1970

REVIEW: Stage Rehearsal CD (FTD)

/ TY

Stage Rehearsal (FTD CD)

August 10, 1970. The MGM camera crew has been following Elvis around for almost a month now. This afternoon, it’s time for one final rehearsal before the opening show later tonight. No camera crew allowed this time, but RCA is rolling tape in preparation for the concert recordings. Follow That Dream Records’ latest release, Stage Rehearsal, takes us behind the scenes of this event.

One of the things I’d been wondering about this release was how FTD would deal with the fact that most of the songs from this rehearsal were incomplete, due to having a “late start.” The first several seconds of these songs were not recorded. After all, RCA never intended this rehearsal for release.

The way I saw it, FTD had at least three options:

1.) Leave the recordings alone and let them start in progress — a bit jarring, but historically accurate
2.) Fade the songs up slightly as they start in progress — a little less jarring
3.) Repair the beginnings using recordings from other summer 1970 rehearsals — requires more work and is not historically accurate

I usually try to avoid reading the opinions of others when I’m planning to review something. That way, my expectations and reactions do not get swayed one way or the other in advance. Sometimes, this is impossible with FTD releases because I am in the United States, and we tend to receive them two or three weeks after most of the rest of the world.

In the case of Stage Rehearsal, I came across a comment revealing that FTD had repaired the beginnings of the songs by using live versions. My initial reaction was shock and dismay. Why would they make such a strange choice?

Once I had the actual CD in hand last week, though, and played it for the first time, it became obvious why FTD chose this path.

The sound quality of the August 10, 1970, stage rehearsal contained on this CD is comparable to the concert recordings that began later that night and continued for the next few days. To my knowledge, there are no other That’s The Way It Is rehearsals that have this level of sound quality. Using subpar sounding rehearsals as lead-ins would have probably been too obvious as splices. Instead, FTD elected to go with the live recordings to more closely match the sound of this rehearsal.

My personal preference would have been that FTD just release the rehearsal as-is, with truncated introductions. This is supposedly a collectors label, after all.

However, I can understand and appreciate their desire to make this a quality listening experience. After all, we were Elvis listeners prior to becoming Elvis historians! In this case, entertainment value won out over historic context. Considering how much I otherwise enjoy this CD, I can forgive them that.

One thing different about this rehearsal compared to some of the others I’ve heard over the years is that it does not feature Elvis really working on the songs. It feels more like a live show in that regard. This may be because this is literally hours before the opening show (captured on One Night In Vegas, a must-have FTD) and most of the kinks have already been worked out, or it could be because the recording was obviously turned off between songs. Two of the songs are repeated, so that’s evidence they were doing some work.

The stage microphones experience feedback a number of times, foreshadowing what would happen later that night during the actual concert. I wonder why this problem was not resolved prior to the show, since it was evident in the rehearsal?

There are many loose, fun moments but, in the end, the real appeal of the 1970 portion is the sound quality. None of the versions are revelations, though “version 1” of both “You Don’t Have To Say You Love Me” and “You’ve Lost That Lovin’ Feelin'” are stellar. Oddly enough, “version 2” of both of these songs splices the exact same live introductions as used on version 1. I suppose the tempo matched better than other alternatives, but this really shows why repairing the audio in this fashion was not the way to go.

A few years ago, Warner Brothers released “The Richard Donner Cut” of Superman II, showing what that director’s version of the 1980 movie may have been like had he not been replaced midway through production. To augment the available footage, screen tests of the main actors were used. This footage looks totally different compared to the rest of the film. Stage Rehearsal‘s “what if” splices between live and rehearsal material reminds me of this.

The 1972 and 1973 bonus songs that comprise the rest of this CD were recorded on a portable tape recorder. Therefore the sound quality is akin to “When The Snow Is On The Roses” and other recordings of that nature. These are definitely listenable, though they suffer a bit in following up the near-pristine-sounding 16-track recordings from 1970. I suggest playing the bonus songs first to avoid this effect.

Finally, here, we get some rehearsal work, which is pretty much lacking from the 1970 portions of this CD.

Any Day Now: By 1972, it seemed that Elvis had all but abandoned the songs he recorded at American Sound Studios only three years earlier, save the obligatory “Suspicious Minds.” Apparently not, though, for here’s Elvis sounding awesome on “Any Day Now,” leaving me to wonder why this apparently did not become part of the show.

True Love Travels On A Gravel Road: This is a good version, but seems less concert-ready than “Any Day Now.” It could’ve worked for occasional use as something different. Who knows, maybe he did use it that way.

Portrait Of My Love: Elvis does a brief, unidentified blues number before launching into “Portrait of My Love” on a whim. This is not so much a “rehearsal,” then, as it is an off-the-cuff song. It’s pretty and probably would’ve been a decent number if further developed. Wonderful to hear a “new” Elvis song, I might add.

I’m Leavin’ It All Up To You: Another “new” Elvis song. This one sounds pretty basic, but I believe that is because Elvis severely shortened it.

The funny thing is, I bought this CD because of the 1970 material, but it is the 1972 and 1973 material that stands out.

Ultimately, Stage Rehearsal is a well-intentioned release that I recommend with reservations. It offers 1970 rehearsals in terrific sound quality, but with unfortunate splicing decisions. It also offers some 1972 and 1973 rarities, but in subpar sound quality. Be aware of what you’re buying so that you won’t be disappointed. Then, just crank it up and enjoy. That’s what Elvis is supposed to be all about anyway.

That’s The Way It Is: Rehearsals – The Official Audio Releases

/ TY

My favorite Elvis event is 1970’s That’s The Way It Is, with 1968’s ELVIS (comeback special) a close second. That’s why I’m looking forward to the new Stage Rehearsal CD, coming later this month from Follow That Dream Records.

The core of Stage Rehearsal will be songs recorded during Elvis’ August 10, 1970, final rehearsal before the opening show later that night (the concert captured on FTD’s One Night In Vegas). MGM did not film this particular rehearsal for the movie, but I still consider it part of That’s The Way It Is.

To this point, official releases of That’s The Way It Is rehearsals have been scattered on various titles. Below is a listing of what we have so far.

This is only the tip of the iceberg when it comes to the audio recordings made for That’s The Way It Is rehearsals. I hope Sony and FTD release the remaining That’s The Way It Is material over the next several years as we approach the film’s 50th anniversary in 2020.

Elvis Aron Presley (1980)
(August 10)
You’ve Lost That Lovin’ Feelin’
Sweet Caroline

Walk A Mile In My Shoes (1995)
Alla En El Rancho Grande (July 15)
Froggy Went A-Courtin’ (July 29)
Stranger In My Own Home Town (July 24)

A Life In Music (1997)
(July 29)
I Washed My Hands In Muddy Water
I Was The One
The Cattle Call
Baby, Let’s Play House
Don’t
Money Honey
What’d I Say

That’s The Way It Is: Special Edition (2000)
Peter Gunn Theme (July 15)
That’s All Right (July 15)
Cottonfields (July 15)
Yesterday (July 15)
I Can’t Stop Loving You (July 15)
Such A Night (July 29)
It’s Now Or Never (July 29)
A Fool Such As I (July 29)
Little Sister/Get Back (July 29)
I Washed My Hands In Muddy Water (July 24)
Johnny B. Goode (July 24)
Mary In The Morning (July 24)
The Wonder Of You (July 24)
Santa Claus Is Back In Town (August 4)
Farther Along (August 4)
Oh Happy Day (August 7)

One Night In Vegas (2000)
(August 4)
Words
The Cattle Call/A Yodel
Twenty Days And Twenty Nights
You Don’t Have To Say You Love Me
Bridge Over Troubled Water

The Way It Was (2001)
Words (July 14)
The Next Step Is Love (July 14)
Ghost Riders In The Sky (July 15)
Love Me (July 15)
That’s All Right (July 24)
I Got A Woman (July 24)
I’ve Lost You (July 24)
I Can’t Stop Loving You (July 24)
Just Pretend (July 24)
Words (July 29)
I Just Can’t Help Believin’ (July 29)
Something (August 4)
Polk Salad Annie (August 7)
Mary In The Morning (August 7)

One thing I didn’t realize until compiling this list is that it’s been a decade since Sony or FTD have released any new That’s The Way It Is rehearsal material. Time sure does fly.

* * *

Below is the track listing for Stage Rehearsal, which will add to the That’s The Way It Is legacy.

August 10, 1970
01 You Don’t Have To Say You Love Me
02 I Just Can’t Help Believin’
03 Something
04 Sweet Caroline
05 Polk Salad Annie
06 You’ve Lost That Lovin’ Feelin’
07 I’ve Lost You
08 Bridge Over Troubled Water
09 Patch It Up
10 Can’t Help Falling In Love
11 You Don’t Have To Say You Love Me
12 You’ve Lost That Lovin’ Feelin’
Bonus Tracks
13 Any Day Now (August 2, 1972)
14 True Love Travels On A Gravel Road (August 3, 1972)
15 The First Time Ever I Saw Your Face (August 3, 1972)
16 Fever (August 3, 1972)
17 Portrait Of My Love (August 3, 1972)
18 I’m Leavin’ It All Up To You (January 25, 1973)

* * *

Primary Research Sources

REVIEW: Boston Garden CD (FTD)

/ TY

Elvis As Recorded At Boston Garden ‘71 CD (Follow That Dream Records, 2010)

Yesterday’s dream

You have been an Elvis fan for 15 years, through the ups and downs since 1956. When the Beatles came to Boston seven years ago, you stayed home. Now, finally, the one you were really waiting for is here.

You forget about the borrowed camera you are clutching as Elvis appears, as if out of magic.

Fans erupt in screams. You do not even realize that you are yelling, too, as Elvis grabs the microphone.

“Well, that’s all right little mama, that’s all right with you. That’s all right little mama, just any way you do,” he sings. Are you dreaming? Is this really happening?

By the middle of the show, you suddenly remember the camera. You only make it a little closer before the police and security guards push you back. You have never used this camera before, but you snap away, hoping it is close enough to preserve this moment, this feeling, forever.

Then, all too soon, it comes to an end.

Before you know it, Elvis is gone, and 39 years have passed by.

You would have never believed back then that photos you snapped in 1971 would appear in an official release of the Elvis concert you witnessed that day at Boston Garden. You even write the liner notes, filling them with your memories of this unforgettable event.

Like the idle daydream of an Elvis fan, it sounds too good to be true. Yet, this is exactly what happened for Cathi Avenell, who supplied photographs and liner notes for FTD’s latest release, Elvis As Recorded At Boston Garden ’71.

Bridging the gap

While the best concerts of the 1969-1977 Elvis era undoubtedly took place in the hot Vegas summers of 1969 and 1970, this November 1971 show stands out among the others. For this time period, it represents the earliest recording yet released of Elvis on the road in the 1970s—rather than in a Las Vegas showroom. It also serves to bridge the gap between his 1970 and 1972 live recordings.

Though this show only precedes his 1972 Vegas engagement by three months, the difference is sometimes striking. This late 1971 Elvis still has some of the 1969 and 1970 fire in him, as opposed to the subdued performances of the early 1972 engagement.

This late 1971 Elvis interacts with the crowd and still apparently enjoys himself, while the early 1972 Elvis seems to do little of either.

If anything, the Boston show often feels like a bizarre crossbreed of August 1970’s That’s The Way It Is concerts and June 1972’s Madison Square Garden shows.

Quick tour of the tracks

Track 01 “Also Sprach Zarathustra”/Track 02 “That’s All Right”: Elvis experimented with various show openers over the years, but the ultimate was “Also Sprach Zarathustra” (theme from 2001: A Space Odyssey) segueing into “That’s All Right,” his first record. Elvis really rocks “That’s All Right” here, the first sign that this will be a great show.

Track 03 “I Got A Woman/Amen”: What sometimes feels like a throwaway version of “I Got A Woman” early on eventually tightens up. “Amen” here is relatively short, not the endless repeats of later years.

Track 04 “Proud Mary”: Though it sometimes has more energy, this sounds like Elvis’ 1972 versions.

Track 05 “You Don’t Have To Say You Love Me”: I have still yet to hear a worthwhile version after 1970.

Track 06 “You’ve Lost That Lovin’ Feelin’”: Disappointing. Elvis sounds distracted throughout.

Track 07 “Polk Salad Annie”: Here is a perfect example of why As Recorded At Boston Garden ’71 is so cool, a hybrid between the 1970 and 1972 variations of “Polk Salad Annie.” While the overall vibe matches 1972, the talking portion is still present at the beginning. Elvis jokes his way through the “little story” though, perhaps an indicator of boredom that resulted in its eventual removal. After the jokes, this is a strong version of the song.

Track 08 Instrumental: You’ll recognize this one as “Comin’ Home Baby,” the instrumental often played while Elvis introduced his band and other stage performers. No introductions on this track, though, making it a rare stand-alone version of the song.

Track 09 “Love Me”: Already sounding like 1972 and beyond throwaway versions, this “Love Me” lacks the spark of the 1970 versions.

Track 10 “Heartbreak Hotel”: Speaking of throwaways, one of the worst versions of this song I have heard by Elvis. I like the bluesy take on it he first introduced in 1969, but Elvis fools around too much on this one for my taste. Maybe it was a ‘You had to be there’ moment.

Track 11 “Blue Suede Shoes”: Rushed, 1972-style. Better than “Heartbreak Hotel,” at least.

Track 12 “One Night”: Right after he sings, “Just call my name. . .,” someone with an irritating voice yells out “ELVIS!” and spoils an otherwise great version, reminiscent of 1970.

Track 13 “Hound Dog”: The typical bluesy slow start into a fast rocking ending, 1972-style. I never cared for this arrangement.

Track 14 “How Great Thou Art” (incomplete): We get about two-thirds of the song here before an artificial fade. Hard to judge without the big ending, but it probably would have been a contender for best song on the album had the performance been intact.

Track 15 Introductions (incomplete): “Comin’ Home Baby” plays again as Elvis introduces the band (joined in progress).

Track 16 “I’m Leavin’”: A true highlight, the best live version released so far. This was only six months after he recorded the song in RCA’s Nashville studio.

Track 17 “Bridge Over Troubled Water”: A stunning performance, especially considering that it sounds average at the beginning. Do not miss this one, best track on As Recorded At Boston Garden ’71.

Track 18 “I Can’t Stop Loving You”: A tad slower, but otherwise sounds like a 1972 version. Enjoyable.

Track 19 “Love Me Tender”: Annoying that this becomes a throwaway with ad-libbed lyrics, because Elvis sounds in such good voice.

Track 20 “Suspicious Minds”: By far, the biggest disappointment of the album. Perhaps the worst live version I have heard, due to jokes and distractions. Arrangement is 1972-style.

Track 21 Elvis Talks: For the third time, “Comin’ Home Baby” plays. Elvis does his traditional request to turn the house lights up so that he can better see the audience. It is fun hearing Elvis thanking the crowd in a mellow kind of way as the music goes on behind him. It almost sounds like he is about to leave on the spot but instead he launches into. . . .

Track 22 “Funny How Time Slips Away”: Like “Polk Salad Annie,” this version is interesting as a previously missing evolutionary step for the song. The softened lyric “In time, it’s all gonn’ be okay” has already replaced the original “In time, you’re gonna pay,” but the finale is still “Ain’t it surprising how time slips away.” Probably the best post-1970 version.

Track 23 “Can’t Help Falling In Love”/Track 24 Closing Vamp: “Let’s take it home,” Elvis announces, then launches into a decent 1972-style version of “Can’t Help Falling In Love,” and the show is soon over.

Final verdict

Taken as a whole, Elvis As Recorded At Boston Garden ’71 is a strong release. Concerts probably should not be picked apart song-by-song as I have done here, as it is the overall experience that counts. Elvis more than delivers a fantastic show. This is one of many concerts where I find myself wishing that I could have somehow been there.

Sound quality is impressive, considering that it is a soundboard recording. I love how FTD tied in the album art with the Elvis As Recorded At Madison Square Garden album. The liner notes and photos by Avenell give this release a personal feel and warmth.

A must-have for fellow fans of the era.

REVIEW: Elvis Now CD Set (2010 FTD Edition)

/ TY

Elvis Now CD set (Follow That Dream Records, 2010)

Elvis Now: What’s in a name?

Apparently, we Elvis fans are not supposed to like Elvis Now. Even the new liner notes provided by Follow That Dream Records in this Classic Albums version of the release seem on the verge of being apologetic.

“With three older recordings, and precious few songs in the folk genre, neither the title of the album nor the original intent is of any importance anymore it seems,” the notes state in an entry about the album’s release in February 1972.

I think some people, including the unnamed author of FTD’s liner notes, get too hung up on the title. Three of the four Elvis releases in the seven months leading up to Elvis Now contained much older recordings, some dating all the way back to the 1950s.

Due to similar cover art featuring Elvis in concert in the early 1970s, the “Now” in Elvis Now simply distinguishes the album from the likes of C’Mon Everybody and I Got Lucky as containing current, post-Comeback Special material.

Additionally, “Elvis Now” was one of the marketing slogans used during his Vegas engagements. To complain about one song out of ten being three years old, and two others being nearly two years old, is to miss the point.

Compared to some of his other efforts at the time, Elvis Now is certainly a mellow album. The closest thing to a rocker is probably the gospel-infused “Put Your Hand In The Hand,” and that is a stretch.

In 1970, Elvis pointed out that he hated to be labeled a “strictly country” singer. The corollary to this is that he also should not be labeled as “strictly rock ‘n’ roll,” “strictly gospel,” or “strictly rhythm & blues.”

Elvis resisted such labels right from the start. “I don’t sound like nobody,” a much younger Elvis told Marion Keisker at the Memphis Recording Service in 1953.

You see, that is the real secret to the appeal of Elvis’ body of work as an artist. Those who judge his career based solely on various rock ‘n’ roll milestones do Elvis a disservice by overlooking his multi-faceted approach to music.

While rock ‘n’ roll mostly takes a back seat in Elvis Now, the album offers slices of some of the other kinds of music that he enjoyed creating. If you are willing to listen in new ways, the album can even be interpreted to include an emotional and thematic journey.

“I don’t want to be alone”

In “Sylvia,” love has been lost – although the hero-singer is in denial. (Side note: Elvis sings, “…here I am on the phone, wondering when she will call.” Uh, Elvis, maybe Sylvia was trying to call you all along but could not get through because you were on the phone!)

Bruce Springsteen once said that Elvis took away people’s loneliness, yet ended up so alone. You can feel this loneliness in the compelling “Help Me Make It Through The Night,” where the hero-singer begs to a lost love – maybe Sylvia, maybe someone before her – to remain by his side just one more night.

With apologies to Kris Kristofferson, had Elvis been a writer, “Help Me Make It Through The Night” sure sounds like a song he might have written to fight some of his own demons.

Though not as strong of a composition, “Until It’s Time For You To Go” shows the hero-singer later that night still wanting to hold on to this doomed romance for as long as possible. “I’m not a king, I’m just a man,” he intones, pleading for understanding.

In “We Can Make The Morning,” the hero-singer continues to fight the darkness, singing, “It’s a long, long lonely night, we can make the morning if we try.” This stunning performance is an often-overlooked gem.

When the couple finally makes it to a new day, “Early Morning Rain,” the album’s best song, reveals that it is not as bright as the hero-singer expected. It is the same as the day before, and he is still down. “I’m stuck here on the ground,” he sings, for as it always does, night will come again – and with it the loneliness.

“Take a sad song and make it better”

Finding no consolation with his lost love, the hero-singer now seeks another cure to his loneliness in “Put Your Hand In The Hand” and “Miracle Of The Rosary.” He places faith in God, seeking the same comfort in music as he sought in life.

Faith leads to hope in “Hey Jude” and the tides begin to change. Much underrated, Elvis recorded this entertaining jam only months after the original release of the Beatles classic. Yes, Elvis mixes up some of the lyrics, but that is all part of the fun. This is another highlight of the album.

The hero-singer realizes his hope by falling in love yet again in “Fools Rush In,” the weakest song here. The mood is vibrant yet cautionary: “When we met, I felt my life begin, so open up your heart and let this fool rush in.”

He has fallen for someone new, but we are left to wonder if she returns this love. Otherwise, this new interest may go the way of Sylvia and lead to yet another long, lonely night.

Were it not for the strength of the other songs on Elvis Country, “I Was Born About Ten Thousand Years Ago” could very well have ruined that album due to the senseless decision to edit it in between each tune. On Elvis Now, the complete song works much better – tying everything up.

“I Was Born About Ten Thousand Years Ago” is a song about mankind and the human experience. In the end, the human experience is what Elvis Now is about, too: loneliness, despair, faith, hope, and love. An exciting album? No. A worthwhile album? Very much so.

Outtakes

Unfortunately, there are not a lot of revelations this time around with the outtakes. The best of the outtakes are takes 7 and 15 of “Help Me Make It Through The Night” (tracks 9 and 17, respectively, on disc 2). Outtakes of “Fools Rush In” prove as mundane as the master version. The outtakes of “Early Morning Rain” are disappointing in their mediocrity – considering the brilliance of the master take.

Bonus Songs

While it’s always great to hear the top-notch songs “I’m Leavin’,” “It’s Only Love,” and “The First Time Ever I Saw Your Face,” the real stand-out among the bonus songs is the unedited master of the “Don’t Think Twice, It’s All Right” jam, clocking in at over nine minutes.

You are there as Elvis and the band take this Bob Dylan song through its paces. Like “Hey Jude,” he does not know all of the words – and, again, that is not the point here. This is Elvis making music with a joy that is noticeably absent from many of the other tracks on this release.

Though the same words are repeated over and over, the nine minutes goes by before you know it. I love this kind of thing, so I must have listened to it four or five times in a row. The edited version of this song (shortened to under three minutes) first appeared on 1973’s Elvis (“Fool”) album, so my hope is that the full-length version is presented on Elvis Now because the FTD upgrade of the Elvis album will have too many other outtakes to accommodate it.

Also of note are impromptu versions of the Beatles’ “Lady Madonna” and Dylan’s “I Shall Be Released,” both of which were first released on Walk A Mile In My Shoes. “Lady Madonna” is slightly longer here.

Final verdict

Perhaps the best part of FTD’s Elvis Now is that every song sounds better than it ever has before. If you love Elvis in the 1969 – 1971 era represented by this album and care about audio quality, you will be thrilled with these sound upgrades – particularly on the master takes. Kudos to FTD for much improvement in this area over the years.

Elvis Now is a different kind of listening experience than that of From Elvis In Memphis or That’s The Way It Is. While those two albums are monumental, their greatness should not take away from the understated achievement that Elvis Now represents.

Blu Dreams: How Michael Jackson’s This Is It could help Elvis fans [The Film Frontier blog]

/ TY

Many fellow Elvis fans seem to have tired of all of the recent comparisons with Michael Jackson. However, they should take notice of one Michael Jackson project. Filmed just days before Jackson’s death in June, This Is It opens in theaters and IMAX later this month.

Assembled from over a hundred hours of footage, the documentary captures rehearsals and other behind-the-scenes moments for Jackson’s concert engagement that ultimately was not to be. If This Is It turns out to be a big success, Jackson’s fans can expect to see even more of that footage in sequels or at least in an expanded version on Blu-ray with lots of bonus material.

Why should we Elvis fans care about this? Success for This Is It may well lead someone at Warner Home Video to finally wake up and remember that they are sitting on dozens of hours of valuable behind-the-scenes, rehearsal, and concert footage of another singer known as “The King.”

In 1970, MGM’s cameras filmed several rehearsals and concerts for his Elvis Summer Festival engagement at the International Hotel in Las Vegas. Released in November of that year, the resulting Elvis: That’s The Way It Is documentary was grand and captured Elvis in his prime–but left dozens of hours on the cutting room floor.

In 1972, MGM’s cameras rolled again, this time for Elvis On Tour, capturing rehearsals, behind-the-scenes, and concerts in March and April. The film went on to win a Golden Globe, the only Elvis movie so honored. Again, dozens of hours of footage were filmed but not used.

Since that time, we have seen a bit of these outtakes. In 1992, Warner released Elvis: The Lost Performances, an incredible one-hour VHS video that included outtakes from both films. In 2001, Warner released a new edit of That’s The Way It Is, containing so many outtakes and changes as to actually be a different film than the original. Though both were compelling, these projects were just the tip of the Elvis documentary iceberg.

Though both versions of That’s The Way It Is are available, Elvis On Tour and The Lost Performances never received DVD releases. Maybe we are unable to go back in time just yet, but Elvis fans should at least be able to experience these historic films and outtakes.

First off, the original versions of Elvis: That’s The Way It Is and Elvis On Tour should be fully restored in high definition and digital sound and released on Blu-ray (as well as DVD for those fans who have not yet upgraded), with top-notch bonus features.

Why stop there? Next, Warner should choose whichever That’s The Way It Is and Elvis On Tour concerts are most complete (not all were filmed in their entirety) and release them as separate, all-new concert experiences. Do not tag them as Elvis On Tour or That’s The Way It Is re-edits, just make completely new projects and leave the original documentaries to stand alone as accounts from the time. Most important, do not over-edit these concerts. Use Elvis’ original setlist and flow as much as possible.

Imagine if a That’s The Way It Is concert was given a full-fledged theatrical release, with an Elvis marketing blitz unheard of since his death. Just think about watching one of the That’s The Way It Is concerts on an IMAX screen.

Sure, theatrical and IMAX releases are long-stretches, but I think at least Blu-ray releases for Elvis: That’s The Way It Is and Elvis On Tour are real possibilities if Michael Jackson’s This Is It takes off.

A fan can dream, can’t he?

I forgot all the words

/ TY

I wrote this guest post in 2009 for Elvis Today.

First up, I want to thank Thomas for offering me this guest blog spot on Elvis Today. I’m a frequent visitor, but it’ll certainly be strange to see my thoughts above the comments line this time.

When I was trying to think of ideas for my post here, I ran across a rather critical review of the 1970 concert recently released as The Wonder Of You by FTD.

Referring to the song “Stranger In The Crowd,” the reviewer writes:

“The rest of the lyrics are a jumble of right and wrong renditions. A lazy performer who again could not be bothered to learn the words to his own songs?”

So, I started wondering, does Elvis forgetting the words to a song in concert ruin the performance? The odds are you’ve heard more than a couple of Elvis concerts, so you already know that he forgot the words to songs all the time. I don’t think it was due to a lack of caring on his part, though.

In Elvis: That’s The Way It Is, we see him stressing about forgetting the words to “I Just Can’t Help Believing.” He rehearses it over and over, yet continues to worry about it so much that literally seconds before hitting the stage for the opening night show, he asks that the lyric sheet be placed on a nearby stool. The performance of the song shown in the movie is actually from the next day, but he’s still reading the words.

The documentary, of course, also captures other rehearsals and “Stranger In The Crowd” in The Wonder Of You is from that same engagement. Did the presence of the camera crew distract Elvis too much during the rehearsals? It’s possible, for he hams it up quite a bit. He does get down to business at times, too, though.

Perhaps the real issue is that Elvis never took himself as seriously as a lot of fans seem to today.

I find a fun show like The Wonder Of You, messed up lyrics and all, to be much better than, say, Aloha From Hawaii via Satellite, where he is serious most of the time and sings most of the lyrics correctly. He had some help during the technically flawless Aloha, though. Watch carefully during “Burning Love” and you’ll see someone holding up cue cards with the words to the song printed out for Elvis to read.

During the rehearsal show a couple days before, as heard on The Alternate Aloha, Elvis flubbed the words to “Burning Love,” among others. He covered it well, though, as I suspect most of those present had no idea until he shyly admitted, “I forgot all the words,” after the song.

Supposedly, Elvis had to be pressured into recording “Burning Love” the previous year, so could that be why he didn’t learn the words? Perhaps, but Elvis was also known to forget the words to songs he liked.

During the second sit-down show for the ’68 Comeback Special, released on Tiger Man, Elvis introduces “Santa Claus Is Back In Town” as his favorite Christmas song of those he had recorded (not “Blue Christmas” as an edit back in 1968 on the original album made everyone believe for years).

He then proceeds to mess up most of the words to his favorite Christmas tune. His bluesy rendition, wrong words and all, was one of the best songs of that show.

Indeed, Elvis’ performance transcended the lyrics. The words no longer mattered. No one else could have pulled that off.

If you insist on perfect songs, then stick to the studio versions. Otherwise, just relax and have fun.

That’s what being an Elvis fan is all about.

By the way, this post was originally going to be a lot better than this. Unfortunately, I forgot all the words that I planned to write. I hope you liked it anyway.

/TY, The Film Frontier

REVIEW: The Wonder of You CD (FTD)

/ TY

The Wonder of You CD (Follow That Dream Records, 2009)

Strangers No More

When MGM filmed the first few days of Elvis’ August 1970 engagement at the International Hotel in Las Vegas, his third such series of appearances in a year, RCA tagged along and recorded six of the same concerts. RCA released just a few songs from these shows during Elvis’ lifetime, as part of the That’s The Way It Is album. In fact, it wasn’t until 2000’s That’s The Way It Is: Special Edition CD set that a nearly complete show became available.

The Wonder of You marks the fourth almost complete concert officially released from the August 1970 engagement. It contains several songs not featured in the other That’s The Way It Is concerts. Sit back and enjoy Elvis’ August 13 Dinner Show, the sixth and final show that RCA recorded for That’s The Way It Is.

Overview

This is a terrific concert, probably the second best of the That’s The Way It Is shows, behind only the August 12 Midnight Show. Highlights include “Don’t Cry Daddy”/”In the Ghetto,” “The Wonder of You,” “Stranger in the Crowd,” and “Bridge Over Troubled Water.” The sound is about as pristine as can be for a nearly forty-year-old recording.

About half of these performances have been previously released on other official albums. I’ll mention which mixes I think are better in my song-by-song analysis below. I have fun doing these kinds of comparisons, but I would like to point out that, when taken as a whole, this concert sounds great! Don’t read too much into my nitpicks. I’m also aware of the recent bootleg releases of this show, but I’m not going to get into comparing professionally-mixed, official releases to bootlegs.

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“That’s All Right” (previously unreleased)

  • You can feel the excitement build as things kick off with a jungle-like rhythm. Soon, Elvis takes the stage and delivers a solid version of his first record, “That’s All Right.” The horns are mixed a little loud in the left channel at times, but not enough to detract from this classic. “That’s All Right” was the best opening song for Elvis. It worked much better than “Blue Suede Shoes,” “All Shook Up,” “See See Rider,” or various others.

“I Got A Woman” (previously released on That’s The Way It Is: Special Edition CD)

  • Elvis quickly slides into Ray Charles’ “I Got A Woman.” Elvis’ 1969 and 1970 versions of this song are usually fantastic, and this one is no exception. I prefer the mix on That’s The Way It Is: Special Edition, however, where the horns are less pronounced and are in both channels, rather than overpowering the left channel as they continue to do here.

“Hound Dog” (previously unreleased)

  • Elvis references the red snakeskin highlights of his jumpsuit prior to this song, leading to a brief ad-lib in a typical for this season break-neck-pace version of “Hound Dog.” After the song, Elvis goes into his Gatorade routine, and then jokes that he owns part of that company. A star these days would probably work some kind of endorsement deal to mention a product as much as Elvis did Gatorade.

“Love Me Tender” (previously unreleased)

  • Have you ever wondered how Elvis usually got away with kissing so many women in the audience without angering their husbands and boyfriends? “Only if the guy smiles, man, do I kiss her,” explains Elvis as he takes time out from kissing to occasionally sing “Love Me Tender.” The band sounds great and carries along quite well during the kissing interludes. Finally having this concert in a relatively complete form means that we can place his “That’s the most fun part of the whole show” line in context. First heard on the live compilation disc of That’s The Way It Is: Special Edition after “Make The World Go Away,” the comment actually follows the “Love Me Tender” kissing session here.

“Don’t Cry Daddy”/”In the Ghetto” (previously released on That’s The Way It Is: Special Edition CD)

  • I remember this medley blowing me away on the Elvis: The Lost Performances video back in 1992. To see Elvis singing two of my favorite songs for the first time, and together no less. For whatever reason, this CD splits the medley into two tracks, but it is actually a continuous performance. Mac Davis wrote both songs, and Elvis recorded them in his legendary 1969 American Sound Studio sessions in Memphis. Incidentally, these are complete versions, with only minimal fooling around by Elvis. This new mix is better than the previously released version. You can even hear Elvis yell, “Sing it, Charlie!” to Charlie Hodge early on in “Don’t Cry Daddy.”

“I Just Can’t Help Believing” (previously released on Writing For The King)

  • I have to be in the right mood to enjoy this sleepy song, but this is a fine performance. Elvis misses a word or two about halfway through and starts laughing a bit. I love that kind of stuff. If you are one of those people who insist on hearing the correct lyrics to every single song when listening to a live concert, then this isn’t the disc for you. Actually, I would say Elvis isn’t the artist for you, either. He played with or forgot lyrics all the time. Yet, somehow still made the songs sound so good. He really knew how to sell a performance. This mix feels very thin compared to the superior one on Writing For The King. I was hoping this whole disc would sound like this song did on Writing For The King.

“Stranger in the Crowd” (previously released on That’s The Way It Is: Special Edition CD)

  • Elvis jokes that this song, which he had recorded just two months earlier, wouldn’t be released until 1982. Every time I hear that line, it makes me a little sad, though, since Elvis would be gone five years by then. This is a great live rendition of “Stranger in the Crowd,” powered by Ronnie Tutt on drums. The studio version was one of the best numbers on the original That’s The Way It Is album, and it most certainly should have been a single. With a little more work on the arrangement (starting with getting rid of the Imperials’ “la la la la la la la” background vocals near the end), this live version also would have made a nice mainstay to his concert repertoire. Too bad it seems to have been abandoned after this. The mix of this same live version on That’s The Way It Is: Special Edition has a fuller sound, packing more punch than the one here.

“Make The World Go Away” (previously released on That’s The Way It Is: Special Edition CD)

  • Elvis jokes that this song was “written before Roy Acuff was born, which is about 1800.” Just for fun, I decided to fact-check Elvis. Country music legend Acuff was born in 1903. Hank Cochran wrote “Make The World Go Away” in 1963, just seven years before this live recording. Sorry, E. This is a beautiful live rendition that I prefer to the studio cut recorded that June for Elvis Country. This also made its debut on the Elvis: The Lost Performances video, leading me back then to truly appreciate this song for the first time. If for nothing else than the toning down of a buzzing sound present through much of the song, the audio and mix quality here beats the previously released one.

“Sweet Caroline” (previously unreleased)

  • Elvis cuts this Neil Diamond tune off nearly thirty seconds in when he forgets the words. He starts the song over and gets it right this time in a lively version. Every time I hear this song, I have to fight the urge to throw my arm back and forth like Elvis does when the horns go “dah-dah-daah.” I don’t always win that fight. Come on, you know you do it, too.

“You’ve Lost That Loving Feeling” (previously unreleased)

  • Elvis sounds distracted in this disappointing version of “You’ve Lost That Loving Feeling.” His extended performance of this same song from the night before (captured on Disc 2 of That’s The Way It Is: Special Edition) is the best rendition ever (yes, even topping the Righteous Brothers).

“Polk Salad Annie” (previously released on Elvis Aron Presley)

  • Elvis delivers a great version of Tony Joe White’s “Polk Salad Annie.” Who else but Elvis could pull off going from country to pop to soul to swamp rock in a matter of minutes? This performance was first released on the 1980 boxed set Elvis Aron Presley, the first release of any song from this show. Who would have thought it would take another 29 years before we were treated to the entire concert? Audio quality and mixing on this new release is much improved over the 1980 version.

Introductions (previously unreleased)

  • In a fun moment, Elvis first introduces guitarist James Burton as “Chuck Berry.” After introducing (most of) the rest of his crew, Elvis introduces television legend and audience member Art Carney (best known as Ed Norton on Jackie Gleason’s The Honeymooners). Carney gets a huge hand, probably the biggest reaction to a celebrity introduction I’ve ever heard at an Elvis show. Elvis goes on to talk briefly about his own appearances on Jackie Gleason’s Stage Show, and mentions his later appearances on the Milton Berle Show and the Ed Sullivan Show. Someone then reminds Elvis that he forgot to introduce background vocalist Millie Kirkham, and he apologetically does so.

“The Wonder of You” (previously released on The Way It Was)

  • One of the many highlights of the Elvis: The Lost Performances video was this performance of “The Wonder of You.” This version is almost as good as the single version recorded earlier the same year. The mix on this new FTD release of the song is an improvement over the previous release. I had to play them both a few times to come to that conclusion, though. While somewhat softer, the sound has better separation here, so it is easier to pick out distinctive instruments.

“Heartbreak Hotel” (previously unreleased)

  • After the big ending on the previous song, Elvis starts this one off sounding a little weak. This is a typical 1970 version of “Heartbreak Hotel.”

“Blue Suede Shoes” (previously unreleased)

  • A quick version, likely only done to please the crowd, lacking the power of his 1969 versions.

“One Night” (previously released on The Way It Was)

  • Elvis still sounds weak, or is it the mix playing tricks on us? Play the same song on The Way It Was and it sounds much better.

“All Shook Up” (previously released on The Way It Was)

  • “All Shook Up” had not yet become a complete throwaway in 1970, and this is a decent version. Which mix is better this time? Too close to call. This isn’t one I can play a dozen times in a row to figure out.

“Bridge Over Troubled Water” (previously unreleased)

  • A beautiful performance, possibly his best live version of “Bridge Over Troubled Water,” though due more to the orchestra this time around than Elvis. Considering that they blow it on some other songs during the That’s The Way It Is concerts, I have to give the horns some credit on this performance. They really carry this one and help to make it so powerful. This track was a nice surprise.

“Suspicious Minds” (previously unreleased)

  • I always look forward to hearing new live versions of “Suspicious Minds.” This is a decent version, but not particularly memorable. As with the other That’s The Way It Is concert versions of this song, the trumpets sound awful at times, blowing out on many of the high notes. After hearing their superb work on “Bridge Over Troubled Water,” though, I guess I can forgive them. Tutt gives the drums a real workout at the end.

“Can’t Help Falling In Love” (previously unreleased)

  • Elvis sounds tired again after “Suspicious Minds,” but puts some effort into his “Can’t Help Falling In Love” closer. A fantastic show comes to an end.

* * *

I’m not going to say much about the cover and other album artwork, except to point out that cover art has never been FTD’s selling point. They can get away with it because the Elvis content within their releases pretty much sells itself. I’m also not going to bother complaining about the lack of a booklet or liner notes. I’m just glad to finally have this concert.

The Final Verdict

I was only two when Elvis passed away, so I never had the chance to see him live in concert. Experiencing relatively complete shows like this one, when Elvis was in top form, means a lot to me. This is FTD’s best concert release to date, and I’ll be enjoying this show for years to come.

Songs: 10 (out of 10)

Audio & Mix Quality: 9

Liner Notes: N/A

Cover Art: 5

Packaging: 5

Overall Experience: 10