This is Part 2 of a look at Sony’s Elvis Live 1969 boxed set (2019), which contains all 11 concerts RCA recorded in Elvis Presley’s August 1969 engagement at the International Hotel in Las Vegas.
[Read Part 1.]
“It’s getting loose at the International, boy!”
–Elvis Presley, 1969
The 11-disc Elvis Live 1969 is unfortunately housed in an 8-inch format box, such as used for 2012’s 3-disc Prince From Another Planet, rather than the 12-inch style, such as used for 2014’s 10-disc That’s The Way It Is: Deluxe Edition or 2018’s 6-disc ELVIS: ’68 Comeback Special – 50th Anniversary Edition. The 12-inch style harkens back to the days of LP record albums, while the 8-inch style is out of place on both CD and record shelves. Use of the 8-inch box was evidently a cost-saving move, but the set would have benefited so much from the larger format. Even at 8-inches, the set at a glance appears beautiful, but looks can be deceiving.
Elvis Live 1969 includes a 50-page booklet documenting the 1969 Vegas engagement. The opening Foreword, as with some of the marketing material associated with this set, quotes Elvis from his 1972 press conference for his Madison Square Garden appearances three years later about why he returned to performing live. As he tells the same story no less than 11 times on this very set, I would have preferred the use of 1969 quotes.
Reading like one of the over-the-top press releases that Sony lately uses to promote Elvis CDs, the unsigned Foreword also notes:
“After Elvis’ disastrous two-week 1956 Vegas engagement at the New Frontier Hotel, thirteen years later, his victorious live return in the same city made the meteoric success of his sold-out run (July 31-August 28, 1969/29 shows in total) that much sweeter.”
I call this out not to sicken you with the syrupy language, but to highlight an error. Elvis performed 57 shows during the date ranges of this engagement, not 29. The singer performed two shows a night throughout the month-long engagement (July 31 consisted only of the Opening Show). Even the very boxed set that the Foreword introduces features 11 shows recorded in the course of 6 days (beginning with the August 21 Midnight Show and concluding with the August 26 Midnight Show).
A bigger guffaw occurs in the tracklisting at the end of the booklet. Both CD 5 and CD 9 are listed as the “August 25, 1969, Midnight Show.” CD 5 actually contains the August 23 Midnight Show. Thankfully, the disc contents and label are correct.
Regarding such mistakes, you might ask, “Who cares?” Apparently not those responsible for Elvis releases. Allowing myself to veer off track just for a moment, Sony’s Follow That Dream (FTD) collectors label for Elvis fans routinely releases such errors. Two of the most embarrassing examples when it comes to text are misspelling “Presley” on the spine of 2008’s Wild In The Country and misspelling “Burning Love” on the back cover of this year’s St. Louis/Spokane. On the same St. Louis/Spokane release, the back cover numbers tracks 15-20 as: 15, 16, 16, 16, 21, 20. Though collectors pay premium prices for these releases compared to mainstream CDs, FTD is a small, boutique label with minimal resources and a limited target market. Sure, most 5-year-olds could have caught the counting errors, but let’s not talk about that.
Getting back to Elvis Live 1969, I note the two sloppy examples in the booklet (and there are others, but that is not the focus of this review) as unfortunate indicators that the carelessness condoned at the small FTD label has bled over into a full-fledged release like this one on the main Sony Legacy label.
The rest of the booklet consists primarily of excerpts from Ken Sharp‘s excellent Elvis: Vegas ’69 book from 2009. Those who were there, including Elvis himself, tell the story of the concert engagement through first-hand accounts. If you are a fan of the era, as I am, the full book is definitely worth seeking. However, the booklet as presented in Elvis Live 1969 provides a nice, abridged version to go with the CDs.
The 11 CDs are packaged in two cardboard holders. “Packaged” is a polite term. They are mercilessly wedged into two cardboard holders. Use caution extracting a CD to prevent damaging the disc, the holder, or both. Why Sony continues to use ridiculous forms of packaging, which so often fail to serve the singular purpose of protecting the discs, is beyond me. While I backed mine up to iTunes, if you plan routinely to play the original discs I would suggest you place them in more accessible cases as to avoid almost certain damage over time.
Use of imagery from vintage International Hotel menus and advertising in the holder for CDs 1-5 is fun, and I wish that concept had been extended to both holders. Some of the interior Elvis photo choices for the holders are baffling, including two, count them, two photos of Elvis apparently raising his armpit to the audience in the holder for CDs 6-11. These are, of course, shots capturing a split moment in time while Elvis is in motion, but why spotlight such awkward photos when better ones are available elsewhere in this very same set?
I must remind you that I did not set out to write a review when I began this post a week ago. I, therefore, have gone about this in a different manner than if I planned it out in a logical fashion. So, I have covered thus far mixing and packaging, but what I have mostly left out to this point is the star of the show, Elvis Presley.
When it comes to the Elvis aspects of Elvis Live 1969, I must admit to a small degree of disappointment. I have enthusiastically reviewed a number of previous releases of individual concerts from this engagement in the past, so I was surprised at this reaction.
Compared to That’s The Way It Is: Deluxe Edition, which similarly compiles 6 of his shows from his 3rd engagement at the same Vegas hotel the following summer, Elvis Live 1969 feels like a slight let-down.
While Summer 1969 wins out in head-to-head comparisons of the same songs in just about every case (“Words” and “I Can’t Stop Loving You” being the only two exceptions that come immediately to mind), the overall Summer 1970 shows are superior, if that makes any sense, at least during the filming of That’s The Way It Is, with better/more varied setlists and a more polished performer. In both seasons, Elvis is at the very top of his game, to be clear, but Summer 1970 is more entertaining than Summer 1969. How blessed we are, as fans, to have his two best concert series so well documented.
Next week, we’ll dive into more of the Elvis details as we continue and possibly conclude our look at Elvis Live 1969.
“He holds in his hands the depths of the earth and the mightiest mountains. The sea belongs to him, for he made it. His hands formed the dry land, too.”
3 thoughts on “A Squirrel Loose at the Big, Freaky International Hotel (Part 2)”
Pingback: A Squirrel Loose at the Big, Freaky International Hotel (Part 1) – The Mystery Train
Pingback: A Squirrel Loose at the Big, Freaky International Hotel (Part 3) – The Mystery Train
Pingback: A Squirrel Loose at the Big, Freaky International Hotel (Part 4: The Epic Conclusion) – The Mystery Train
Comments are closed.