too many Elvis movie tunes.
  2. They Remind Me Too Much Of You (1962)
    From It Happened At The World’s Fair, “They Remind Me Too Much Of You” offers a quiet mood and a simple, effective arrangement. A highlight.
  3. Confidence (1967)
    When I first heard “Confidence,” as a teen, I declared it as Elvis’ worst song ever. I can’t say my opinion of this song from Clambake has really evolved since then. If you have never heard this one, you are lucky.
  4. Frankie And Johnny (1965)
    Another overblown arrangement detracts from an otherwise nice rendition by Elvis of the title tune of Frankie And Johnny.
  5. Guitar Man (1967)
    What’s this? A top-notch song to close out Side 1? Unbelievable. Though noted as from the movie Clambake on the label (it neither appeared in the film nor was recorded for it), “Guitar Man” is actually a bonus song, as correctly specified on the back cover. The confusion comes in because it was also a bonus song on the Clambake album. Jerry Reed, writer and original recorder of the song, features on lead guitar. Elvis would return to “Guitar Man” a year later for his 1968 television special, ELVIS.

Side 2

Side 2 of ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

Side 2 of ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

  1. Long Legged Girl (With The Short Dress On) (1966)
    From Double Trouble, “Long Legged Girl” ably represents another staple of the Elvis movie tune catalog, the overblown, pseudo rock & roll song. Enjoyable, but forgettable.
  2. You Don’t Know Me (1967)
    And then, out of nowhere, another of Elvis’ best recordings ever – “You Don’t Know Me.” The lyrics of this beautiful song, a different and inferior recording and arrangement of which appeared in the movie Clambake, speak to the sorrow of opportunity lost. I first noticed this song by Ray Charles, in the 1993 movie Groundhog Day – although I must have heard the Elvis version before via this record and missed its significance, probably because an album like this one is so easy to overlook. After loving the Charles version in the movie, I was thrilled when I came across the Elvis version on From Nashville To Memphis just a few months later. It is my completely unbiased opinion as a lifelong Elvis fan that the Elvis version is superior, of course.
  3. How Would You Like To Be (1962)
    What is the price for listening to “You Don’t Know Me”? That’s right, the wretched “How Would You Like To Be.” Almost as bad as “Confidence,” this one is from It Happened At The World’s Fair, and it is the stuff of which nightmares are made.
  4. Big Boss Man (1967)
    Though not quite up to par with “Guitar Man” or “You Don’t Know Me,” “Big Boss Man” sounds like a comparative masterpiece after “How Would You Like To Be.” Reed again features on guitar. Elvis later re-recorded this one for the ELVIS special as well.
  5. Old MacDonald (1966)
    I know, I know, many fans consider this one of Elvis’ worst songs and a nadir in his recording career. I’ve always found it fun, and that opinion has not evolved over the years, either. It remains a guilty pleasure.

Though in fine condition, with no crackles, pops, or skips, the overall sound of Elvis Sings Hits From His Movies, Volume 1 is disappointingly dull. It is simply not as vibrant as most other vintage records I have played in recent years.

Inner sleeve from ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1980) [Photo by the author]

Inner sleeve from ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1980) [Photo by the author]

There is some truth in advertising in the album’s back cover (below), which at least features covers of the original 1960s albums from which these recordings were drawn – despite another potentially misleading 1970s live shot.

Back cover of ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

Back cover of ELVIS SINGS HITS FROM HIS MOVIES, VOLUME 1 (Pickwick, 1975/1980) [Photo by the author]

Misleading covers were typical for the Camden/Pickwick Elvis releases, though. This one appeared on store shelves around the same time as the all-new Elvis As Recorded At Madison Square Garden – in which, ironically, Elvis really did sing live versions of a few of his movie hits (“Can’t Help Falling In Love,” “Love Me Tender,” and “Teddy Bear”) as well as other songs from throughout his career to that point.

As for the muffled sound, if it is a result of the mastering, the material, the budget nature of the label, my setup, my ears, or some other technical factor is beyond my current knowledge. Ultimately, it makes little difference.

Though there is some enjoyment to be found here (it is Elvis, after all), Elvis Sings Hits From His Movies, Volume 1 is not a record I would return to very often even were it in excellent sound quality. The Camden/Pickwick records served their purpose, and I freely admit that Elvis fans, especially this one, are spoiled these days, but even I do not have enough nostalgia to propel this record into something it is not.

Thank you to my brother for giving me the Elvis records that inspired this series of posts.

Searching for Elvis in 2018 [Pastimescapes blog]

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Elvis Presley in 1968

Elvis Presley in 1968

Elvis Presley would have turned 83 today. Elvis is gone, but what is ahead for his fans in 2018?

A new HBO presentation, Elvis Presley: The Searcher, will air in the spring. This three-hour documentary will span the majority of Elvis’ career, ending with the 1976 Graceland sessions only months before his death.

The Searcher has the potential to reach a broader audience than other Elvis projects in recent years. Sony will be releasing a soundtrack CD in conjunction with the documentary. Presumably, this will contain many of the typical greatest hits, but I hope it contains a few hidden gems as well.

It has been over 15 years since the smashing success of ELV1S: 30 #1 Hits, which reigned at the top of the Billboard charts in October 2002 – propelled by JXL’s fantastic remix of “A Little Less Conversation.” Can the new HBO documentary fuel similar success?

For 2018, there are a couple of other Elvis products I hope hit the market. ELVIS: ’68 Comeback Special – Deluxe Edition deserves a Blu-ray release in the original program’s 50th anniversary year, as does Elvis: Aloha From Hawaii – Deluxe Edition in the original’s 45th year.

Since both specials were unfortunately shot on video, there is not much to be gained in terms of picture quality on Blu-ray. However, audio quality could be upgraded and minor production glitches on the DVD versions could be resolved.

What Elvis releases are you hoping for in 2018?

Before I sign off, I want to point you over to Wellsy’s SoulRide blog. A series called “This is the Story: The Best Recordings of Elvis Presley” has the following Elvis birthday week coverage:

Wellsy has compiled some great lists here, but be sure to check out that last Top Ten link in particular for an insightful look at different approaches to being an Elvis fan.

While I have experienced many of the same characteristics in some first generation Elvis fans as Wellsy mentions, one thing I always keep in mind is these first generation fans made Elvis and, thus, gave the world to him, and him to the world. Without them, fans from subsequent generations like Wellsy or me would not have this vast catalog of music to explore and enjoy.

Royal Philharmonic Orchestra Makes Me Wonder If I Really Need a New Elvis CHRISTMAS Album [Pastimescapes blog]

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If there is one constant at Christmastime, it is that there will be a “new” Elvis Christmas album available for purchase. These are normally just reshuffled sequences of selections from the two dozen or so seasonal songs Elvis Presley first released in 1957, 1966, 1968, and 1971. Only occasionally has there been any creativity in these posthumous releases–such as 1982’s Memories of Christmas or 2008’s Elvis Presley Christmas Duets albums.

While Christmas Duets was mostly a “miss,” at least it was an attempt to try something new. Now, in 2017, RCA/Sony/Legacy attempts again to freshen up the classics with Christmas. The album features the Royal Philharmonic Orchestra (RPO) providing new backing music for Elvis’ vocals. How does this latest attempt fare?

As I enjoyed both of the previous Elvis/RPO offerings (2015’s If I Can Dream and 2016’s The Wonder of You), I mostly knew what to expect going in. One aspect I found surprising this time, though, is that I immediately loved this album. With the two former albums, I had to play them through a couple of times to really “get” them. You could say I learned to love the If I Can Dream and The Wonder of You Elvis/RPO albums, while it was love at first listen with Christmas.

The Deluxe Edition of Christmas includes the Elvis vocals from all 12 (8 Christmas and 4 gospel) songs on 1957’s Elvis’ Christmas Album. It also contains Elvis performances of five Christmas selections originally part of 1971’s Elvis Sings the Wonderful World of Christmas. I recommend the Deluxe Edition (red cover) because it contains four more tracks than the standard version (tan cover), yet is at a similar price point.

I must admit, I was skeptical of the track listing before actually playing the album. Surely, the RPO would not mix well with bluesy classics like “Santa Claus Is Back In Town” and “Merry Christmas Baby.” While the originals are stone-cold classics, these new interpretations also manage to work in their own right.

What really makes this album stand out, though, are the Elvis vocals. They are so crystal clear. It is frustrating that they do not sound this way more often on standard releases, without newly recorded backgrounds, but I can only assume there is some technological reason that prevents this.

Though strong albums, If I Can Dream and The Wonder of You both had a few tracks where the RPO concept just did not work very well. Not so here. Every track on Christmas works. This is the best of the Elvis/RPO trilogy.

While I consider this a near-perfect album, given the concept, there is, unfortunately, a missed opportunity. “I’ll Be Home On Christmas Day,” which ranks second only to “Santa Claus Is Back In Town” as the best Elvis Christmas song of all, is missing in action here. Unless they plan an EP for some future Christmas, there are really not enough Elvis Christmas songs remaining to warrant a second full-length album, so they are probably not holding it back for that reason. I am not sure what happened, but perhaps an orchestral arrangement for the song simply did not work.

Unlike Christmas Duets, which had a pedestrian approach to many tracks, the arrangements here, by Robin Smith and Sally Herbert, offer much interest. I love the fuller sound. Also unlike Christmas Duets, I suspect this album will become a permanent fixture in my Christmas music rotation in the years ahead – alongside the originals, of course.

Do I really need a new Elvis Christmas album? It turns out the answer is, yes. This year, more than ever.

Christmas is a beautiful album.

Overall Rating: 10 out of 10.

CHRISTMAS (2017) [Deluxe Edition]

CHRISTMAS (2017) [Deluxe Edition]

Tracks

Christmas
Elvis Presley with the Royal Philharmonic Orchestra

  1. Santa Claus Is Back In Town [Elvis portions recorded 1957, Hollywood]
  2. White Christmas [Elvis portions recorded 1957, Hollywood]
  3. Here Comes Santa Claus [Elvis portions recorded 1957, Hollywood]
  4. Merry Christmas Baby [Elvis portions recorded 1971, Nashville]
  5. Blue Christmas [Elvis portions recorded 1957, Hollywood]
  6. I’ll Be Home For Christmas [Elvis portions recorded 1957, Hollywood]
  7. Winter Wonderland [Elvis portions recorded 1971, Nashville]
  8. Santa Bring My Baby Back [Elvis portions recorded 1957, Hollywood]
  9. Silver Bells [Elvis portions recorded 1971, Nashville]
  10. O Little Town Of Bethlehem [Elvis portions recorded 1957, Hollywood]
  11. O Come All Ye Faithful [Elvis portions recorded 1971, Nashville]
  12. The First Noel [Elvis portions recorded 1971, Nashville]
  13. Silent Night [Elvis portions recorded 1957, Hollywood]
  14. Peace In The Valley (Deluxe Edition only) [Elvis portions recorded 1957, Hollywood]
  15. I Believe (Deluxe Edition only) [Elvis portions recorded 1957, Hollywood]
  16. Take My Hand, Precious Lord (Deluxe Edition only) [Elvis portions recorded 1957, Hollywood]
  17. It Is No Secret (Deluxe Edition only) [Elvis portions recorded 1957, Hollywood]

The Royal Philharmonic Orchestra recorded 2017 at Abbey Road Studio 2, London.