Features

Long-form essays and analytical pieces that represent deeper explorations of Elvis, his work, and his cultural legacy. These posts cut across categories and eras and reflect moments where a subject warranted sustained focus.

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.

REVIEW: Elvis Sings Guitar Man 2-CD set (2011 FTD edition)

/ TY / 2 Comments
Elvis Sings Guitar Man (2011 FTD, booklet cover)

Elvis Sings Guitar Man (2011 FTD, booklet cover)

I’ve reviewed the main album masters from Elvis Sings Guitar Man in the past, so today’s review will focus on the alternate and bonus tracks that complete this latest release from Follow That Dream Records.

I should note that I don’t  have the FTD albums So High or Long Lonely Highway, so some of these tracks are new to me that may not be new to you.

“Guitar Man” [September 1967]

  • Disc 1, Track 16, Takes 1, 2, 5: After reading about this session many times over the years, it was great finally to hear for myself guitarist and singer/songwriter Jerry Reed  (the real “Guitar Man”) chatting in the studio. This is the kind of stuff that makes FTD shine, hearing a classic recording slowly come together. Sound is incredible. You can imagine you are in the studio. Take 5 is just plain fun to hear (first released on A Life In Music).
  • Disc 2, Track 11, Takes 7, 9: The ELVIS TV special may have still been a year away, but it is obvious from this track that Elvis’ comeback was already underway. Finally, he was starting to live up to his potential again. Elvis sounds inspired by Reed’s presence in the studio. Take 9 was first released on So High.
  • Disc 2, Track 12, Take 10: “Sing the living stuffing out of it, Elvis” producer Felton Jarvis encourages him just prior to this take. Oddly enough, though, take 10 is actually somewhat more subdued compared to takes 5 and 9. A decent take, but not a standout like the others. From Long Lonely Highway, this is the first take to include the “What’d I Say” jam ending.
  • Disc 2, Track 13, Takes 11, 12 (unedited, undubbed master): A treat to have the master take in its raw form here, keeping in line with the previously mentioned takes. It’s hard to sit still listening to this.

“Tomorrow Is A Long Time” [May 1966]

Disc 1, Track 17, Takes 1, 2: I mentioned above that Elvis’ comeback was underway by the September 1967 timeframe of “Guitar Man.” The opening round of the comeback actually began with the May 1966 sessions that produced this song as well as the Grammy-winning How Great Thou Art album. Though a departure for him at the time, Elvis is well-suited to this Bob Dylan tune. Take 2, first released on So High, is as good as the master, which was the very next take. Again, the sound on this CD is beyond impressive.

“Big Boss Man” [September 1967]

  • Disc 1, Track 18, Take 2: Back to the September 1967 session now, this was the second song with Jerry Reed on guitar. First heard on From Nashville To Memphis, this is overall a weak take that quickly becomes tiresome. Elvis is still trying to find his way.
  • Disc 2, Track 14, Takes 1, 3, 4, 5: This track is all false starts, but the studio chatter makes it interesting at least.
  • Disc 2, Track 15, Takes 7, 9: Jerry Reed infuses a bit of guitar-driven country into Jimmy Reed’s blues standard as the group closes in on a master. This is another impressive number. Take 9 was first released on Today, Tomorrow & Forever.

“Love Letters” [May 1966]

  • Disc 1, Track 19, Take 2: I’m not a huge fan of this song, but I will say this may well be the best version I’ve heard to date. Elvis doesn’t sound bored with it yet. In the past, I’ve generally favored his 1970 re-recording of this tune over the 1966 version. This 1966 take was first released on the Today, Tomorrow & Forever set. I don’t remember it standing out to me at the time, though.
  • Disc 2, Track 3, Takes 3, 4, 5, 7: “Too slow” Elvis announces quite correctly as the piano begins the song at what would have been a dreadful, snail’s pace. Takes 4 and 5 are also too slow, causing Elvis to end them early and call for a replay of the demo. Take 7 obviously benefits from that replay as far as tempo, but I still like Take 2 better. I’m ready to fall asleep by the end. Takes 3, 4, and 7 were first released on Collectors Gold.
  • Disc 2, Track 4, Take 8: One take back from the master. Elvis sounds weaker. Again, hard to sit through the whole thing. [First release: So High.]

“Indescribably Blue” [June 1966]

Disc 2, Track 9, Vocal Overdub Take 1: I’m not smart enough to explain why “Indescribably Blue” is a million times better than “Love Letters,” but I know that it is. One of his finest performances. Vocal overdub take 1 first released on Today, Tomorrow & Forever.

“Fools Fall In Love” [May 1966]

Disc 1, Track 20, Takes 1, 4: I think its the arrangement more than anything else that ruins what otherwise might have been a decent version of this Drifters classic. Take 4, first released on Long Lonely Highway, manages to be even more annoying than the master by including what sounds like a “chirping” trumpet in the right channel. Elvis does not yet sound as comfortable as he does on the final version.

“High Heel Sneakers” [September 1967]

  • Disc 1, Track 21, Take 5: Take 5 is more than worthy, benefiting from an awesome mix. Sounding more like a jam than a formal studio cut, this track will definitely go into heavy rotation for me. [First release: So High.]
  • Disc 2, Track 21, Takes 1, 6: Elvis sounds so good on Take 1, it’s a shame that Felton calls a halt to it early on for being too slow. Take 6 also falls apart.
  • Disc 2, Track 22, Take 7 (unedited master): First heard on From Nashville To Memphis, Elvis sings a line of “Ode To Billy Joe” before what became the master take begins. This “unedited” version runs nearly two minutes longer than the original single. As many fans have said before me, if only Elvis had gotten around to doing an entire blues album.

“Down In The Alley” [May 1966]

  • Disc 1, Track 22, Take 1 [First release: From Nashville To Memphis]
  • Disc 2, Track 1, Takes 2, 3, 4
  • Disc 2, Track 2, Take 6 [First release: So High]

Though the groove is somewhat similar, I definitely prefer “High Heel Sneakers” over “Down In The Alley.” It’s hard not to crack a smile at lyrics like, “I’ll plant you now and dig you later, because you’re a fine sweet potato,” though. Speaking of lyrics, for years I misheard one line of this song as, “The clock is striking on Uncle Sam…” so I never quite understood what that part of the song was supposed to mean. He actually says, “The clock is striking a mournful sound…” The funny thing is, I still have a hard time not hearing it as the “Uncle Sam” version, even though I know it’s wrong. In any event, if you like this song, you’ll enjoy takes 1 and 6. Takes 2, 3, and 4 are all false starts.

“Come What May” [May 1966]

  • Disc 1, Track 23, Take 2 [First release: So High]
  • Disc 2, Track 6, Takes 3, 4 [Today, Tomorrow & Forever]
  • Disc 2, Track 7, Take 6 [Collectors Gold]
  • Disc 2, Track 8, Take 7 [From Nashville To Memphis]

While fun, “Come What May” seems out-of-place on this album (right up there with “Fools Rush In”). Maybe the imaginary album should have been 12 tracks and these two listed as additional bonus songs. The more I listen to it, I think my main problem with this song is the trumpet. If only there was a version without it, I might like it more. I have nothing against trumpets in general, by the way. In fact, I used to play trumpet in middle school band way back when.

“Just Call Me Lonesome” [September 1967]

  • Disc 2, Track 19, Takes 3, 4 [First release: So High]
  • Disc 2, Track 20, Takes 5, 6

For this song, I was hoping for at least one take without the steel guitar. No such luck.

“You Don’t Know Me” [September 1967]

Disc 2, Track 23, Take 2: This alternate is a little slower. Elvis’ voice sounds like velvet. This was a perfect song for him. First released on So High.

“Singing Tree” [September 1967]

  • Disc 1, Track 24, Take 1 [First release: So High]
  • Disc 2, Track 16, Takes 2, 4 [Take 4: Close Up]
  • Disc 2, Track 17, Take 8
  • Disc 2, Track 18, Takes 10, 13 [Take 13: Long Lonely Highway]

I have a soft spot for “Singing Tree,” so I was interested to hear his first attempts at it. Take 1 is slower, but otherwise unremarkable. Take 8 has some potential, but begins to feel repetitive after awhile. One problem with all of these takes is simply too much Jordanaires for my tastes. As I’ve noted in the past, I really need a Jordanaire-specific mute button when listening to Elvis. After 13 takes without an acceptable master, they gave up on the song and moved on to “Just Call Me Lonesome” (above).

Disc 2, Track 24, Takes 1, 2, 3 (remake): The following night, Elvis and the band took another stab at “Singing Tree.” I definitely like the “remake” arrangement better. However, the background vocalists are even more annoying on take 3, so I won’t be playing it too often. Elvis throws in a somewhat incongruous “take it home, baby” near the end of the song. Remake take 5 would become the released master.

“I’ll Remember You” [June 1966]

  • Disc 1, Track 25, Vocal Overdub Take 2: Having grown up on the Aloha From Hawaii live version, I never heard the studio version of “I’ll Remember You” until release of the From Nashville To Memphis set. Though it is a remarkable performance, vocal overdub take 2, first released on So High, does not really stand out in a significant way from the master.
  • Disc 2, Track 10, Vocal Overdub (unedited master): This is a case where I prefer the edited version of a song. For my tastes, this unedited master, first released on From Nashville To Memphis, just goes on too long. As on most tracks, sound quality here is outstanding. Listen to the percussion in the right channel – awesome!

Bonus Song: “Beyond The Reef” [May 1966]

  • Disc 2, Track 5, Takes 1, 2 [undubbed master]: This has an informal feel that I enjoy. “Beyond The Reef” also fits in well as a bonus song on this album. Undubbed master first released on From Nashville To Memphis.
  • Disc 1, Track 15, Take 2 [overdubbed master]: The undubbed version is superior to this version. “Beyond The Reef” went unreleased during Elvis’ lifetime. This overdubbed version made its debut on 1980’s Elvis Aron Presley boxed set.

Source for “first release” information was the excellent Elvis In Norway site.

* * *

Cover art for Elvis Sings Guitar Man is well-done and suits the 1967 time period. The booklet is informative, and I particularly enjoyed seeing the repertoire (material submitted by Elvis’ music companies; songs requested directly by Elvis; song list sent to arranger) for a cancelled August 1967 session originally scheduled for Los Angeles. As for sound quality, it is incredible. FTD seems to be getting better and better with every release. In particular, the Classic Album series has reinvigorated the label.

The absolute highlight of this release for me is hearing Elvis Presley and Jerry Reed in the studio together on “Guitar Man” and “Big Boss Man.” It was a collaboration that would sadly prove to be all too short.

Elvis Sings Guitar Man is a unique album, compiling music from scattered releases to better document an important timeframe in Elvis’ career. The opening salvos of the comeback had been fired, but few noticed because of the release strategy around his music at that time. Whether acknowledged or not, Elvis had taken the first steps down his path of musical redemption. Big changes were just around the corner.

* * *

DISC 1

01) Guitar Man 2:22
02) Tomorrow Is A Long Time 5:24
03) Big Boss Man 2:54
04) Love Letters 2:52
05) Indescribably Blue 2:50
06) Fools Fall In Love 2:08
07) Hi-Heel Sneakers 2:48
08) Down In The Alley 2:54
09) Come What May 2:03
10) Mine 2:39
11) Just Call Me Lonesome 2:08
12) You Don’t Know Me 2:32
13) Singing Tree 2:22
14) I’ll Remember You 2:48

Bonus Song
15) Beyond The Reef (overdubbed version)

First Takes
16) Guitar Man – takes 1,2,5 4:22
17) Tomorrow Is A Long Time – takes 1,2 6:15
18) Big Boss Man – take 2 3:35
19) Love Letters –take 2 2:53
20) Fools Fall In Love – takes 1,4 2:40
21) Hi-Heel Sneakers – take 5 4:58
22) Down In The Alley – take 1 3:13
23) Come What May – take 2 2:12
24) Singing Tree – take 1 3:11
25) I’ll Remember You – vocal overdub take 2 4:14

DISC 2

May 1966 Sessions
01) Down In The Alley – takes 2,3,4 2:18
02) Down In The Alley – take 6 2:51
03) Love Letters – takes 3,4,5,7 4:39
04) Love Letters – take 8 3:12
05) Beyond The Reef – takes 1,2 (undubbed master) 5:42
06) Come What May – takes 3,4 2:27
07) Come What May – take 6 2:07
08) Come What May – take 7 – 2:21

June 1966 Sessions
09) Indescribably – (vocal overdub) take 1 2:55
10) I’ll Remember You – (unedited master) vocal overdub 1 4:10

1967 Sessions
11) Guitar Man – takes 7,9 2:52
12) Guitar Man – take 10 2:55
13) Guitar Man – takes 11, 12 (unedited/undubbed master) 4:02
14) Big Boss Man – takes 1,3,4,5 3:19
15) Big Boss Man – takes 7, 9 3:48
16) Singing Tree – takes 2,4 3:28
17) Singing Tree – take 8 3:03
18) Singing Tree – takes 10,13 3:44
19) Just Call Me Lonesome – takes 3,4 2:55
20) Just Call Me Lonesome – takes 5,6 2:31
21) Hi-Heel Sneakers – takes 1,6 2:51
22) Hi-Heel Sneakers – take 7 – (unedited master) 4:57
23) You Don’t Know Me – take 2 2:57
24) Singing Tree – (remake) takes 1,2,3 3:21

Elvis 1967: The Once And Future Album

/ TY / 6 Comments

There are infinite universes, beyond that which is known to man. Imagine, if you will, one such alternate dimension in which an entertainer named Elvis Aaron Presley set a slightly different course for his life. In that universe, one of the entertainer’s fans was also born thirty years sooner. This allowed him to document what happened when the entertainer took a stand in 1967. Submitted for your approval is this brief glance into… the edge of reality.

The Mystery Train Elvis Newsletter (November 1967)

The Mystery Train Elvis Newsletter (November 1967)

THE MYSTERY TRAIN ELVIS NEWSLETTER
Volume XII, Issue 4, Number 48
November 1967
– Page 2 –

Hitchhike all the way down to Memphis with Big El
A review of Elvis Sings Guitar Man by Ty.

Word has it that Elvis had a major blow-up with RCA Records over Elvis Sings Guitar Man, which hit record stores last week. RCA originally planned to issue some of these songs on a soundtrack record for the new Clambake movie, which will be playing at a theater near you later this month.

Elvis insisted on an album with no movie songs, though. If the rumors are true, he apparently even threatened to fire his long-time manager over the debacle until the Colonel worked it out with RCA. Meanwhile, Elvis’ newly hired personal attorney is still reviewing management and recording contracts he signed earlier this year. With two cancelled movie soundtrack albums in as many years, could major shakeups be on the way? Stay tuned.

Ironically, the similarly-titled Elvis Sings Memphis, Tennessee came about due to similar circumstances back in 1963. As you probably recall, the legend goes that Elvis nearly fired the Colonel back then, too. Seems the Colonel wanted to replace that album’s release with a new installment of the Golden Records series. Elvis’ instincts proved right back then, for the platinum-selling Memphis, Tennessee album made it to number three on the charts.

In any event, with the Clambake songs shelved for now, we Elvis fans get this album instead. Was he right to take the same stand for Guitar Man as he did for Memphis, Tennessee? Let’s find out.

SIDE 1

Guitar Man: Elvis has gone Country & Western? That’s what this first song tells us. Musically, this is much better than anything on the Double Trouble LP and the Easy Come, Easy Go EP from earlier this year. In terms of Elvis’ commitment, this is more on par with the How Great Thou Art LP Gospel album that kicked off this year. Can the whole album live up to this first song, though?

Tomorrow Is A Long Time: While writer Bob Dylan has not released this song himself, Folk music fans may have heard it on the Odetta Sings Dylan album that she put out a couple years ago. I must admit, I never expected Elvis to sing Dylan, though! Even more so than “Guitar Man,” this is a very unusual song compared to what we are used to from him. I like it as something different, but hope the entire album isn’t like this.

Big Boss Man: Some people think that Country & Western is about as far apart from the Blues as you can get. Apparently not Elvis, who delivers yet another fine performance. This time, it is a Blues song done in what is almost a Country & Western style. It was combining different styles of music that helped Elvis to create Rock ‘n’ Roll back in the old days anyway. Be sure to listen out for a slight change to the words. Instead of “I want a little drink of water, but you won’t let Jimmy stop,” he sings, “I want a little drink of water, but you won’t let Big El stop.” I like the sound of that. I think I’ll call him that from now on. Of note, RCA originally planned this for release on 45 in the fall. They even put out ads for it, but the single was held back – probably while waiting for the various parties to resolve the whole Clambake album controversy.

Love Letters: After such a start, this is a ballad for the ladies. Not as strong as “Can’t Help Falling In Love,” but more along the lines of “Ask Me.” You might remember that Big El had a bit of a hit last year with this on 45 RPM.

Indescribably Blue: We know this one already, too. It was a 45 earlier this year. Though it didn’t do very well, I still say it is one of his best records. Sounds a lot like a modern take on his early days. I don’t mind hearing it again in the context of what is starting to sound like, dare I think it, his finest album in years.

Fools Fall In Love: Now the B-side of the above single. I didn’t like this one as much. Stick with the Drifters for this one. From the sound of things, Big El might have thought this one was for a movie. Most albums have a little filler, though.

High Heel Sneakers: Finally, back to new songs. Big El takes the Blues head on here and triumphs. A real treat!

SIDE 2

Down In The Alley: Big El starts Side 2 in much the same way that he ended Side 1, with a Blues number. Not as effective as “High Heel Sneakers” and a little whiney for my tastes, but still an enjoyable performance. At least he sounds like he cares about these songs.

Come What May: This was the flip side to the “Love Letters” 45. Big El’s version is a little faster than Clyde McPhatter’s from ten years ago. Much like “Fools Fall In Love,” the arrangement here sounds like a movie song. He has to be more careful not to let that sound carry over into his “real” music. After taking his stand against RCA, would he have been better served to demand another recording session to properly finish this album? Maybe that’s expecting too much at once.

Mine: Here we are on the very next song and Big El makes up for “Come What May” and then some. “Mine” is a beautiful song, one of his very best love songs – right up there with “Can’t Help Falling In Love.” Way better than “Love Me Tender.”

Just Call Me Lonesome: And now the album turns Country & Western again! You can’t say you’re not getting variety here. Only Big El could pull off making all of these styles work as one album.

You Don’t Know Me: Ever since I first heard the Ray Charles version of this Eddy Arnold Country & Western song a few years ago, I always wondered what an Elvis version would sound like. Now, I no longer have to wonder. Big El turns in a somber performance that truly conveys the heartache of the lyrics. This is Elvis at his best. Look for a version of this when you go see Clambake. Is it possible that the rest of the Clambake songs were this good? I have a hard time believing that, but I guess we’ll know when the movie comes out.

Singing Tree: Big El stays in the Country & Western neighborhood for this one. While it does not compare to “Mine” or “You Don’t Know Me,” this song about lost love is still interesting and a fine performance.

I’ll Remember You: This one is another surprise, sounding like a cross between “Tomorrow Is A Long Time” from Side 1 and the Blue Hawaii soundtrack. With a little Country & Western thrown in. I’m not kidding! Again, only Big El could pull this off. Another beautiful song.

* * *

I don’t know in what insane universe RCA would waste these songs as filler on movie soundtracks, but I’m sure glad it’s not ours. 1967 has certainly been a year of change for Elvis. As covered in our previous newsletter, he married his longtime sweetheart just a few months ago. Early next year, he and Ann-Margret are expecting their first child (see article on page 1 of this issue). Let’s hope that How Great Thou Art and Elvis Sings Guitar Man mean more good things are on the way in 1968.

So, I know the completists among you are wondering about the songs recorded for the Clambake movie. Will we ever get to hear them on record? Word around the rumor mill (which sure has been busy this year) is that they might be combined with songs from last year’s cancelled Spinout soundtrack album to make an Elvis Double Feature album. Stranger things have happened.

Thanks for reading, everyone. Have a Happy Thanksgiving, a Merry Christmas, and a Happy New Year! See you in 1968!

A fairytale? A fantasy? A careless product of wild imagination? You can believe or disbelieve, accept or reject; but if this isn’t real, then we’re all condemned to… the edge of reality.

[With apologies to Serling.]

Throughout 2011, The Mystery Train is commemorating the 44th anniversary of 1967. Find out why here.

REVIEW – Live In Vegas: August 26, 1969 Dinner Show CD (FTD)

/ TY

Live In Vegas: August 26, 1969 Dinner Show CD (Follow That Dream Records, 2011)

If you believe some fans, surely we’ve already heard enough 1969 Las Vegas concerts. Now that Live In Vegas: August 26, 1969 Dinner Show is available from FTD, let’s take a closer look at their claims.

Claim: If you’ve heard one 1969 show, you’ve heard them all.
Verdict: FALSE

For those who believe there are no more revelations to discover in these shows, I can easily pull one example of many from this release alone. For over 40 years now, Elvis fans have listened to the 1969 compilation Elvis In Person. How many ever realized that Elvis dedicated the specific performance of “Suspicious Minds” contained on that album to Barbara McNair, one of his Change Of Habit co-stars?

Elvis evidently thought a lot of McNair, who played Sister Irene, for he plugged her upcoming TV series, The Barbara McNair Show, when presenting her to the audience. As mentioned, Elvis’ introduction of the familiar version of “Suspicious Minds” is now slightly different: “A new record that just came out, ladies and gentlemen, I hope you like it, I’d like to do this especially for Barbie, it’s called ‘Suspicious Minds.'”

Though it is the sixth full-length show released from this engagement, Live In Vegas actually marks the first release of a concert that contributed songs to the Elvis In Person compilation (“Suspicious Minds” and “Can’t Help Falling In Love”). One of the joys of being able to hear complete 1969 shows like this one is re-discovering a song within its original context.

Claim: Every 1969 show had the same set list.
Verdict: FALSE

Live In Vegas is actually the first full show released thus far to include “My Babe” (previously compiled on Elvis Aron Presley) or “Inherit The Wind” (previously compiled on Collectors Gold). This is also the first full show so far where Elvis omits “Are You Lonesome Tonight” and only the second where he omits “What’d I Say.”

Incidentally, the inane argument that the set lists were always the same wasn’t even true of the first five shows released. Don’t get me wrong – of course, the core set lists are similar. These shows were all recorded within less than a week’s time, after all. The amusing part is that some fans apparently expect that Elvis should have completely revamped his show night after night. The 1969 concerts were about as perfect as any Elvis did in his career, but that’s not good enough for some.

Claim: If you’ve already heard the Midnight Show from this same date on All Shook Up, Live In Vegas will just be more of the same.
Verdict: FALSE

Though indeed recorded just a few hours apart from one another, the shows captured on All Shook Up and Live In Vegas are quite different from one another and do not play like repeats of the same show. The biggest difference is tone. While Elvis seems unable to control his infectious laughter through much of All Shook Up – including the fantastic “Are You Laughing Tonight” – he is much more focused on Live In Vegas. In fact, other than a few snickers here and there, there is little foreshadowing in the Dinner Show as to what will occur in the Midnight Show.

As far as the songs performed for these specific shows, the Dinner Show (Live In Vegas) features “Memories,” “My Babe,” and “Inherit The Wind,” which are not present on the later show. The Midnight Show (All Shook Up), on the other hand, features “I Can’t Stop Loving You,” “Are You Lonesome Tonight,” “Rubberneckin’” and “This Is The Story,” which are not present on the earlier show.

I find being able to listen to two shows from the same day during this incredible time of Elvis’ career to be one of the most positive aspects of this release, certainly not a drawback. It is fascinating to imagine being there for that single day, somehow fortunate enough to have tickets to both shows.

Show & Sound Quality

I’m just glad Ernst Jorgensen and the rest of Sony’s Follow That Dream team do not subscribe to the sort of claims refuted above. If they did, we might have missed out on Live In Vegas.

With that out of the way, we can now move on to more important things, like show and sound quality. The first few times I played this disc, my opinion was that no 1969 show had ever sounded this vibrant.

I have played all six full shows this week and part of me believes that Live In Vegas is the best of the complete 1969 shows released so far, in terms of Elvis’ performance. I am not quite ready to say that yet, though. I want to give more time for the newness to wear off and allow myself to compare the various shows more objectively. Like all of the other 1969 shows thus far released, though, this is without a doubt one of Elvis’ greatest concerts.

Elvis treats his classics with more respect in 1969 than he would in later years. “Blue Suede Shoes,” “All Shook Up,” “Love Me Tender,” “Jailhouse Rock,” and “Don’t Be Cruel” are all contenders as his best 1969 versions.

“You see, they fixed these lights up for Nancy Sinatra. They wouldn’t do it for me. That shows where the pull is. . . . I’ll show ’em, I won’t come back,” Elvis states shortly after welcoming the audience early on. Nancy’s engagement on the same stage would begin on August 29, just a day after Elvis’ would end. Elvis stuck around and caught her show and, despite his joke, returned to the International for another engagement just six months after this first one.

“Hound Dog” is also great, once you get past his cringe-inducing introduction of the song that also plagues every other version released so far from this engagement.

There are two tracks I always pay close attention to on the 1969 shows. One is “Suspicious Minds” – already a known factor on this album – and the other is the “Mystery Train/Tiger Man” medley. Elvis does a kickin’ rendition of this medley on Live In Vegas.

While Ronnie Tutt’s jungle drums are the focus in the first bits of “Tiger Man” before the second guitar break, the mix turns over to James Burton’s rockin’ guitar riffs for the other half of the song. It makes for a great compromise and one of the best versions of the song yet released.

I have yet to hear a bad version of “Runaway” from these shows, and this one is no exception. What a terrific performance from Elvis, driven again by James Burton. Too bad it was dropped from the show after 1969.

“Yesterday” is the typical “I’m not half the stud…” version and, as usual, the tacked on “Hey Jude” ending is no help.

After introducing the band, Elvis has Barbara McNair stand and introduces her as “a young lady that I just got through making a picture with called Change Of Habit, and I found her to be one of the nicest, warmest, lovingest people I’ve ever met.” When audience members complain they could not see her, he has the lights turned back on so she can stand up again.

It’s really cool hearing Elvis promote one of his movies on stage. Since he took a break from concerts through most of the 1960s, when he made the bulk of his movies, this was not an opportunity he had very often.

“In The Ghetto” is beautiful, similar to the Elvis In Person version.

On both of his August 26 shows, Elvis omits his breakneck speed version of “What’d I Say” and, in my opinion, the shows are all the better for it. “Suspicious Minds” is the ideal penultimate song, segueing perfectly into “Can’t Help Falling In Love.”

Speaking of “Can’t Help Falling In Love,” the Elvis In Person version has always been my favorite from 1969, and it sounds even better here.

* * *

Live In Vegas showcases Elvis Presley at his best on stage in a sound presentation that is richly mastered and crystal clear.

Sony reportedly has another six full shows from this engagement in its vault, including three more that contributed songs to the Elvis In Person album: the August 25 Dinner Show and the August 24 & 25 Midnight Shows.

There will always be complainers–even when Elvis was alive, he couldn’t please everyone, not even in 1969–but here’s hoping the rest of those 1969 shows, particularly the Elvis In Person ones, are eventually released. I’m looking forward to hearing each and every one of them.

Elvis is not just for Christmas anymore

/ TY

I wrote this guest post in 2010 for Elvis Today.

Outside of Oldies stations and incidental music, I never hear Elvis on the radio here in the United States anymore – except at Christmas time. This phenomenon is not unique to Elvis, though. The same applies to Frank Sinatra, Nat King Cole, Dean Martin, and many other legends who seemingly turn up in the collective consciousness only during this season. There is something universal about Christmas music that spans across generations and genres.
Non-fans in the general public often seem to enjoy Christmas music by Elvis, even if they listen to little else by him the rest of the year. As an Elvis fan, it’s actually hard for me to relate to that point of view. It seems to me, if they enjoy his Christmas music, they could just as easily enjoy his other music all year long, just like we do.
The next time one of your friends asks you to recommend some Elvis Christmas music, consider giving her or him both some Christmas and year-round music selections. They might be surprised to learn that Elvis is not just for Christmas anymore.
With that in mind, I started thinking of non-seasonal songs with similar vibes as his Christmas music.
  • Trade “Blue Christmas” (1957) for “One Night” (1957)
  • Trade “White Christmas” (1957) for “Such A Night” (1960)
  • Trade “Here Comes Santa Claus” (1957) for “Treat Me Nice” (1957)
  • Trade “Silent Night” (1957) for “Love Me” (1956)
  • Trade “O Little Town of Bethlehem” (1957) for “Young And Beautiful” (1957)
  • Trade “Santa Bring My Baby Back” (1957) for “Got A Lot O’ Livin’ To Do” (1957)
  • Trade “Santa Claus Is Back In Town” (1957) for “Reconsider Baby” (1960)
  • Trade “I’ll Be Home For Christmas” (1957) for “Don’t” (1957)
  • Trade “Santa Lucia” (1963) for “It’s Now Or Never” (1960)
  • Trade “If Every Day Was Like Christmas” (1966) for “I’ll Remember You” (1966)
  • Trade “Blue Christmas” (Live-1968) for “One Night” (Live-1968)
  • Trade “It Won’t Seem Like Christmas” (1971) for “Where Did They Go, Lord” (1970)
  • Trade “If I Get Home On Christmas Day” (1971) for “It’s A Matter Of Time” (1972)
  • Trade “Holly Leaves And Christmas Trees” (1971) for “Separate Ways” (1972)
  • Trade “Merry Christmas Baby” (1971) for “Don’t Think Twice, It’s All Right” (1971)
  • Trade “Silver Bells” (1971) for “Stranger In The Crowd” (1970)
  • Trade “I’ll Be Home On Christmas Day” (1971) for “I’m Leavin”” (1971)
  • Trade “On A Snowy Christmas Night” (1971) for “How The Web Was Woven” (1970)
  • Trade “Winter Wonderland” (1971) for “Jailhouse Rock” (Live-1968)
  • Trade “O Come All Ye Faithful” (1971) for “Always On My Mind” (1972)
  • Trade “The First Noel” (1971) for “We Can Make The Morning” (1971)
  • Trade “The Wonderful World Of Christmas” (1971) for “Help Me Make It Through The Night” (1971)
So, there you have it, a non-seasonal playlist designed to feel like Elvis’ Christmas music. Maybe next year, Sony can release a double CD Christmas gift set with this kind of theme. It would give them a chance to put a slightly different twist on their annual Elvis Christmas music re-release.

My thanks to Thomas for letting me ramble on here on Elvis Today. Have a wonderful Christmas and a merry New Year, everyone!

/TY, The Mystery Train

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.

Elvis lives his dreams in Memphis

/ TY / 8 Comments
Elvis Presley's Memphis (2010)

Elvis Presley’s Memphis (2010)

Elvis Presley’s Memphis (book)
Presented By Elvis Presley Enterprises and The Commercial Appeal
176 pp. Pediment. $39.95

As I journeyed yet again through the life of Elvis Presley, this literary trip built upon the context of Memphis, I was happy to find some new insights into the man. This is not the average Elvis coffee table book – you know, the ones that shuffle around the same photos and text from last year’s variation.

That Elvis Presley’s Memphis is different is evident right from the start. The cover is hardly typical of those of other Elvis books, which tend to be rush jobs consisting of a common photo of Elvis with a title slapped above it. “It doesn’t matter what it looks like, fans will buy it because its Elvis,” seems to be the mentality.

Instead, this book features a creatively designed, beautiful cover with a lesser-known photo of Elvis superimposed against a vintage 1951 backdrop of Main Street in Memphis. Look carefully at this work of art and you’ll see the Loew’s State Theater is playing Father’s Little Dividend, starring Spencer Tracy, Joan Bennett, and Elizabeth Taylor. Within the book, you’ll find a photo of Elvis at the same theater in 1950, when he worked there as an usher until fired by manager Arthur Groom for getting into a fight with a co-worker.

Elvis apparently held no hard feelings for his former boss, for another photo shows him with Groom several years later for the 1957 Jailhouse Rock premiere – at Loew’s State Theater. His first movie, Love Me Tender, also premiered there in 1956. Business must have been good at Loew’s with that kind of publicity.

Imagine how it must have felt for Elvis to watch himself on screen at the same movie theater he worked at only years before. “When I was a child . . . I was a dreamer. . . . I saw movies, and I was the hero in the movie,” Elvis once said.

“Every dream I ever dreamed has come true a hundred times,” he continued. At its heart, Elvis Presley’s Memphis is about those dreams. The dreams of a 13-year-old as his family moves to Memphis from Tupelo, Mississippi, for a fresh start. The dreams of an 18-year-old as he pays to record a couple of songs at the Memphis Recording Service. The dreams of a 33-year-old as he holds his daughter for the first time.

The bind between Elvis and Memphis is indeed strong, but perhaps no stronger than at Graceland, the home he purchased there on Highway 51 South in 1957 as his rising fame literally chased him out of his previous neighborhood on Audubon Drive. Could the 22-year-old ever have dreamed that Memphis would one day rename the street in front of that mansion in his honor?

Only twenty years later, Elvis would spend his last days at Graceland on Elvis Presley Boulevard. “When the news of Elvis’ death was heard over the police radio, the entire force felt they had lost one of their own,” writes Robert Dye in a section called “Memphis Beat.” You see, Elvis’ renowned collection of police badges was more than just a hobby.

Though they may have indeed been honorary, those badges meant something real not only to him, but also to those who bestowed them – none more so than the Memphis police. While stories of Elvis’ generosity are legendary, there are some here involving the police that are worthy of the spotlight placed on them by this book. Elvis had his flaws, as do we all, but I remain proud to call myself a fan.

From a boy who had little in the way of material possessions to a man who could afford to buy seemingly anything – go-karts, motorcycles, cars, and even airplanes – the life of Elvis in Memphis is detailed in a series of occasionally repetitive articles. Much of this book is about Elvis having fun, for while he sometimes worked in Memphis, it more often served as his playground, a place to unwind and relax.

Some of the stories are new, while others are reprinted from The Commercial Appeal or The Memphis Press Scimitar newspapers. Most are well-written and informative, though a few appear to be excerpts or sidebars from longer pieces and include chopped bits of information that go no deeper than the typical travel brochure for Graceland.

While Elvis is the focus, the book also paints a portrait of Memphis as a whole, including in a running timeline not only significant events in Elvis history, but significant events in Memphis history as well. The two are often intertwined. 1968’s entries include: “April 4: Martin Luther King is assassinated at the Lorraine Hotel in Memphis. Elvis is in California. June 23: Elvis records ‘If I Can Dream.'”

Filled with truly rare documents and photos, including one of Elvis visiting his mother’s grave, Elvis Presley’s Memphis is a standout among the many printed works about this often misunderstood man.

* * *

Cover image courtesy of Pediment Books. Used with permission.