Reviews

Two heroes rise from the ashes of Elvis On Tour: 75th Anniversary Celebration

/ TY / 4 Comments

In the end, two men saved Elvis On Tour: 75th Anniversary Celebration. One hero was who you might expect, while the other was quite unlikely.

By the time I arrived at the movie theater this evening, I was finally excited about Elvis On Tour again. I managed to get my favorite seat – top row, middle – and was ready to enjoy some Elvis.

On screen before the presentation were Elvis trivia tidbits. One card noted, for example, that Elvis On Tour recouped its production cost after three days of its 1972 theatrical release.

When the main features started, the fairly large cinema was full. Up first were the expected commercials: Visit Graceland, go to Elvis Week, see the Viva Elvis production in Vegas, take an Elvis cruise, and, oh yeah, listen to the Elvis 75 4-CD set. A commercial for the Viva Elvis album was surprisingly well assembled and featured “Also Sprach Zarathustra.”

Finally, a behind-the-scenes documentary for Elvis On Tour began. It featured contemporary interviews with Priscilla Presley, Jerry Schilling, and others. It was the kind of interesting “making of” documentary I’ve become accustomed to watching on Blu-rays and DVDs that don’t feature Elvis.

Since Elvis On Tour is an Elvis movie, though, this kind of special feature material will of course not be included in Tuesday’s release. It’s a shame, too, because the documentary was actually quite good. Oddly enough, Tuesday’s DVD and Blu-ray release of Elvis On Tour was one of the few products not advertised tonight. How could they overlook that opportunity? Wasn’t that the whole point of tonight? There was, however, one last plug to remind you to visit Graceland.

Elvis On Tour: 75th Anniversary Celebration hit theaters on July 29, 2010

Elvis On Tour: 75th Anniversary Celebration hit theaters on July 29, 2010

Once the behind-the-scenes documentary and commercials ended – with none of the previously unreleased Elvis footage that has been advertised for weeks – the actual movie began. The lead-off song was, indeed, “Don’t Be Cruel” rather than “Johnny B. Goode.” Bad editing and all. What an amateurish way to start the movie.

The audience here was mostly quiet at first until . . .

. . . the elderly man talking about the freight elevator came on screen!

I’m not kidding! The audience instantly began to roar with laughter as he described in monotone how Elvis would come through one door, then another, and take a freight elevator.

I found myself laughing, too, but I couldn’t believe the reaction at first – then I realized . . . these people have been suffering through this scene for just as long – or longer – than I have. For years, we Elvis fans have been watching this man. I never thought I’d say this, but I’m glad they didn’t cut him out. There’s something comforting about knowing he’s still there to show us how it all works.

From that point on, the atmosphere was charged – there was a lot more applause, singing along, and overall excitement in the crowd. It began to feel almost like I was at a real concert. Almost like Elvis was there.

You see, despite the many mistakes that Warner Home Video and Elvis Presley Enterprises have made over the years, Elvis always wins in the end. These people may not deserve to have Elvis as a “client,” yet he saves them every time.

Would I have gone to the theater tonight if there was no promise of previously unreleased footage? Of course, and I’d be willing to bet everyone else would have, too. My anger comes not from the lack of footage, but from the lack of respect for fans.

I was pretty sure the “never-before-seen Elvis tour scenes” thing would turn out to be false. I was really hoping I was wrong. You didn’t have to mislead us, Warner Home Video, Elvis Presley Enterprises, and Fathom Events. We would’ve been there anyway. Don’t you get it?

There is no excuse.

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Elvis On Tour Countdown: 5 days until Elvis On Tour (2010 Cruel Edit) Blu-ray and DVD releases

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For more information (official sites):

Selected posts about Elvis On Tour from The Mystery Train:

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Original image courtesy of Goodman Media International, Inc. Used with permission.

“Together all alone”

/ TY / 1 Comment

I’ve recently been playing Elvis’ last couple of non-compilation albums, From Elvis Presley Boulevard and Moody Blue, as well as associated outtakes on The Jungle Room Sessions and other releases. He recorded many of these songs in the den at Graceland in February and October of 1976.

I’ve also been listening to songs from Elvis In Concert, the first album released after he passed away, containing songs from his last concert tour in June 1977.

From Elvis Presley Boulevard (1976)

From Elvis Presley Boulevard (1976)

These recordings represent the last audio documentation we have of Elvis Presley the artist. From Elvis Presley Boulevard and Moody Blue are two of his finest albums. By this time, Elvis was apparently reluctant to record, so it is only through the efforts of people like producer Felton Jarvis that we have these recordings at all.

Boulevard has a thematically dark tone, established right from the beginning. If your Elvis experience is limited to the likes of “Blue Suede Shoes” and “Hound Dog,” it can make for some revealing and, at times, difficult listening.

I’m so hurt to think that you lied to me. I’m hurt way down deep inside of me. You said our love was true, and we’d never part. Now you want someone new, and it breaks my heart.” –From “Hurt,” Elvis Presley song, 1976 (written by Crane/Jacobs)

The pain is so evident in his voice as he pours out what is left of that broken heart. Reluctant or not, the results are some of the most honest music of his life.

What will become of me when you’re no longer here? If I can’t stop loving you, what am I to do? You’ll be free, but where will I be?” –From “Never Again,” Elvis Presley song, 1976 (written by Wheeler/Chesnut)

Let there be no doubt that Elvis could still rock, though. In the midst of Boulevard‘s otherwise slow songs suddenly appears “For The Heart,” and Elvis tears it up.

Though a gloomy tone is still present, Moody Blue lightens things up a bit compared to Boulevard. Rockers “Way Down,” “Moody Blue,” and a fun 1977 live version of “Little Darlin'” help in this regard, as does a 1974 live recording of “Let Me Be There” – first released on Elvis Recorded Live On Stage In Memphis.

I can still remember the first time I played Moody Blue. It was an album I borrowed from the local library, before I had any Elvis records of my own. I was fascinated by the fact that the record was blue rather than black. It began with a beautiful, haunting version of “Unchained Melody.” That song, as well as “Little Darlin'” and “Way Down” caught my attention, though I remember listening to the whole record over and over. What a perfect Elvis album.

You don’t have to face the music. You don’t have to face the crowd. Just go back where you came from. You ain’t even proud.” –From “It’s Easy For You,” Elvis Presley song, 1976 (written by Webber/Rice)

This turned into a longer post than I first planned. All I really wanted to say was how much joy listening to these songs has brought me in the last couple of days. Sometimes, you can listen to something in a whole new way. A song you’ve heard a hundred times can suddenly sound new.

That’s the great thing about being an Elvis fan, there is so much music out there to explore. I’ll never stop listening.

Could 50,000,000 Elvis Fans Have Been Wrong?

/ TY
Cover of 50,000,000 Elvis Fans Can't Be Wrong

Cover of 50,000,000 Elvis Fans Can’t Be Wrong

When I order a new Elvis CD on Sony’s Follow That Dream Records collectors label, I usually pick up one of their older releases as well. This month’s release was an upgraded Classic Albums edition of 1972’s Elvis Now. If you haven’t already done so, be sure to check out Thomas’ great review of Elvis Now over on Elvis Today.

My backfill purchase this time to go along with Elvis Now was a 2007 entry in FTD’s Classic Album series, 50,000,000 Elvis Fans Can’t Be Wrong: Elvis’ Gold Records – Volume 2. RCA released the original LP album version in December 1959, near the end of Elvis’ stint in the US Army. The original consisted of the following songs:

Side A
I Need Your Love Tonight (1958)
Don’t (1957)
Wear My Ring Around Your Neck (1958)
My Wish Came True (1957)
I Got Stung (1958)

Side B
One Night (1957)
A Big Hunk O’ Love (1958)
I Beg Of You (1957)
A Fool Such As I (1958)
Doncha’ Think It’s Time (1958)

I’ve actually never bought this specific album in any form until now. When I bought The King of Rock ‘n’ Roll: The Complete 50s Masters set in 1993, I assumed it contained all of the tracks from this album.

Turns out, I was wrong. When I researched the albums for my recent marathon of Elvis songs released during his lifetime, I found that RCA released two slightly different versions of “Doncha’ Think It’s Time” back then.

The first version was the actual single (a splice of takes 47, 40, and 48), and it’s the one I had on The Complete 50s Masters. For whatever reason, they released a second version (a splice of takes 40 and 39) on the 50,000,000 Elvis Fans Can’t Be Wrong album. The second version was the one I was missing.

I don’t try to keep up with each of the thousands of song variations released since Elvis’ death – I pick and choose on those – but I do feel it is important to have all of the ones released while he was alive. I still have variants of four other songs to track down, including one on an FTD release that is no longer available (I waited too long to backfill that one).

The original 50,000,000 Elvis Fans Can’t Be Wrong album is a strong follow-up to 1958’s Elvis’ Golden Records. It contains several classic performances, including “One Night,” one of the best recordings of his career. Other highlights include “Don’t,” “A Big Hunk O’ Love,” and “A Fool Such As I.” The only weak spots are “My Wish Came True” (which needs a Jordanaires & Millie Kirkham mute button) and the lightweight “I Got Stung.”

Outtakes

The FTD edition of 50,000,000 Elvis Fans Can’t Be Wrong contains 88 tracks on two CDs. Compared to other Classic Albums releases I’ve bought, I have to say that I love the way FTD presents the outtakes on this release.

Instead of in the somewhat random fashion of other releases, FTD instead presents each one chronologically in order of recording. Each take, even false starts, gets its own track. That means you get to hear the same song several times in a row, which to me is the entire point of this kind of collectors label release.

Okay, so it’s not always a good thing. In the case of “I Got Stung,” you get to hear it 23 times in a row, which is about 22 times too many. For most songs, though, this is usually a great way to hear how Elvis and the band worked until it was just right. To be fair, even “I Got Stung” is better on the last take.

Unfortunately, they were apparently a lot faster to turn off the tape when recording Elvis in the 1950s versus the 1960s and 1970s. When a take is blown, someone usually cuts the tape quickly, so missing for the most part is a lot of the in between song banter that makes this kind of release so much fun.

Incidentally, most of the outtakes presented here are from Elvis’ June 1958 session in Nashville, which took place only three months after his induction in the Army. The weekend session was the only time he formally recorded while in the service.

Bonus Tracks

FTD adds “Ain’t That Loving You, Baby” and “Your Cheatin’ Heart” to the album for this release. “Ain’t That Loving You, Baby” gets 11 takes, including some versions at superspeed.

Beyond the masters, the best tracks for me on this album were actually the three that made up the 1958 Elvis Sails Extended Play album. This was a “talking album only” that consisted of three interviews conducted with Elvis while he was in the Army, shortly before leaving for Germany. It reached #2 on the EP charts.

It contains one of my all-time favorite Elvis quotes. A reporter asks the probing, in-depth question of, “Elvis, what’s your idea of the ideal girl?”

Elvis doesn’t miss a beat, answering, “Female, sir.” The press members erupt in laughter.

In a more serious segment, Elvis talks about his mother, who had passed away only weeks before:

My mother, I suppose since I was an only child that we might have been a little closer […] and Mother was always right with me all my life. And it wasn’t only like losing a mother, it was like losing a friend, a companion, someone to talk to. I could wake her up any hour of the night, and if I was worried or troubled about something, she’d get up and try to help me.”

Though the outtakes are occasionally interesting, it was Elvis Sails and the LP variant of “Doncha’ Think It’s Time” that made this release worthwhile for me.

So, were 50,000,000 Elvis fans wrong? Of course not. This is a great album, whether you bought it in 1959, 2007, 2010, or any other year.

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.

REVIEW: Good Times CD Set (2009 FTD Edition)

/ TY

Good Times CD set (Follow That Dream Records, 2009)

A perfect presentation for an imperfect album

Good Times marked the second album released from Elvis’ 1973 sessions at Stax studio in Memphis. This version from the Follow That Dream collectors label includes all ten tracks from the original album and thirty-seven additional tracks of alternate takes and undubbed masters. FTD’s Classic Album series serves as the best possible format for this album, with sound quality in most cases as good or better than previous releases.

Take Good Care Of Her

  • Disc 1, Track 01, Master—Take 6: You have to give Elvis credit. Musically, he openly dealt with his relationship issues from just about every angle imaginable. In “Always On My Mind,” the singer begged forgiveness and asked for another chance from his wife. In “Separate Ways,” he accepted the split as inevitable. In “Take Good Care Of Her,” Elvis even directed a surprisingly benign message at his soon-to-be ex-wife’s new love interest. Whether his real-life actions measured up to his song choices is a debate for another time, but certainly, Elvis found creative sparks in his relationship problems that fueled many of his later recordings. Though many could be labeled as “dark” or “depressing,” these deeply personal recordings also may be the best insight into how Elvis was feeling during the last few years of his life. Though “Take Good Care Of Her” is not a great song by itself, it is Elvis’ personal conviction and passion that somehow make it more than it really should be.
  • Disc 1, Track 11, Rehearsal & Take 1: Here, we get a short rehearsal segment, followed by Elvis’ first attempt to record the song. Elvis almost sings to himself during the rehearsal, an interesting listen just for the “fly on the wall” aspect. Absent from the master take, you can hear a hint of bitterness in Elvis’ voice as he goes through Take 1. “Just to be around her was my greatest pleasure, she was everything my future held in store,” he sings sadly.
  • Disc 2, Track 06, Takes 2, 3: Take 2 falls apart just seconds into the song. Take 3 is complete, but unremarkable.
  • Disc 1, Track 23, Take 4: Nothing special here, either, though you can still hear more bitterness than on the master.
  • Disc 2, Track 17, Take 5: Producer Felton Jarvis apparently brings this take to an early close, causing Elvis to curse and comment, “Now I know how Jesus felt with that thorn in his side.”
  • Disc 2, Track 18, Take 6 (Undubbed Master): One of the best services that FTD provides us Elvis fanatics is supplying the undubbed versions of many of his master recordings. These stripped-down versions are often revelations, sometimes sounding better than the released recordings. For this song, though, I actually slightly prefer it with the overdubs. It is nice to have both options for this and the other songs on this album, though – a real selling point for this release and many others in the Classic Album series.

Loving Arms

  • Disc 1, Track 02, Master—Take 3: “Loving Arms” is one of Elvis’ best country songs – ranking right up there with just about anything on Elvis Country. This is a superb performance, one of the highlights of Good Times. This FTD release is the best this song has ever sounded, as if you are standing in the studio with Elvis as he pleads, “If you could only hear me now. . . .”
  • Disc 1, Track 12, Take 1 & Rehearsal: Elvis plays around with the tempo of “Loving Arms” during Take 1, obviously trying to find the “sweet spot.” By the end, you can hear the confidence in his voice as he begins to get it just right. After the take, Elvis and the other musicians work out a new ending for the song.
  • Disc 2, Track 02, Take 2: This is another faster take on the song. It’s probably too fast, but the power of his voice still makes it a worthwhile listen.
  • Disc 2, Track 12, Take 3 (Undubbed Master): I must note again that sound quality here is simply amazing, especially considering these recordings are over 35 years old. I prefer the dubbed version, mostly because the ending of the song is improved by removing the obnoxiously loud chorus on the last note.

I Got A Feelin’ In My Body

  • Disc 1, Track 03, Master—Take 3: There are three songs that drag Good Times down from being a real contender for one of the top albums of his career. Unfortunately, they all come right in a row. First up among the losers is “I Got A Feelin’ In My Body,” a fast-paced gospel number on which Elvis sounds like he is trying too hard. The song is not very good, and Elvis is unable to save it this time.
  • Disc 1, Track 13, Take 1: By the end of Take 1, Elvis begins playing around with the words, yet keeps the song from completely falling apart.
  • Disc 2, Track 03, Take 2: This sounds more like a rehearsal than an actual attempt, particularly at the beginning. Elvis obviously knows it’s not quite there yet as well, for he laughs near the end.
  • Disc 2, Track 13, Rehearsal & Take 3 (Undubbed Master): Even this master take does not sound like they have quite worked the song out, probably the source of some my issues with this recording. This is marginally better than the dubbed version, though. Outside of the context of playing this album in its entirety, I would still rarely, if ever, play this song.
  • Disc 1, Track 21, Take 4: A take beyond the master, which is actually somewhat rare at an Elvis session. Perhaps evidence that they were not completely satisfied with Take 3, either. Still not something I would choose to hear often, but I do like it better than Take 3. Elvis sounds more comfortable with the song than on previous takes.
  • Disc 2, Track 19, Take 7: Elvis sounds tired on Take 7. The pace is a little slower, but not a real improvement. By the end, I was hoping they would speed up to just get the thing over.

If That Isn’t Love

  • Disc 1, Track 04, Master—Take 4: It is evident on Disc 4 of the Live In Las Vegas boxed set when Elvis introduces Dottie Rambo, writer of “If That Isn’t Love,” that he thinks a lot of her. That is why it pains me to criticize this song. Elvis recorded many great gospel numbers in his career, but unfortunately, this is not one of them. As is often the case, Elvis puts a lot of effort into the song, but it is just sub-par material.
  • Disc 1, Track 14, Take 1: This take was a surprise for me. I actually liked it, certainly better than the master. It turns out this was first released on Rhythm & Country, but it did not stand out to me back then.
  • Disc 2, Track 07, Take 4 (Undubbed Master): This undubbed take is better than the released master, but not as good as Take 1.
  • Disc 1, Track 24, Splice of Takes 5 (LFS) & 7: Referring to Take 4, Elvis tells Jarvis to “save that last one” before beginning Take 5. This splice of Take 5 (a long false start) and the end of Take 7 is also better than the master Take 4. The song is still lacking, but at least is more listenable.
  • Disc 2, Track 14, Takes 6, 7: A mistake on piano ends Take 6 just seconds in. Next, is Take 7, complete but forgettable.

She Wears My Ring

  • Disc 1, Track 05, Master—Take 10: “She Wears My Ring” is the worst song on Good Times, and one of the worst from Elvis’ mostly stellar 1970s studio work.
  • Disc 2, Track 09, Takes 1-7: Elvis and the band get a case of the laughs in these early takes, which go by rather quickly. Much like some of the 1960s movie tunes, studio chatter and laughter is far more interesting than the actual song in question.
  • Disc 1, Track 15, Take 8: Elvis and company manage to cool the laughter and make a decent take, better than the master.
  • Disc 2, Track 15, Take 10 (Undubbed Master): Elvis sounds bored to me but Jarvis declares, “That’s a gas!” at the end.

I’ve Got A Thing About You Baby

  • Disc 1, Track 06, Master—Take 15: The payoff for making it through the last three songs begins with “I’ve Got A Thing About You, Baby.” This one is from Tony Joe White, familiar to Elvis fans as the writer and original performer of “Polk Salad Annie.” While Elvis’ early versions of “Polk Salad” more or less followed White’s original, Elvis’ take on “I’ve Got a Thing About You, Baby” is faster and funkier than White’s. This mostly positive, upbeat song is exactly what this album needs. Elvis only briefly falls into more jaded territory with the “Ain’t it just like a woman” verse. This one deserved to be a big hit.
  • Disc 1, Track 16, Take 1: Fourteen takes would separate this take from the master, and it shows. Elvis sings it slightly differently, and stumbles over a few of the words in this fast-paced version.
  • Disc 2, Track 8, Take 5: This is a fun song, so listening to take after take is no problem. Enjoyable but unremarkable take.
  • Disc 2, Track 16, Takes 6, 8, 10, 11: Multiple takes on a single FTD track can mean only one thing: lots of false starts. These takes are slower than 1 and 5, about the speed of the released version. Elvis flubs the lyrics on the otherwise promising 6 and 8, then calls for a “big, huge idiot board” to show the words. He flubs Take 10 as well. “I’m too crazy to be serious,” Elvis notes and then pulls off a longer Take 11, flubbing some of the lines near the close and finally ending the song slightly early.
  • Disc 1, Track 22, Take 14: Elvis makes it all the way through this spirited take of the song. With the overly complicated lyrics, it’s no wonder this song did not become a mainstay of his concert repertoire.
  • Disc 2, Track 1, Takes 15 (Rough Mix of Master): This rough mix is pretty close to the released version.

My Boy

  • Disc 1, Track 07, Master—Take 3: On “My Boy,” Elvis worries about the effects of a potential breakup on a child. My impression is that Elvis fans either love or hate this song. I’ll take this soul-searching performance over “Hound Dog” or “Teddy Bear” any day.
  • Disc 1, Track 17, Take 1: Elvis approaches “My Boy” seriously from the start, making it obvious that the song is important to him. I love this take, which is a little slower and has a simpler sound than the released version. Though Elvis misses a note near the end, this one is nevertheless as great as the master.
  • Disc 2, Track 5, Take 2: Another serious attempt. Elvis stutters a bit about halfway through, but marches on through the song anyway. An okay take, but the lesser of the three. “I can’t sing it no more,” Elvis jokes when Jarvis calls for another take.
  • Disc 2, Track 20, Take 3 (Undubbed Master): Despite his joke, Elvis delivers on Take 3. An interesting listen here without the overdubs.

Spanish Eyes

  • Disc 1, Track 08, Master—Take 4: “Spanish Eyes” is a good example of “standard fare” for Elvis’ studio work in the 1970s – not his best, and not his worst. According to the liner notes, he recorded this one at the request of girlfriend Linda Thompson. Enjoyable as much for the acoustic guitar work as Elvis’ vocals. Sound quality is a huge improvement over the prior CD release of this album.
  • Disc 1, Track 18, Takes 1, 2: Elvis flubs Take 1 early, and then delivers a decent second take. Again, be sure to listen out for the beautiful acoustic guitar on this one.
  • Disc 2, Track 21, Take 3: Pianist David Briggs hits a sour note, so Elvis’ portion of this short take consists only of him singing the first word, “Blue.” Some fun studio chatter starts this track out, though. Briggs also spoils a first attempt at Take 4. “He’s gettin’ crazy!” Elvis says. With no new take called, the track ends just in time for the official Take 4 on the next track.
  • Disc 2, Track 22, Take 4 (Undubbed Master): Nice to have, but I prefer the dubbed version.

Talk About The Good Times

  • Disc 1, Track 09, Master—Take 4: Elvis’ version of “Talk About the Good Times” just doesn’t work as well as two of his other Jerry Reed covers, “Guitar Man” and “US Male.” Perhaps it’s because Reed is not present in the studio to provide guitar accompaniment this time. The underlying song and its associated message are strong. Lyrics like “Most folks couldn’t tell you who their neighbors are. All the guns are loaded, front doors are bolted,” are even more relevant now than in the 1970s. However, Elvis could have done so much better than just the okay version he delivered of this song. Instead, the finished product just sounds like a frantic rush job.
  • Disc 2, Track 10, Takes 1, 2: Take 1 starts out promisingly enough, guitar driven in the vein of “Promised Land” with less of the often annoying piano of the released version. Elvis stumbles over the lyrics, though, and curses the take to an early close. Take 2 is even shorter. Elvis looks away from the lyrics and misses them again. He then recites part of the Lord’s Prayer in a mock serious tone. Odd stuff.
  • Disc 1, Track 19, Take 3: Other than the master, this is apparently the only other complete take Elvis did of this song. Piano is unfortunately more prominent than on the first take. By the next take, it really takes over.
  • Disc 2, Track 11, Take 4 (Undubbed Master): They obviously took a “good enough” approach on this song. A real missed opportunity.

Good Time Charlie’s Got The Blues

  • Disc 1, Track 10, Master—Take 9: The album’s best song is saved for last. Like “Loving Arms,” “Good Time Charlie’s Got The Blues,” is one of Elvis’ greatest country performances – as good or better than anything on Elvis Country. Sound quality is the best it has ever been. You are there.
  • Disc 2, Track 4, Takes 1, 4, 6: “Just keep it down to Earth,” Elvis reminds the band as they start Take 1 of “Good Time Charlie’s Got The Blues.” Elvis starts cursing about his cord before he can even sing, though. On Take 4, Elvis makes it through about the first third of the song before he gets distracted and thinks they’re at the end of the song. He jokingly blames it on his pal Charlie Hodge. Take 6 is complete, but Elvis still sounds distracted. The song is not quite together yet.
  • Disc 1, Track 20, Takes 7, 8: Elvis flubs the lyrics in the first verse, and then does an impromptu parody of the song as only Elvis can. A must-listen. When Jarvis notes that this is now Take 8, Elvis is surprised. “It is? Damn, these takes are going by fast.” “Some of them have been very short,” Jarvis points out, getting a chuckle out of Elvis. Take 8 is just about as good as the released version.
  • Disc 2, Track 23, Take 9 (Unedited, Undubbed Master): The expanded FTD version of Good Times closes out with a surprise, an unedited, undubbed version of the “Good Time Charlie’s Got The Blues” master that is even better than the released version. This track alone makes the FTD Good Times an essential release.

* * *

FTD does a fine job on the accompanying booklet this time out. One of the things that has always bothered me about Good Times is that Elvis doesn’t look quite right on the cover, particularly his lips. I won’t give it away here, but the booklet finally reveals why this is so.

FTD’s version of Good Times turns out to be a fine upgrade of the original album, truly capturing the spirit of a collectors label by bringing the original cuts together in pristine sound quality along with tons of additional takes. Ten years in, FTD seems to have hit its stride, and its Classic Album series has become essential.

Songs: 6 (out of 10)

Audio Quality: 10

Liner Notes/Booklet: 7

Original Album Cover Art: 6

Overall Experience: 9

 

REVIEW: The Christmas TV Companion book [The Film Frontier blog]

/ TY

The Christmas TV Companion:
A Guide to Cult Classics, Strange Specials, & Outrageous Oddities
1701 Press, softcover
Release date: November 10, 2009
Author: Joanna Wilson

The Christmas TV CompanionI cover many subjects here on The Film Frontier. Beyond key ones like Star Trek, Star Wars, Superman, and Elvis Presley, I also give love to, among others, The Twilight Zone, Mystery Science Theater 3000, and Charles Schulz’ Peanuts gang from time-to-time. I like to think this is a rather eclectic combination not soon to be found anywhere else.

To some degree, however, all of these topics and more are covered in The Christmas TV Companion by Joanna Wilson. (Fair warning to Superman fans: the associated reference is just an “also appeared in” credit for Margot Kidder on one page.) The book’s main revelation to me is demonstrating a common thread among all of these topics I previously thought were so diverse: Christmas.

The Christmas TV Companion takes readers on a journey through some of pop-culture’s best and worst Christmas moments. Hold on tight for this ride from the traditional to the blasphemous and every point in between.

Core sections of the book are Macabre, Sci-Fi, Variety, Animation, and Dark. With dozens, perhaps hundreds of productions referenced, Wilson is obviously well-versed on her topic. When reading books like this, I fact check by looking at what the writer states about topics on which I am knowledgeable. Wilson’s Elvis, Star Trek, and Star Wars references are all correct – which leads me to trust her on the multitude of other topics covered.

While some shows warrant a line or two, 1978’s infamous Star Wars Holiday Special (is it possible to write the name of that special without including “infamous” in front?) merits five pages of coverage, including a photo of Harvey Korman and Bea Arthur from the show. The special was actually my first exposure to Star Wars, as a three-year-old. I remember very little of it, as I likely fell asleep – which is probably a good thing.

One of my favorite features of this book is the “Make Your Own Marathon” concept. We geeks have been doing this for years, and Wilson’s suggestions add new and creative elements to setting up such marathons. A Star Trek-themed marathon and an Elvis-themed marathon are among the several she provides. She also includes tips on creating your own based on a subject of your choice.

Fellow Trekkies, I can hear you asking, “The only Christmas scene was in Star Trek Generations. How can you have a Star Trek Christmas marathon?” I will not reveal all, but I will throw you a clue as to how these marathons of loose associations work: A certain Star Trek: The Next Generation actor has also appeared as Ebenezer Scrooge.

The Elvis marathon mentions the 1968 ELVIS television special, which aired during the holidays that year, as well as several other Christmas TV shows that have included Elvis in some fashion. An unfortunate omission was Perry White (Lane Smith)’s appearance as “Santa Elvis” in the 1994 “Season’s Greedings” episode of Lois & Clark: The New Adventures of Superman. Superman even pulls Santa Elvis’ sleigh to deliver toys to orphans. Written by series star Dean Cain, it is one of my favorite episodes of the series.

Very little else is left out, though, and the variety that serves as this book’s strength may also leave your head spinning at times. The Christmas TV Companion works best as a fun reference to thumb through, rather than something to read cover-to-cover. You probably want to keep this book near a computer or notepad, too, as you will find yourself wanting to seek out certain specials or look up more about some topics.

For instance, one of my favorite Christmas songs is “Have Yourself A Merry Little Christmas.” I had no idea until reading this book that the song’s original lyrics were actually quite depressing and changed at the last moment for its first appearance in the Judy Garland movie Meet Me In St. Louis. Curious about the original lyrics? You can find them here. You can bet I will start keeping an eye out for Carol for Another Christmas, Rod Serling’s take on A Christmas Carol that aired in 1964, too.

I must give credit to 1701 Press for including an index. A book like this demands one. A couple of recent Elvis books by other publishers lack indexes, and I was beginning to think they were going out of style.

If you are a Christmas special addict like me, you will be glad to know that Wilson’s current project (of which this book is actually derived) is a “comprehensive encyclopedia of Christmas on TV,” due out next year.

With about 135 pages of content outside of the thorough index, it would be easy to underestimate The Christmas TV Companion. Do not let this book’s seemingly short length fool you, though. Each page is full of information. Often Wilson even covers the margins with more trivia on the various productions, performers, or creative types mentioned. Whether by design or fortuitous accident, The Christmas TV Companion appears just small enough to make a perfect stocking stuffer.

The Christmas TV Companion goes on sale Tuesday. It is available for pre-order on Amazon.

Overall Experience: 9 (out of 10)

(1701 Press provided a review copy of this book free-of-charge.)

REVIEW: From Elvis In Memphis CD Set (2009 Legacy Edition)

/ TY

From Elvis In Memphis CD set (Sony Legacy, 2009)

Elvis takes it home

“Take it home, son, take it home,” Elvis proclaims near the end of his 1968 Comeback Special. Just a few weeks after the special aired, Elvis did just that. He had not formally recorded in his adopted hometown of Memphis since his last session for Sun in 1955.

By January 1969, the musical landscape had changed, the entire world had changed, and even Elvis had changed. The 20-year-old kid who last recorded in Memphis as he was on the verge of becoming an unrivaled superstar was now a 34-year-old husband and father looking to continue pounding his way out of a creative slump.

Was the success of the ’68 Special a fluke, or was Elvis truly back on the track? His January and February 1969 sessions at the American Sound Studio in Memphis would help answer that question.

Outside of the hit singles, I first heard most of these songs when my brother gave me The Memphis Record double LP set as a Christmas gift back in 1988. It collects 23 of the best tracks from the sessions, including all of the songs from the original From Elvis In Memphis album.

As an Elvis fan, The Memphis Record changed my life. As I said, I was already familiar with “Suspicious Minds,” “In The Ghetto,” and the other hits, but I remember being blown away right off the bat by “Stranger In My Own Home Town,” “Power Of My Love,” “Any Day Now,” and “After Loving You,” to name just a few.

How had I not heard these songs before? Why wasn’t the radio playing these constantly? Unlike most of the kids my age back then and their favorite music fads, I knew at that moment I was going to be an Elvis fan for the rest of my life.

As I typed those words, I have just realized that I am now 34-years-old, like Elvis during these Memphis sessions. Since I first played The Memphis Record back in 1988, the musical landscape has changed, the entire world has changed, and I have changed. I hear the words to some of these songs differently than I did as a 13-year-old. Yet, here I am, still listening to Elvis. Despite all the change, Elvis is still here.

In the early 1990s, I switched over to the CD format and eventually picked up The Memphis Record on CD and complimented it with Back In Memphis to get some of the remaining songs from the session—which I found I didn’t like as much. Even the Back In Memphis songs I was familiar with sounded “muffled” to me.

In 1993, RCA treated the Elvis world to From Nashville To Memphis: The Complete 60s Masters I, a five-disc set that included all of his non-movie and non-gospel studio master recordings from the 1960s, including the complete 1969 Memphis sessions. While this was probably the most authentic sound to date at the time (I only found out later that the mixes on The Memphis Record were slightly altered to sound more contemporary), I remember being just a touch disappointed by the 1969 Memphis sound again for some of the tracks.

For the thirtieth anniversary of the Memphis sessions, RCA released Suspicious Minds: The 1969 Memphis Anthology in 1999. The sound was improved over 1994, but still muffled and lacking to me at times. I figured that it was the best we were ever going to have, though, and I was content with it.

When I first heard about the Legacy Edition of From Elvis In Memphis, now upgraded to include Back In Memphis and all of the other songs from the sessions, I was not planning to buy it. As much as I loved them, I had bought these songs countless times over. Then, a new press release announced that From Elvis In Memphis—Legacy Edition was going to include the original mono versions of all of the singles.

There, Sony/RCA had hooked me. At first, I planned only to purchase the ten individual mono singles online as legal downloads. However, I realized that just for three or four dollars more, I could buy the entire set of 36 songs by just purchasing the CD in a store (buying Elvis music in an actual store: “it’s been a long time, baby”). I probably wouldn’t need all of those other songs, but at least the packaging looked nice.

I played the mono singles first on Disc 2, and once I heard the quality of their sound, I could hardly wait to go back to Disc 1 and play From Elvis In Memphis proper. I don’t know what Sony/RCA did differently this time, but they finally got rid of that sort of muffled sound some of the Memphis tracks had before. Crystal clear. I’m loving this release! What a great surprise!

Yet, I’m sure this won’t be the last time I buy these songs. Sony’s Follow That Dream Elvis collectors label will undoubtedly release both From Elvis In Memphis and Back In Memphis as part of their Classic Album series in the coming years. The whole world will probably have changed by then, but I’ll still be listening to Elvis.

Songs: 10 (out of 10)

Audio & Mix Quality: 10

Liner Notes: 5

Cover Art: 10

Packaging: 10

Overall Experience: 10