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Lisa Marie Presley offers new insight into Michael Jackson and her father [The Film Frontier blog]

/ TY

When news broke yesterday of Michael Jackson’s sudden death, I instantly thought back to August 16, 1977, when Elvis died. The coverage had an eerie sense of familiarity, as if I was re-living that event in some way. Some of it I can vaguely remember from back then, while other parts I have watched on videos over the years. I felt sympathy for Jackson’s many fans because, as an Elvis fan, I know some of what they will go through in the coming days and years.

I also felt sympathy for Lisa Marie Presley. If someone like me, who never met either person and was only a fan of one of them, could feel the sense of déjà vu between the two experiences, I could only wonder what Elvis’ daughter and Jackson’s ex-wife would feel.

Lisa Marie released a brief statement yesterday, which you can read at Elvis.com. Today, she released a much longer blog post about the topic, “He Knew,” on her MySpace page. In the post, she offers new perspectives on why she was attracted to Michael Jackson and on the deaths of both Jackson and her father. It is a compelling read.

Incidentally, today marks the 32nd anniversary of what would prove to be Elvis’ last concert. It is also the 30th anniversary of the death of Elvis’ father and Lisa Marie’s grandfather, Vernon Presley. Today is also the 100th anniversary of the birth of Elvis’ longtime manager, Colonel Tom Parker.

Back On The Track: 40 years since the Elvis ’68 Comeback Special [The Film Frontier blog]

/ TY

“I want everyone to know what I can really do.”
–Elvis to Executive Producer Bob Finkel, May 1968

Forty years ago tonight, Elvis Presley got himself back on the track. This evening marks the 40th anniversary of the first broadcast of the ELVIS television special on NBC. Elvis had spent most of the 1960s making entertaining but silly B-movies, with songs sometimes as bad as the women were beautiful.

On December 3, 1968, everything changed.

A highlight of the show, filmed that June, featured Elvis reinvigorating many of his old hits while performing a series of four live concerts before small audiences. He had been absent from the concert stage for over seven years, and absent from the general public’s consciousness for nearly as long.

The closing number of the television special was a new song, “If I Can Dream,” a tribute to Martin Luther King, Jr., and Robert Kennedy–who had both been assassinated earlier that year. The song’s message is as strong and relevant today as ever.

The ’68 special became NBC’s highest rated program of the year and served as the launching point for a new and exciting phase in Elvis’ career. Hit recording sessions and a triumphant, full-time return to live performances soon followed.

“I’m never going to sing another song I don’t believe in. I’m never going to make another movie I don’t believe in.”
–Elvis to Producer-Director Steve Binder, June 1968

Lookin’ For “Trouble” In Vegas

/ TY

Though I grew up listening to him all my life, it wasn’t until I was about 12-years-old that I became a “serious” Elvis fan. By that, I mean that was the first year I actually started my own collection of his records rather than listening to tapes of my brother’s records. It was my brother who gave me my third and fourth Elvis LP albums for Christmas 1987, Elvis’ Golden Records and On Stage—February, 1970. I played both of those records until they were nearly worn out.

I can’t remember how many times I listened to On Stage before I noticed something unusual between two of the songs. The first time I caught it, I lifted the needle up and playing the segment again to make sure I wasn’t crazy. “You’re just really knocking yourself out to make everybody happy!” a woman in the audience says, between “Polk Salad Annie” and “Yesterday.” How had I missed hearing that all the previous times I played the record? For whatever reason, hearing stray comments of audience members during live concerts took on a fascination for me after this. Perhaps it was because it made the concerts seem that much more real.

Fast-forward 13 years. In 2000, BMG released the 3-disc That’s The Way It Is: Special Edition. Featuring Elvis’ August 12, 1970, Midnight Show in Las Vegas, the highlight of this set was Disc Two: The Concert. This was the first release of a complete concert recorded for That’s The Way It Is.

The liner notes state that this show was “probably the best concert ever recorded by Elvis Presley.” I’m unable to buy every single FTD release, but I’ve heard at least parts of more than 75 Elvis concerts. I wasn’t old enough to see Elvis Presley perform before he passed away, but if someone ever invents a time machine, I would have a tough time choosing between buying a ticket back in time to see this concert versus Elvis’ 6 PM, June 27, 1968, Sit Down show in Burbank, recorded for the ELVIS special.

While the raw power of that 1968 show, featuring definitive live versions of many of his classic hits, certainly has a huge appeal, in my heart of hearts, I must admit I would probably choose to see this 1970 concert instead. A relaxed but energetic Elvis performs a wide variety of musical styles, proving that he is not only a consummate showman, but the greatest entertainer of all time.

The sound mix on this CD is terrific. So much so, in fact, that you can clearly hear comments from several different audience members throughout the show. It’s a fascinating listening experience, so if you haven’t played this one in awhile, I suggest you take it out, crank it up, and try to picture yourself there.

It’s not really my purpose today to review an eight-year-old boxed set, though. Instead, I want to focus on some of those audience comments, including one participant who becomes more and more demanding until Elvis finally has enough.

The fun comments begin after “Polk Salad Annie.” As an aside, I want to point out that the opening seconds of this song have been replaced with the opening seconds of its counterpart from Elvis’ August 10, 1970, Opening Show (which FTD later released in full on One Night In Vegas). Presumably, there were audio issues at the beginning of the August 12 recording, though it certainly sounds acceptable in both the 1970 and 2000 versions of the That’s The Way It Is film.

Soon after the song ends, a man in the audience growls “Blue Suede Shoes!” as a request. “One Night!” yells a woman.

“Hang loose, man, I’ll get it for you,” says Elvis, apparently to the Growling Man. He is obviously in a great mood, because he does not always field song requests. Just a few months earlier, during his February 1970 engagement, as captured on the 1999 version of On Stage, Elvis responded to a man who yelled out “Jailhouse!” by saying, “I can’t do that. We don’t have it on the program, man, I’m sorry. I don’t have ‘Jailhouse Rock’ or all that jazz on the program tonight. I’ve recorded something like four hundred and eighty-something songs, and I can only do sixteen of them, so I’m sorry, I can’t. If I don’t do the songs you want to hear, I’m sorry.”

At the August 12 show, Elvis lets the requests keep coming, though. “Let’s do a little ‘Treat Me Nice!'” shouts another man. “‘Wonder of You’!” shouts a woman, and a couple of other audience members agree with her.

Her request gets Elvis’ attention as well. “Have we got ‘The Wonder of You’ on the charts over there?” he asks one of his band members. While Elvis waits for an answer, the Growling Man shouts “Blue Suede Shoes!” a couple more times.

“All right, we’ll get it,” Elvis says, though it is not clear whether he is referring to “The Wonder of You” or to “Blue Suede Shoes” again. For what it’s worth, he never sings “The Wonder of You” in this show, though. At this point, the concert is edited again. Portions of what was taken out can be seen in the 1970 version of the That’s The Way It Is movie. Elvis continues interacting with the audience, relaxed enough to sit on the edge of the stage and even take sips of a mixed drink from one of them. He instructs the band to play some music, and when they start out tentatively, he tells them not to be afraid to just “play the hell out of it!”

Shortly after that, Elvis jumps down into the audience, causing pandemonium. He slowly makes his way through a swarm of fans from one side of the showroom to the other. Elvis also pulled this extremely rare stunt at the August 11, 1970, Dinner Show, during “Love Me Tender.”

The CD picks the show back up with Elvis already back on stage, launching into “Heartbreak Hotel.” The film reveals that Elvis is now disheveled and part of his costume is torn, but he looks so alive, like he’s having the best time ever and wants to make sure everyone there feels the same way.

Elvis then knocks out a couple of those requests. He performs a great version of “One Night” and quickly follows that with a fast-paced “Blue Suede Shoes.” Though Elvis had performed “Blue Suede Shoes” as requested, Growling Man is apparently not satisfied and wants to start controlling each song of the show. No sooner does “Blue Suede Shoes” end that he begins shouting his next request, “‘Trouble’!” A woman, probably one of Growling Man’s sisters sitting at the same table, also shouts “‘Trouble’!”

Elvis is in a groove now, though, and moves right into “All Shook Up.” After that, Elvis calls for his stool and grabs his electric guitar. Harkening back to his August 1969 Vegas engagement, Elvis is about to treat this audience to another extremely rare moment, perhaps never again to be repeated. Before Elvis can get going, though, Growing Man pipes up again with “‘Trouble’!”

“Do what?” asks Elvis.

“‘Trouble’!” demands Growling Man. In unison, two women then shout “‘Trouble’!” as well. After no response from Elvis, Growling Man tries yet again, “‘Trouble’!”

Suddenly, another man, sounding older, throws out his own request: “Anything!” which gets a laugh from the audience and a reaction from Elvis.

“Anything. . .” Elvis sings, apparently ad-libbing, “. . . you’re feeling lonely. . .”

“You’re So Square!” shouts another man.

Elvis hears this, too, wrapping up his little song with a spoken bit: “. . . baby, I don’t care.”

“‘Suspicious Minds’!” shouts someone else. (Hey, I wonder if anyone ever yelled out “Can’t Help Falling In Love!” as a request at an Elvis concert? All of the other fans would have probably hurt them.)

A woman throws out a different sort of request, “Hey, Elvis, come up here on the balcony!”

“Honey, I wouldn’t come out there again for love nor money, I tell you,” he replies good-naturedly.

Disturbed by the lack of attention, Growling Man yells “‘Trouble’!” again. Meanwhile, Elvis gets “strapped in” to his guitar and announces that he’s going to sing “Little Sister.” Though it’s not “Trouble,” Growling Man apparently approves of this song choice, for he shouts, “Get it on, baby!” though he might have been talking to one of his sisters.

A few songs later, Elvis wraps up his impromptu jam with a short version of “Are You Lonesome Tonight,” even throwing in the “Do you gaze at your bald head and wish you had hair?” line that had helped send him into a fit of laughter just a year before when performing the same song.

“‘Trouble’!” yells Growling Man.

Elvis ignores him, taking off his guitar. “Well, we got that out of the way and now we can go on with the show,” he says.

“Do ‘Don’t Be Cruel,'” yells someone else.

“What? Oh yeah, yeah. There’s about 26 others I forgot, you see,” says Elvis.

“Remember them!” demands another audience member.

“Do ‘Trouble,'” growls the Growling Man.

“Punt! We’ll punt is what we’ll do,” Elvis tells the Growling Man, seemingly tired of being told what to do. In American football, a team that is unable to advance far enough down the field will punt (kick) the ball to the other team in hopes of obtaining better field position later. Elvis has essentially given up on pleasing the Growling Man and is ready to move on to something else. He wraps up the show with fantastic renditions of “Bridge Over Troubled Water,” “Suspicious Minds,” and “Can’t Help Falling In Love.” Growling Man is never audible again. Maybe he and his sisters left.

I wish I could’ve been there, August 12, 1970—one of the best shows ever, unless you were looking for “Trouble.”

Carefully planned randomness [The Film Frontier blog]

/ TY

There was a time when, with rare exception, I only listened to Elvis music. My faulty logic was why listen to anyone else when you can just listen to the best all the time? While I still think Elvis is the greatest, I finally came to realize that variety is the spice of life.

I often refer back to a quote from Harve Bennett (producer of Star Treks II through V) in which he said, if you eat turkey every day, Thanksgiving doesn’t seem so special anymore. Bennett was referring to the effect of the Star Trek: The Next Generation TV series on the success of the Star Trek films, but I find this actually applies to many situations in life. With music, I have found that I appreciate Elvis even more by also listening to the work of others.

I have lately been organizing my music on iTunes. I am not transferring my entire collection over, by any means, but as it stands, I have 908 songs loaded, 365 of which are Elvis. (Hey, that’s one Elvis song for every day of the year.) Elvis released something like 750 different songs in his lifetime, and I have at least one version of all of them. Once you include multiple live versions, alternate takes, and rehearsals, you are talking about thousands of Elvis tracks.

I have found over the years that I most enjoy my music played in a random fashion, especially when mixing artists and genres. Almost like owning your own personal radio station that plays only music you like, but at the whim of an unseen DJ. I just think it is more fun that way than playing straight through on every album.

If I just play those 908 songs on random, then, this means Elvis still comes up more than 40% of the time (and that is going with the very big and wrong assumption that iTunes shuffles them in some kind of even fashion). I wanted to cut Elvis back from 40% to about 15 to 20% without having to delete Elvis songs (or having to add tons more non-Elvis songs).

I started researching playlists and found an incredible, if complicated, solution by someone called “Code Monkey.” In a nutshell, it involves nested smart playlists. It took me a couple of tries to get it to work right (at least on iTunes, I may have to tweak more once I get the smartlists over to an actual iPod), but it was definitely worth the effort.

I have now “programmed” a much better random experience (and no, the irony of that is not lost on me).

Right now, I have iTunes set to play 20% Elvis music, 16% Blues music (excluding Elvis), 30% Country music (again, excluding Elvis), and 24% for all other non-Elvis and non-Christmas music, which includes Rock, Standards, and Oldies. The remaining 10% is for whatever specific songs I definitely want to hear in the rotation, currently Christmas music. To do all of this, I created a total of 23 smartlists.

Do not get me wrong here, though. I play Elvis music far more than 20% of the time. The “20%” is just for use when I’m shuffling other artists into the mix as well. I also have Elvis-only playlists for use when I only want to hear the greatest.

Since it is my job to point out cool stuff to you, here is a link to Code Monkey’s documentation (PDF format) on how to create a similar kind of smartlist system:

Managing Your iPod With Smartlists

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As long as I am pointing out random cool stuff to you, be sure to check out this music video of Elvis singing “Blue Christmas” in duet with Martina McBride, which promotes the new album Elvis Presley Christmas Duets. Find out more information here.

REVIEW: Elvis Sings Memphis, Tennessee CD Set (FTD)

/ TY

Elvis Sings Memphis, Tennessee CD set (Follow That Dream Records, 2008)

By Any Other Name

Elvis Sings Memphis, Tennessee is part of FTD’s Classic Albums series. If you were around in the 1960s, surely you remember this classic album?

Oh, you don’t remember it? And you call yourself an Elvis fan? Well, actually, that’s probably because RCA didn’t release it until 1990. Now do you remember?

Still, nothing? Perhaps that’s because the 1990 title of this album was For The Asking: The Lost Album. In the US, RCA didn’t release it until another year later and the title was simply The Lost Album.

Sounds pretty cool, right? Since it’s obviously not the soundtrack to J.J. Abrams’ Lost television series, what was so “Lost” about this album? Had the recordings been discovered in an abandoned salt mine alongside the That’s The Way It Is and Elvis On Tour outtakes featured in 1992’s Elvis: The Lost Performances video? Not exactly, but more on that later.

Though I had already been collecting his records for some time, 1991’s The Lost Album was actually one of my first Elvis CDs. It wasn’t a favorite, and I unceremoniously dumped it off on my brother once I obtained From Nashville To Memphis.

Since For The Asking: The Lost Album was not released during Elvis’ lifetime, FTD apparently decided to take some artistic license and change the title to Elvis Sings Memphis, Tennessee. I don’t want to make too big a deal about this, since it is also a fine title, but I actually prefer For The Asking (forget all of the “lost” stuff) as a title. It fits right in with Something For Everybody and Pot Luck, plus makes a subtle reference to one of the best songs on the album.

Despite the consternation this move caused some fans, I have no problem with FTD releasing an invented album in the Classic Albums series to fill a gap in Elvis’ original releases. Sure, you get the original master takes as well, but the Classic Albums series is really all about the alternates and outtakes. Each release crams as many of those as possible into 2 CDs, allowing a true study of specific moments in Elvis’ career.

What Now, What Next, Where To?

I hate to harp on song sequencing yet again, but FTD took another artistic license on this album and re-arranged the songs versus the 1990 release. I would have no problem with that if it improved the listening experience. However, the new order is just not as pleasing as the original. For your reference, here’s the original song order:

Side 1

  • Long, Lonely Highway
  • Western Union
  • Witchcraft
  • Love Me Tonight
  • What Now, What Next, Where To?
  • Please Don’t Drag That String Around
  • Blue River
  • Never Ending

Side 2

  • Devil in Disguise
  • Finders Keepers, Losers Weepers
  • Echoes of Love
  • Slowly But Surely
  • It Hurts Me
  • Memphis Tennessee
  • Ask Me

If they put me in charge of FTD for the day, the only change I would have made to the original sequencing above was exchanging “Never Ending” and “It Hurts Me.” “Never Ending” is appealing as a Side 1 closer, though, so it’s a tough call. Given that this is for a CD-only release, rather than vinyl, I still would have made the move.

How To Lose An Album In Six Months

When Elvis recorded 14 songs in two days at RCA’s Studio B in Nashville in May 1963, the intent was to release an album and at least one single. From the session, “Devil In Disguise” (with “Please Don’t Drag That String Around”) became a hit single, yet an album never followed.

As strange as it may seem to us today, the biggest strike against this potential album may have been that it was not a movie soundtrack. For whatever reason, Elvis’ movie albums, like G.I. Blues and Blue Hawaii, far outsold his non-movie albums, like Elvis Is Back and Pot Luck. While Blue Hawaii contains one of Elvis’ all-time best songs, “Can’t Help Falling In Love,” the album as a whole cannot begin to compare to the musical greatness that Elvis Is Back represents. Yet, Blue Hawaii outsold it ten to one.

Rather than also include them on their associated albums, RCA was still holding back singles at this time for release in the Elvis’ Golden Records series. With the disappointing sales of Pot Luck to back up the decision, Elvis’ Golden Records Vol. 3 took the August release slot originally slated for the May session’s potential album. Sadly, the session’s best recording, “Witchcraft,” became a B-side to movie tune “Bossa Nova Baby.” In November, the potential album lost another two songs, this time to fill out the Fun In Acapulco soundtrack album.

Meanwhile, Elvis wanted another try at “Memphis, Tennessee” and “Ask Me,” unsatisfied with the May masters of these songs. In January 1964, Elvis re-recorded both songs, and threw in a new song, “It Hurts Me.” By then, the potential album was already dead, though. Instead, RCA used the remaining songs from the May session as B-sides and fillers on various releases throughout the 1960s.

The Review

FTD’s Elvis Sings Memphis, Tennessee includes all of the master recordings from the May 1963 sessions, a peek at an album that might have been. The result is an occasionally uneven but worthy collection of songs that modern day Elvis fans will appreciate, though it likely would have under performed if released back in 1963.

Also included are the masters from the January 1964 sessions, allowing a side-by-side comparison of Elvis’ 1963 and 1964 attempts at “Memphis, Tennessee” and “Ask Me.” “It Hurts Me” also serves to strengthen the release.

Since this is the Classic Albums series, FTD also fills the two CDs with alternates and outtakes. With 36 tracks of alternates and outtakes, representing more takes than I can count, FTD delivers in a big way on Elvis Sings Memphis, Tennessee. While listening to multiple takes of “Finders Keepers, Losers Weepers” can be daunting, there are also enough gems here to keep these CDs in your player for quite some time. Let’s check it out song-by-song.

Witchcraft

  • Disc 1, Track 01, Master—Take 3 [2:24]: Though not necessarily a great leadoff track, Elvis Sings Memphis Tennessee kicks off with its strongest song, “Witchcraft.” This is probably the only song on this album that would have fit right in on Elvis Is Back from three years earlier. An incredible performance not only by Elvis on vocals, but also by Boots Randolph on saxophone. With great lyrics and phrasing, it’s hard not to love this song. It’s a real pity this was wasted as a B-Side.
  • Disc 1, Track 18, Take 1 [2:40]: This is another great take of the song, with an even wilder sax. Elvis does a softer approach to some of the lyrics, which sounds really cool, a wonderful alternate. This take was first released on Collectors Gold, but I don’t remember it sounding this incredible before!
  • Disc 2, Track 06, Take 2 [2:33]: Not as exciting as Take 1 or Take 3, but still worth a listen. This take was first released on Today, Tomorrow & Forever.

Please Don’t Drag That String Around

  • Disc 1, Track 02, Master—Take 6 [1:56]: After the incredible “Witchcraft,” it’s a real downer to immediately hit a song as weak as “Please Don’t Drag That String Around,” the B-Side of “Devil In Disguise.” Parts of this one are so bad that it almost sounds like a movie tune. Elvis recorded a ton of incredible Otis Blackwell songs, but this one, co-written with Winfield Scott, just doesn’t compare to “Don’t Be Cruel,” “Make Me Know It,” and most of the others. Incidentally, what was with Elvis and puppet songs? In 1960, he recorded “Wooden Heart,” in 1963, he recorded “Please Don’t Drag That String Around,” and finally, he completed his “Puppet Trilogy” in 1965 with “Puppet On A String.”
  • Disc 1, Track 19, Take 1 [2:09]: For whatever reason, I like this take a little better than the master. Perhaps Elvis sounds less bored since it’s only the first take. This is a great example of Elvis making the most out of a weak song, something he had to do far too often throughout his career. This take was first released on Such A Night.
  • Disc 2, Track 02, Take 2 [2:10]: This take, for which boredom quickly settles in, was first released on Studio B.
  • Disc 2, Track 03, Takes 3-5 [3:55]: Take 3 is just a couple of false starts prior to Elvis even singing. Take 4 actually goes on for quite awhile before the take is blown. Take 5 is a complete take. All are previously unreleased. I’ll stick with Take 1 when I’m in the mood to hear this song.

Love Me Tonight

  • Disc 1, Track 03, Master—Take 8 [2:03]: “Love Me Tonight” is a quiet, effective love song that still shows off a bit of Elvis’ vocal power. This Don Robertson song unfortunately made its debut as a bonus song on Fun In Acapulco, so it is one of Elvis’ best romantic songs that the general public has never heard.
  • Disc 1, Track 20, Take 1 [2:12]: This alternate sounds slightly slower. Another good listen, though the master is better. This take was first released on Collectors Gold.
  • Disc 2, Track 08, Takes 2-4 [3:00]: The previously unreleased Take 2 is just a false start, with only a bit of Floyd Cramer’s piano intro. Take 3 actually includes a few Elvis vocals before he cuts the song. Take 4 is a complete take, another solid performance of a top-notch song. Takes 3 and 4 were first released on Studio B.
  • Disc 2, Track 09, Take 6, Take 5 [3:00]: This track is probably most notable for a bit of between take rehearsals by Elvis, the kind of “fly on the wall” stuff that I love. Elvis blows Take 6 early. FTD then backs up to tack on the complete Take 5, I suppose because it would be odd to first listen to a complete take followed up by a short, blown take on the same track. Both of these takes are previously unreleased.

Slowly But Surely

  • Disc 1, Track 04, Master—Take 5 [2:15]: With an annoying arrangement and inane lyrics, “Slowly But Surely” is not one of Elvis’ better songs. This one also made its debut as a bonus on Fun In Acapulco, where it actually managed to be one of the stronger, if out of place, songs.
  • Disc 1, Track 21, Take 1 [2:32]: This take proves that ‘Slowly But Surely’ was just as bad on the first try as it was on the master take. You can hear Elvis trying to make it good, but there’s just not much there. This was first released on Long Lonely Highway.
  • Disc 2, Track 12, Takes 2-4 [2:50]: Elvis whistles an end to Take 2 before it hardly has a chance to begin. “Too slow,” he tells the band. Take 3 actually goes on for awhile before Elvis halts it. “Good God, what am I saying?” Elvis says as he brings Take 4 to an early end as well. As a listener, I can only thank him. All of these blown takes are previously unreleased.

It Hurts Me

  • Disc 1, Track 05, Master—Take 5 [2:30]: When I first heard this song, I had a hard time believing Elvis actually recorded it in 1964. Were it not for the overpowering Jordanaires, it reminds me of his more mature material from later years. “It Hurts Me” gives “Witchcraft” a real fight for best song of the album, and it’s certainly one of the best of this time period. What did RCA do with this song at the time? They made it the B-Side to “Kissin’ Cousins,” of course. “Kissin’ Cousins” – unbelievable!
  • Disc 1, Track 22, Take 1 [2:39]: This is an interesting performance, with slightly different phrasings by Elvis. Is it better than the master? I’m not sure, but it’s certainly a contender. I was surprised to learn in Writing For The King that country singer Charlie Daniels actually co-wrote this song. This take was first released on Such A Night.
  • Disc 2, Track 22, Takes 2-5 [4:15]: Take 2 is blown early after just two words. Take 3 goes a little longer, for a line or two this time. Take 4 actually shapes up to be a great listen before Elvis unfortunately cuts it off early when he gets behind. Takes 2-4 are previously unreleased. Take 5 is apparently the master again. I’m not accusing FTD of padding out this track, but I didn’t hear an appreciable difference. Perhaps your ears will vary.

Echoes of Love

  • Disc 1, Track 06, Master—Take 10 [2:41]: Were it not for the obnoxious background music, “Echoes of Love” may very well have been a classic love song. As it is, it sounds like a movie tune and can be hard to listen to unless you make a real effort to focus on Elvis’ voice and mentally drown out everything else. A real shame, considering the beautiful lyrics. This song made its debut on Kissin’ Cousins, where it was actually one of the most listenable songs.
  • Disc 1, Track 23, Take 1 [2:52]: Nine takes prior to the master and the annoying background music is unfortunately already there in force. On this previously unreleased take, Elvis laughs a bit in the middle yet keeps going. A nice moment in an otherwise forgettable song.
  • Disc 2, Track 01, Take 2, Take 4, Take 5, Take 3 [5:51]: Take 2 is just four words before Elvis cuts it. Take 4 goes on a little longer but Elvis cuts it once again. Take 5 eventually falls apart as well. FTD ends the track by backing up to Take 3, a complete performance. Imagine “Echoes of Love” with a simpler arrangement, maybe just an acoustic guitar, a piano, and Elvis, and this could have been a real winner. Takes 2 and 3 were originally released on Studio B. Takes 4 and 5 are previously unreleased.
  • Disc 2, Track 16, Take 6, Take 7 [2:01]: Take 6 is blown in just seconds. Take 7 is nearly complete, but thankfully ends early as well. Both are previously unreleased.
  • Disc 2, Track 17, Take 9, Take 8 [3:26]: The previously unreleased Take 9 starts out way too slow, but it takes a few lines for Elvis to shut the song down. FTD then backs us up to Take 8, a complete take first released on Close Up.

Long, Lonely Highway

  • Disc 1, Track 07, Master—Take 2 [2:23]: Your reward for listening to “Echoes of Love” comes immediately, in the form of “Long, Lonely Highway,” another of this album’s best songs. Like “Promised Land” from ten years later, this one’s perfect for playing loudly in the car and makes a better leadoff song than “Witchcraft.” It should come as no surprise that this is a great song, though. Doc Pomus and Mort Shuman wrote it, after all. Their other Elvis songs include “A Mess of Blues,” “Night Rider” (another great “road song”), “Little Sister,” “His Latest Flame,” “Suspicion,” and many others. RCA predictably wasted this one as a bonus song on Kissin’ Cousins, giving fans at least one reason to buy that horrible soundtrack.
  • Disc 1, Track 24, Take 1 [2:57]: Take 2 was the master, so Take 1 is unfortunately the only other take of this song. This take was actually released as the B-Side to “I’m Yours” in 1965, making it an alternate master. This one seems even more spirited than the album version and may even be superior.

Devil In Disguise

  • Disc 1, Track 08, Master—Take 6 [2:21]: “Devil In Disguise” is a terrific 40-second song that never fully develops beyond that. Instead, it just repeats those 40 seconds over and over until it is just long enough to be a single (and a hit one at that). I must admit to loving the clap-filled instrumental break near the end, though. Not the greatest, but definitely a fun song. “Witchcraft” and “Devil In Disguise” on the same album might have even sparked some controversy back in the day or, sadly, even now! Maybe they should have called this one Elvis’ Halloween Album instead.
  • Disc 1, Track 25, Take 3 [2:39]: This take begins with a false start and then starts over (while apparently keeping the same take number). This was first released on Long Lonely Highway. It’s always interesting to hear alternates of hit songs, but this one is fairly close to the released version. We do get a few background variations and an Elvis laugh near the end, though.
  • Disc 2, Track 04, Take 1, Take 2, Takes 4-6 [5:06]: The previously unreleased Take 1 consists of a couple of false starts prior to Elvis even singing. Interestingly, Elvis sounds slightly irritated before starting the song. “Here we go! We’re rolling!” he says, leaving the impression that some people are goofing off when he’s ready to get to work on the song. Take 2, previously released on Long Lonely Highway, is another couple of false starts, with a bit of singing on one and another that makes it through the opening 40 seconds before Elvis messes up the lyrics and whistles the song to an abrupt end. Take 4 has a more spirited opening that I really like but Elvis quickly calls it off. Take 5 is another short take, barely getting to the main chorus before Elvis ends the song. Takes 4 and 5 are previously unreleased. Take 6 is the master again, though perhaps a rough mix. I was hoping the point of repeating the master was to take the performance to its conclusion without the fade out but, alas, the fade is still there.

Never Ending

  • Disc 1, Track 09, Master—Take 3 [2:01]: “Never Ending” is another incredible love song that helps add some weight to Elvis Sings Memphis, Tennessee. This ballad also has a bit of Latin flavor. I love the strings on this one. “Echoes of Love” could have been this good with this kind of background. This was released as the B-Side of “Such A Night” in 1964.
  • Disc 1, Track 26, Take 1 [2:01]: Take 1 begins with a false start by the band and then includes a complete take. This is slightly shorter than the master. Again, the strings are beautiful. This take was first released on Long Lonely Highway.
  • Disc 2, Track 05, Take 2, Take 3 [3:20]: The previously unreleased Take 2 is not as strong as Take 1 or the master and eventually falls apart. Take 3 is the master again. With this kind of performance, I won’t complain about listening again.

Ask Me

  • Disc 1, Track 10, Master—1964 Take 11 [2:09]: I know Elvis recorded this song first, but “Ask Me” makes a perfect sequel to “It Hurts Me.” The “hero” of “It Hurts Me” has finally gotten the girl, and he’s pledging his love to her, just as he promised he would. This song is another reflection of the more mature Elvis, and would have fit right in with the songs he recorded in 1970 and 1971. This is the 1964 version of “Ask Me,” which was released as a single later that year.
  • Disc 1, Track 17, Rejected Master—1963 Take 2 [2:11]: Here we have the 1963 master of “Ask Me,” which Elvis later rejected. While still a decent performance, I think he made the right choice. The 1964 version is superior. This 1963 master was first released on Collectors Gold.
  • Disc 1, Track 27, 1964 Take 1, Take 2 [2:40]: Take 1 falls apart quickly. Take 2 is a complete performance, first released on Today, Tomorrow & Forever. Many times, I complain about the Jordanaires, but I love their haunting background vocals on this song.
  • Disc 1, Track 31, 1963 Take 1 [2:30]: Take 1 begins with a false start and then restarts into a full performance. Again, Elvis’ vocals are not as effective on this song as they would be a year later. He sounds extremely tired. This performance is previously unreleased.
  • Disc 2, Track 14, 1963 Take 3, Take 4 [3:25]: After knocking out a few other songs, Elvis returned to “Ask Me” at the end of the 1963 session, picking up with Take 3, presented here for the first time. He sounds stronger here, but still not as good as 1964. He eventually calls the take off, noting, “This song’s going to make me a nervous wreck.” Take 4, also previously unreleased, is complete. His voice weakens again, but it is the end of a two-day marathon session, after all.
  • Disc 2, Track 15, 1963 Take 5, Take 6 [3:43]: Here we have two more previously unreleased attempts at this song from 1963. Take 5 falls apart less than a minute in. Take 6, Elvis’ last attempt at the song in 1963, consists of a couple of false starts followed by a complete performance. This may be the most effective 1963 take of the song.
  • Disc 2, Track 19, 1964 Take 3 [2:29]: Elvis’ voice is obviously much stronger in the 1964 session, as evidenced by playing these tracks back to back. Take 3 is a complete performance, previously unreleased. Though still several takes away, this one is actually fairly close to the master.
  • Disc 2, Track 20, 1964 Take 4, Take 6, Take 7 [3:02]: Take 4 lasts only a few lines. Take 6 is just a second or two of instrumental. Take 7 is a complete take. Tracks 4 and 6 are previously unreleased. Track 7 first appeared on Close Up and is similar to the master.
  • Disc 2, Track 21, 1964 Take 8, Take 10, Take 9 [2:51]: Take 8 is just a few words. Take 10 is just a few notes. FTD then rewinds to Take 9, a complete though sub-par performance. Takes 8 and 9 first appeared on Studio B. The two or three seconds that comprise Take 10 are previously unreleased.

Memphis, Tennessee

  • Disc 1, Track 11, Master—1964 Take 6 [2:10]: I love the jungle rhythm on Elvis’ cover of “Memphis, Tennessee,” the classic Chuck Berry song. Like “Ask Me,” Elvis rejected his 1963 master of this song and re-recorded it in 1964. According to Ernst Jorgensen in Elvis Presley: A Life In Music, Elvis played his yet-to-be-released recording of “Memphis, Tennessee” for Johnny Rivers, who proceeded to record and rush out a version ahead of Elvis. Rivers scored a hit while Elvis’ recording was relegated to 1965’s Elvis For Everyone album of leftovers. Besides the jungle rhythms, the best part of “Memphis, Tennessee” is the surprise ending. My favorite Elvis cover of a Chuck Berry song is probably 1973’s “Promised Land,” but “Memphis, Tennessee” runs a close second.
  • Disc 1, Track 16, Rejected Master—1963 Take 2 [2:16]: I think I like the drums and the rest of the background on this 1963 master even better, but Elvis doesn’t sound quite as good as in 1964. The opening drum riff before “That’s All Right” in Elvis’ August 1970 Vegas concerts remind me a bit of the jungle rhythms on both of these masters. The 1963 master was first released on Collectors Gold, but sounds better here.
  • Disc 1, Track 28, 1964 Take 1 [2:47]: This is the first take from 1964. The opening drums are muffled, so I don’t like this one quite as much. Elvis kind of redeems the song by the end, though, with a steadily improving performance. This was first released on Studio B.
  • Disc 2, Track 10, 1963 Take 1 [2:33]: Take 1 starts with a flubbed opening and then restarts into a full performance. Every now and then, you can hear hints of the circa-1956 Elvis on this interesting take first released on From Nashville To Memphis.
  • Disc 2, Track 18, 1964 Take 2, Take 3, Take 5 [4:28]: Take 2 is just the opening, no singing. The band never sounds quite right on Take 3, more subdued. Well into the song, Elvis eventually laughingly ends the take. Takes 2 and 3 are previously unreleased. Take 5 is a complete performance, first released on Such A Night. A great take, but the master is the best.

Finders Keepers, Losers Weepers

  • Disc 1, Track 12, Master—Take 3 [1:53]: “Finders Keepers, Losers Weepers” sounds like a movie tune, and a bad one at that. This childish song gets old fast and is probably the worst selection in this collection. It first appeared on the Elvis For Everyone album.
  • Disc 1, Track 29, Take 1 [2:05]: This take seems a little slower, but the difference doesn’t help. It’s still not a very good song, no matter the speed. This one was first released on Long Lonely Highway.
  • Disc 2, Track 07, Take 2, Take 3 [3:14]: The previously unreleased Take 2 actually grows on me a little bit, but it eventually ends early. Elvis asks for the song to go a little faster and then we arrive at FTD’s replay of the master take.

Western Union

  • Disc 1, Track 13, Master—Take 4 [2:14]: Okay, maybe “Western Union” is actually the worst song on this album. It’s not that the song is so bad, it’s just that it sounds like a hollow, inferior remake of “Return to Sender.” Plus, this one features the Jordanaires too prominently for my taste. If I never hear them sing “Western Union! Clickety-clack!” again, it will be too soon. “Western Union” didn’t show up until 1968’s Speedway album. It was written by Sid Tepper and Roy Bennett, who wrote over 40 songs for Elvis. Most of them were low-grade movie tunes that make “Western Union” sound like a masterpiece by comparison, including “C-O-N-F-I-D-ENCE,” Elvis’ worst song ever.
  • Disc 1, Track 30, Take 1 [2:07]: Oh great, some Jordanaire rehearsals are here prior to Take 1, which consists of a blown opening and then a complete performance. The Jordanaires are even louder in the mix on this one, making me long for the master. I’ll give Elvis credit here, though; he sings this throwaway song with a lot of spirit. I can’t knock his attempt, but the song is just not worthy of the effort. This is a previously unreleased take.
  • Disc 2, Track 11, Take 2, Take 3 [3:24]: Elvis sings softer on Take 2, but the Jordanaires are as loud as ever. Elvis ends this one early with another whistle. Take 3 starts with a flubbed opening and then restarts into a full take. I really wish I had a “Mute the Jordanaires” button on my CD player. Take 2 is previously unreleased, while Take 3 first appeared on Studio B.

Blue River

  • Disc 1, Track 14, Master—Take 2 [2:11]: FTD really left a lot of the junk songs for the end of this album, another reason I don’t like the new sequencing. They should have spread them out a bit. I guess they wanted us to take all of the torture at once. “Blue River” is a song that just tries too hard. It’s fun for an occasional listen, though. “Blue River” was first released as the B-Side of ‘Tell Me Why’ in 1965.
  • Disc 2, Track 13, Take 1, Take 2 [2:22]: We get a bit of a rehearsal followed by a very short Take 1 that Elvis flubs, previously unreleased. Take 2 is a repeat of the master, but a little longer and ending with a bit of studio chatter.

What Now, What Next, Where To

  • Disc 1, Track 15, Master—Take 1 [2:01]: Despite the cumbersome title, which may make you think “movie tune,” “What Now, What Next, Where To” is actually a beautiful ballad by Don Robertson and Hal Blair. Elvis nails the song in just one take. It first appeared on the Double Trouble soundtrack, and it closes out Elvis Sings Memphis, Tennessee with style.

* * *

As you can tell, most of the songs on Elvis Sings Memphis, Tennessee are top-notch recordings that deserved better than being used as B-Sides and album fillers. If you think of 1963 and 1964 as wasted years in Elvis’ recording career due to the movie soundtracks, then this album may come as a revelation to you. Despite the movie tunes, Elvis was also busy cranking out great material in Nashville. If you enjoy Elvis Sings Memphis, Tennessee, be sure to find a copy of From Nashville To Memphis if you don’t already own it. That was the first release that debunked my own delusions that most of Elvis’ 1960s recordings were worthless.

Just a few quick words about the cover and packaging. This is an oversized release, the size of a 45 RPM single. The cover art is fantastic. If I didn’t know better, I would believe that this really was a re-release of a 1964 album. Though not as bad as I complained about on That’s The Way It Is, the plastic spindles that hold the CDs to the cardboard are still slightly misaligned, meaning that the label reproductions below the CDs peek through a bit on the sides.

The enclosed booklet contains all of the session information that you need, as well as some brief liner notes giving the history of this unique album. One thing I liked in particular were the small cover pictures of the various first releases of each song on the album. The colors on the front and back covers of this booklet are unfortunately washed out. If this is an intentional effect, it doesn’t look very good.

The Final Verdict

Elvis Sings Memphis, Tennessee is an essential part of the Elvis musical legend. Those fans who study Elvis’ music and like going beyond the typical Elvis songs heard everyday on the radio will certainly enjoy this album. For some, it may be a revelation. For all, it will be an enjoyable couple of hours listening to this incredible singer.

Songs: 6 (out of 10)

Audio Quality: 9

Liner Notes: 7

Cover Art: 10

Packaging: 8

Overall Experience: 8

REVIEW: Elvis: That’s The Way It Is CD Set (2008 FTD Edition) [The Film Frontier blog]

/ TY

Elvis: That’s The Way It Is CD set (Follow That Dream Records, 2008 edition)

Welcome, Elvis fans! You are probably wondering why a science fiction site is reviewing an Elvis CD. In fact, the Star Trek, Star Wars, and Superman fans who visit here may be wondering the exact same thing. The answer is, The Film Frontier is much more than just a science fiction site these days. I’ve slowly started branching it out to cover anything in pop culture that interests me. And one of my biggest interests is Elvis Presley, who was kind enough to provide the soundtrack for my life.

Background: Every dream comes true a hundred times
For Elvis fans, choosing a favorite Elvis era is almost like being asked to choose a favorite child. However, I have put a lot of thought into this very question over the years. While I also love his many achievements before and after, my favorite time period in Elvis’ career has to be June 17, 1968, through January 16, 1971.

Why those specific dates at each end of the range? June 17, 1968, was the first day Elvis reported to work for his 1968 television special, ELVIS (now known as Elvis: ’68 Comeback Special). January 16, 1971, was the day Elvis accepted what most say he considered the highest honor of his life, the National Jaycees Award for being one of 1970’s Ten Outstanding Young Men of America. Despite the fact that Elvis rarely accepted awards in person and was not used to giving speeches, he delivered an incredible acceptance speech. To this day, I find his words inspiring:

“Thank you very much, ladies and gentlemen. I’d like to thank the Jaycees for electing me as one of the Outstanding Young Men.

When I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream that I ever dreamed has come true a hundred times.

These gentlemen over here, it is these type people who care, who are dedicated. You realize that it is possible that they might be building the Kingdom of Heaven. It’s not too far-fetched from reality.

I’d like to say that I learned very early in life that:

‘Without a song, the day would never end,
Without a song, a man ain’t got a friend,
Without a song, the road would never bend,
Without a song.’

So I keep singing a song. Goodbye. Thank you.”

I see this moment as the perfect finale to the best part of Elvis’ career that began with the ’68 special. He had literally re-conquered the music world, when most had counted him out. He had never been quite this incredible before, and would never be again. Among Elvis’ work during this 31-month period are:

• ELVIS (TV special and album)
• Final three movies as an actor: Charro!, The Trouble With Girls, and Change of Habit, all of which are notable for breaking from the typical Elvis movie formula in some way
• American Studios sessions in Memphis (including #1 hit single “Suspicious Minds” and From Elvis In Memphis album)
• Return to live performances: 1969 and 1970 Las Vegas concert engagements
• RCA Studio B sessions in Nashville (including Elvis: That’s The Way It Is and Elvis Country albums)
• First documentary movie, Elvis: That’s The Way It Is, which captures rehearsals and performances from his third Vegas engagement, Summer 1970
• First concert tour since 1957

My favorite album released during Elvis’ lifetime is Elvis: That’s The Way It Is – which featured adult contemporary material from his June 1970 Nashville recordings, as well as four live cuts from his August 1970 Vegas engagement. It served as a soundtrack of sorts for the excellent documentary of the same name.

The original 1970 album
Though That’s The Way It Is eventually became my favorite album, it had to grow on me over the years. Though often overlooked, That’s The Way It Is contains some of the best songs and performances of his entire career. Though it’s my favorite, it’s not perfect.

Some criticize this album for not living up to one of its more rock-driven predecessors, From Elvis In Memphis. Unfortunately, rock ‘n’ roll fans sometimes dismiss That’s The Way It Is as an easy-listening bore. One of the causes of that issue, I believe, is the sequencing of songs on the album, meaning many of the songs should have been presented in a different order. That’s The Way It Is unfortunately starts with a live cover of the sleepy B.J. Thomas hit “I Just Can’t Help Believin’,” which immediately allows listeners to brand the album as easy-listening.

Proper sequencing of songs is very important (though perhaps less so these days in the more random iPod Age), and I believe it’s one of the areas where RCA/BMG often fails in their Elvis albums, going all the way back to the beginning.

Adding to the trouble, a couple of the live performances included on the album, “Patch It Up” and “I’ve Lost You,” are not as powerful as their studio counterparts, which should have been used instead. The studio versions had been released as singles prior to the album, so the live versions were likely considered as “bonus” items for fans that already bought the singles. The artistry of the album itself should have taken priority, though.

Apparently to complete the “feel” of a live recording, RCA overdubbed applause on the end of the studio version of “Bridge Over Troubled Water,” which closed out the album. Elvis’ vocals on the first verse of the song are also hard to hear, either on purpose or due to a technical glitch. You can better hear Elvis’ beautiful performance of this song, with his voice louder on the first verse and without the annoying applause overdubs, on Heart & Soul and the Elvis: Walk A Mile In My Shoes-The Essential 70s Masters boxed set.

The original That’s The Way It Is would have been greatly improved, and certainly better received by critics and fans, if a couple of different song versions had been used and the album had been sequenced as below. Call it “Elvis: That’s The Way It Should Have Been” – my “fantasy version” of Elvis: That’s The Way It Is.

Side 1
• “Stranger In The Crowd” (studio, as on original)
• “I’ve Lost You” (use studio version instead)
• “How The Web Was Woven” (studio, as on original)
• “You Don’t Have To Say You Love Me” (studio, as on original)
• “Bridge Over Troubled Water” (use studio version without applause overdub instead)
• “I Just Can’t Help Believin'” (live, as on original)

Side 2
• “Patch It Up” (use studio version instead)
• “Twenty Days And Twenty Nights” (studio, as on original)
• “Just Pretend” (studio, as on original)
• “The Next Step Is Love” (studio, as on original)
• “Mary In The Morning” (studio, as on original)
• “You’ve Lost That Lovin’ Feelin'” (live, as on original)

No matter the order you listen, though, the That’s The Way It Is material represents a true Elvis masterpiece.

FTD’s 2008 edition
Follow That Dream (FTD) Records is RCA/BMG’s Elvis Presley collectors label, aimed mostly at fanatics like me. FTD releases are kind of like “official” versions of bootlegs. The Elvis bootleg industry is huge, but FTD provides a legal alternative with releases focusing on alternate takes and live performances. While the mainstream is listening to yet another greatest hits compilation, the hardcore fans are listening to FTD releases. When I heard FTD was re-releasing Elvis: That’s The Way It Is on 2 CDs as part of its “Classic Album Series,” I at first wasn’t too excited, believe it or not.

Why? Well, I bought the original That’s The Way It Is on CD back in 1993 and was thrilled with it. In 1995, I bought the 5-CD set Walk A Mile In My Shoes, which included all of the songs from That’s The Way It Is (except the live versions of “Patch It Up” and “I’ve Lost You,” for which the studio versions were included).

In 1996, I bought A Hundred Years From Now: Essential Elvis, Volume 4, which included outtakes from the June 1970 sessions that produced That’s The Way It Is.

In 2000, I bought That’s The Way It Is again when RCA/BMG released a 3-disc “Special Edition” version to stores to celebrate the 30th anniversary of the album and documentary.

In 2002, I bought even more outtakes from the June 1970 sessions, on FTD’s excellent The Nashville Marathon CD. Plus, I have bought three or four other That’s The Way It Is related CDs, with rehearsals and live performances.

When it comes to That’s The Way It Is, you could say I’m pretty well covered. Did I mention it’s my favorite album? Much like Agent K in Men In Black (“This is gonna replace CDs soon; guess I’ll have to buy the White Album again”), I have learned to accept my fate. I will be buying Elvis: That’s The Way It Is at least once a decade for the rest of my life. Hey, that’s not such a bad deal!

Anyway, I wasn’t too interested in this FTD release, which compiles the original album with the relevant alternate takes from A Hundred Years From Now and The Nashville Marathon, as well as few other alternates and tracks. However, fan reviews by people I respect over at ElvisNews.com and Elvis Today changed my mind. The new version of That’s The Way It Is started shipping to US addresses on Friday. On Monday, it arrived here, and I was up until after midnight playing the two discs. Was it worth it?

The review
It’s been a long time since I reviewed an Elvis CD. Before I created The Film Frontier, I used to write and edit a small-time Elvis fan newsletter back in the 1990s. This was a real newsletter on actual paper. Remember those? None of this online stuff. On a good year, I had fifty concurrent subscribers – which was about the most I could support with no budget anyway.

The funny thing is, despite the newsletter’s miniscule circulation and the fact that it was never published online, an Elvis bootlegger actually somehow obtained and then plagiarized one of my articles and used part of it in an online “press release” promoting a new bootleg DVD several years ago. Imagine my surprise when I came across my own words when browsing through a random Elvis site! I wasn’t sure if I should be angry or flattered. It still turns up every now and then on different Elvis sites, whenever the bootleg DVD gets a new release or is mentioned. I can’t help but laugh when I see it.

I suppose if a bootlegger is going to rip off a company like RCA/BMG, ripping off a forgotten article from a defunct Elvis newsletter is no big deal. It certainly made me look at the bootleg industry in a whole new light, though. Anyway, it’s probably been over ten years since I wrote a review of an Elvis CD. These days, I have this small-time pop culture website, so it’s nice to get the chance to do it again.

So, I already have the 3-disc That’s The Way It Is: Special Edition from 2000, what do I need with this new 2-disc version? Though it included the original album, the focus of the 2000 version was really on the rehearsals and live performances as captured for the film. The focus of this new 2-disc version is on the June 1970 studio work for the album and its singles, so the releases are actually quite different. However, there is a lot of overlap with A Hundred Years From Now and The Nashville Marathon.

For the real verdict, let’s go through it song-by-song.

“I Just Can’t Help Believin'”
• Disc 1, Track 01, Live Master–8/11/1970 Dinner Show (DS) [4:40]: This original album version sounds good. As I noted above, the song does not serve well as an album opener. No other versions are included on this release. Elvis never formally recorded this song in the studio, but there are rehearsals and other live versions available. FTD was wise to focus on the Nashville session work here rather than taking up space with additional versions of “I Just Can’t Help Believin’.” The performance on the 8/11/1970 Midnight Show (MS), on RCA/BMG’s Live In Las Vegas boxed set, is the best live version of this song released so far–much less sleepy than this album track.

“Twenty Days And Twenty Nights”
• Disc 1, Track 02, Master–Take 9 [3:18]: This is the original album version, one of my favorites. For me, this song represents the adult Elvis, the recording artist Elvis that the mainstream so often overlooks in favor of songs like “Hound Dog” or, even worse, lousy imitators with fake sideburns, bad jumpsuits, and horrid voices.

• Disc 1, Track 15, Take 8 [3:17]: This complete take is a previously unreleased track. While nice to add to the collection, it is mostly unremarkable. It is interesting to note, though, that Elvis nailed the master version on the very next take after this one.

• Disc 2, Track 02, Rehearsal, Takes 1-3 [4:33]: Blink and you’ll miss the unreleased rehearsal (Elvis sings off-microphone) and instrumental takes 1 & 2, which take about a minute total. Take 3, the bulk of this track, was previously released on The Nashville Marathon.

• Disc 2, Track 16, Take 5, Take 6 [2:18]: Elvis sings a brief snippet of one of his 50s classics before “Take 5” here – a nice surprise. These performances are left out of the “In And Outtakes” list in the liner notes. Both of these are blown, incomplete takes and are previously unreleased.

• Disc 2, Track 17, Master–Take 9–Rough Mix [3:35]: This previously unreleased “rough mix” is notable mostly for being about 20 seconds longer than the released version. Some of the mixing is slightly different as well, though the released mix is better.

“How The Web Was Woven”
• Disc 1, Track 03, Master–Take 3 [3:26]: Another tough choice, but this is probably my favorite song of the original album. This is a great love song, which I rank right up there in the same league as the more well-known “Can’t Help Falling In Love.”

• Disc 2, Track 07, Rehearsal, Take 1 [4:55]: This rehearsal and take were previously released on The Nashville Marathon. The rehearsal is about a minute longer here, though, which is quite welcome. Take 1 is as good as, possibly even better than, the master. I wonder what happened to Take 2? I’d like to hear it, assuming it wasn’t just a blown opening or something else extremely short.

“Patch It Up”
• Disc 1, Track 04, Live Master–8/12/1970 DS [4:02]: Compared to the excellent studio version, this live version from the original album just feels like a throwaway (though you won’t think that if watching Elvis perform it in the film).

• Disc 1, Track 13, Studio Master–Take 8 [3:24]: This is a great performance and the sound quality here is significantly better than on Walk A Mile In My Shoes. The mix is slightly different as well (I don’t have the 1970 45 RPM of this song, unfortunately, so no way for me to determine which, if either, mix is “correct”). The song also goes about 15 seconds longer than the 1995 release before fading. Crank this one up!

• Disc 1, Track 19, Take 1 [2:43]: This is a previously unreleased take. The “Patch It Up” song itself is actually rather insignificant, yet you hear through this and subsequent takes that Elvis could take a mediocre song like this one and turn it into something special.

• Disc 1, Track 20, Takes 2-7 [5:17]: More previously unreleased takes, all of which are blown or cut short. This is that “fly-on-the-wall” aspect that makes this kind of release so appealing. You can hear Elvis putting this song together, improving it little-by-little until he gets an acceptable master take. Elvis literally curses out the song on the seventh take. The very next take would be the master.

• Disc 1, Track 21, Take 9 [3:16]: This is one take after the master, previously released on A Hundred Years From Now. Not a bad performance, but the master was appropriately chosen.

“Mary In The Morning”
• Disc 1, Track 05, Master–Take 5 [4:11]: This is a pretty, if forgettable, love song from the original album.

• Disc 2, Track 10, Takes 1-4 [7:45]: Two previously unreleased blown takes, followed by takes 3 and 4, which were first released on The Nashville Marathon. Like “Patch It Up,” the appeal is the illusion of being in the studio while Elvis and gang work through the song. “Mary In The Morning” is harder to listen to repeatedly, though. It just keeps going and going. Ty in the morning would fall back asleep if he had to listen to this song.

“You Don’t Have To Say You Love Me”
• Disc 1, Track 06, Master–Take 3 [2:32]

• Disc 2, Track 05, Rehearsal Composite [2:44]: This previously unreleased track is presumably edited together from a number of rehearsals. The editing here is nearly seamless, a fine job. Great to hear Elvis’ producer Felton Jarvis say enthusiastically at the end, “Bravo! That’s a gas, man!”

• Disc 2, Track 11, Take 1, Take 2 [3:12]: Take 1 is a short, previously unreleased flub. Take 2 first appeared on A Hundred Years From Now.

“You’ve Lost That Lovin’ Feelin'”
• Disc 1, Track 07, Live Master–8/12/1970 MS [4:25]: This live performance from the original version of the album is the definitive version of this song, by Elvis or anyone else. This is Elvis at his best, on stage doing what he loved the most. Incidentally, as released on the 2000 CD set as a separate track was an even longer version of the same performance of this song. Elvis does a fantastic reprise and the track time runs about two minutes longer. The 8/12/1970 MS is one of the best Elvis concerts I’ve ever heard, and it alone is worth picking up the 2000 edition (it comprises disc 2).

“I’ve Lost You”
• Disc 1, Track 08, Live Master–8/11/1970 DS [3:42]: While I love this live version of “I’ve Lost You,” one of the original album tracks and certainly a highlight, I prefer the studio version because the lyrics and the arrangement are more complicated. That being said, this is still a great version. I used to play the heck out of it for years until I first heard the studio version on Heart & Soul.

• Disc 1, Track 14, Studio Master–Take 7 [3:31]: This is another absolute favorite for me. Sure, this wasn’t on the original album, but this single did serve to promote that album. An extraordinary performance. Just close your eyes and listen. This is Elvis.

• Disc 2, Track 03, Rehearsal, Take 1 [5:25]: During the previously unreleased rehearsal, Elvis complains about the number of words in the song. This is likely why it was simplified for the live version. Take 1 originally appeared on The Nashville Marathon. It’s a quiet take, with more deliberate phrasing – probably because he’s reading the lyric sheet.

• Disc 2, Track 14, Takes 4-6 [5:22]: The previously unreleased takes 4 and 5 are cancelled before Elvis even sings a note. Take 6, which is an improvement over Take 1 but not as good as the master on Take 7, was previously released on A Hundred Years From Now.

“Just Pretend”
• Disc 1, Track 09, Master–Take 3 [4:04]: How much Elvis greatness can one man take? This is another favorite, an impressive performance from the original album that only Elvis could deliver.

• Disc 2, Track 12, Take 1, Take 2 [4:46]: Take 1 is previously unreleased. You guessed it, though, it’s just a false start. It barely starts at all, actually. Take 2 was previously released on A Hundred Years From Now.

“Stranger In The Crowd”
• Disc 1, Track 10, Master–Take 9 [3:48]: This is yet another great song, one of the best on the original album. Now do you see why I love this album so much?

• Disc 2, Track 08, Rehearsal, Take 1, Takes 3-5 [4:52]: Finally, some outtakes of this song! All of these are previously unreleased. Take 5 is nearly complete, but Elvis blows it near the end. “I’m sorry about that, man,” he says.

• Disc 2, Track 09, Master–Take 9–Rough Mix [4:33]: This previously unreleased rough mix runs about 45 seconds longer than the final version. This has a slightly different mix, with horns a bit lower. Nice to have as an alternate listening experience.

“The Next Step Is Love”
• Disc 1, Track 11, Master–Take 11 [3:33]: Here’s one studio song, from the original album, where I actually prefer the live version. The song is a little hokey either way, but the studio arrangement, complete with xylophone(?), doesn’t help matters.

• Disc 2, Track 06, Rehearsal, Take 2, Take 3, Take 6 [5:11]: The interesting thing about this previously unreleased rehearsal is that you can hear the song’s demo record playing in the background. The previously unreleased Take 2 and Take 3 are quick flubs. Take 6 was previously released on the Elvis: Today, Tomorrow & Forever boxed set.

• Disc 2, Track 13, Takes 7-10 [6:06]: Well, you know the pattern by now. Three previously unreleased blown takes, followed by one previously released, complete take. The Nashville Marathon included Take 10. This is actually a nice take of the song. No xylophone!

“Bridge Over Trouble Water”
• Disc 1, Track 12, Master–Studio Take 8 (with overdubbed applause) [4:38]: Unfortunately, the Heart & Soul version of this track, with Elvis’ vocal raised in the first verse and without the overdubbed applause, was not included on this release. I would have given up “Tiger Man” or one of the other unrelated songs to have this. As for this original version from the album, it’s really not one I ever listen to, once the studio version proper was released. It doesn’t do justice to his performance. The Heart & Soul version, though, I would contend as the best version of this song by anyone.

• Disc 1, Track 16, Live–8/11/1970 DS [4:14]: As noted by Thomas in his review at Elvis Today, if RCA wanted to close out That’s The Way It Is with a live version of this song, why not use an actual live version? The 8/12/1970 MS performance, for instance, is nearly as good as the studio version. This track from the 8/11/1970 DS was originally released on the Platinum boxed set. My question is, why didn’t FTD place an unreleased live version here instead? They could have used a performance from the 8/12/1970 DS or the 8/13/1970 DS.

• Disc 2, Track 04, Take 1 [5:01]: Just when I thought I was tired of hearing this song, this take came on. Beautiful. This was also on The Nashville Marathon.

• Disc 2, Track 15, Rehearsal, Take 2, Take 5 [5:40]: The previously unreleased rehearsal is interesting, for it features a much faster take on the song. “I don’t know, we’d better not,” Elvis says with a laugh. Too bad they apparently didn’t try a whole take like this! Take 2 is previously unreleased and really stops before it even starts. Take 5 was previously released on A Hundred Years From Now.

Other Songs (not on original album)
• Disc 1, Track 17, “Little Sister/Get Back” (Live–8/12/1970 MS) [3:10]: This great live track first appeared on the Elvis Aron Presley boxed set and was also on the That’s The Way It Is: Special Edition (2000) set. This features Elvis on electric guitar, not to be missed.

• Disc 1, Track 18, “Something” (Live Master–8/11/1970 MS) [3:37]: Another great live track. This one first surfaced on Walk A Mile In My Shoes. It appeared again on Live In Las Vegas, this time without the censoring of a mild curse by Elvis. Strangely, this FTD track is the censored version. In any event, this is Elvis’ best version of this Beatles classic released thus far.

• Disc 2, Track 01, “Tiger Man” (Studio Jam–6/4/1970) [2:49]: This instrumental jam first appeared on The Nashville Marathon, though, curiously, that CD labels the track as “Mystery Train/Tiger Man” while this release of the same track only acknowledges “Tiger Man.” Elvis can be heard off-microphone singing “Tiger Man” but not “Mystery Train,” as far as I can tell, so perhaps that’s the reason. However, the guitar opening of the jam itself sounds suspiciously like “Mystery Train.” In concert, Elvis normally performed these two songs together, as a medley. His 1969 and 1970 live versions of this coupling are fantastic.

Like other releases in FTD’s “Classic Albums” series, That’s The Way It Is comes in an oversized CD case, the size of a 45 RPM sleeve. All of the FTD releases are packaged on cardstock rather than within an actual jewel case, so I guess I’ve grown used to that over the years. I would prefer a more standard plastic jewel case presentation.

Anyway, the FTD cover replicates the cover from the original 1970 album. The oversized aspect does at least offer the advantage of allowing the art to look that much closer to the original record album – something hard to accomplish on a standard-sized jewel case. Inside, the CD labels are meant to resemble the Side 1 and Side 2 labels from the original LP. This is a nice touch, but just remember not to use the song list on them, as they are representative of the 1970 release and not this 2008 edition.

Unfortunately, on my copy, the CD holders are incorrectly glued off center for both discs. This means that they do not fully cover the artwork underneath them (which appear to be photos of the real labels from the 1970 album). A little more quality control was needed here. This is made up for by a great picture of Elvis playing the acoustic guitar from one of his July 1970 rehearsals for the Vegas show, just a month after the studio session in Nashville that produced most of this release.

The enclosed 20-page booklet starts off with another spectacular picture of Elvis from Summer 1970, wearing a black leather jacket and his trademark aviator glasses. The booklet contains over 30 other photos, most of which are well chosen and really add to the release.

Though a bit scattered (you will find yourself thumbing back and forth a lot), the booklet contains a ton of information – something that standard FTD releases, outside of the Classic Album Series, sorely lack. There is a complete track-listing with songwriter and musician credits. There is a useful listing of “In And Outtakes” which gives more information about each performance on the release, including its previously released status and previous album (if applicable).

“Masters” gives the master take number for each song in the June 1970 Nashville session. Don’t look for all of these tracks on this album, though, as the session also produced the Elvis Country and Love Letters From Elvis albums. A nice “Behind The Scenes” timeline follows the progress of both the original album and the documentary movie, from April 1970 when the movie deal is signed, until November 1970 when both the album and movie are released. On top of all of that, there are vintage newspaper clippings, memos, and other items of interest to round out the booklet.

The 2008 album producers (Ernst Jorgensen and Roger Semon) dedicate the release to Todd Morgan, a longtime Elvis Presley Enterprises staffer who passed away suddenly in March. “(He) worked tirelessly to maintain the legacy of Elvis Presley through his great work (and) will be sadly missed by all who knew him,” the tribute reads in part. For me, Morgan’s greatest contribution to Elvis’ legacy was his spearheading of 2004’s Elvis: ’68 Comeback Special-Deluxe Edition 3-DVD set and Elvis: Aloha From Hawaii-Deluxe Edition 2-DVD set, which released all of the available footage from these television specials.

There is over 40 minutes of new material on this 2008 version of That’s The Way It Is. Most of the performances not previously released on earlier editions of That’s The Way It Is, A Hundred Years From Now, and The Nashville Marathon are incomplete rehearsals and blown takes, though. However, there are some real gems on this release, including the multiple “Patch It Up” takes.

Plus, this edition pulls everything together in one nice package. Despite the potential strikes against it, this 2008 re-issue turns out to be a must-have for serious fans of Elvis: That’s The Way It Is. This is the definitive look at the outtakes of the That’s The Way It Is portions of the June 1970 Nashville sessions.

If wishes where horses. . . .
I am an Elvis fan, though, which means that I always want more. My thirst for That’s The Way It Is material is not yet satisfied. Here’s my FTD wish-list for future That’s The Way It Is-themed releases:

• Complete 8/12/1970 DS concert
• Complete 8/13/1970 DS concert
• Complete 8/11/1970 DS concert
• Remaining rehearsals from Summer 1970 (California & Nevada)

As long as I’m making wishes, from Warner Home Video/Turner Entertainment Company, which owns the rights to the documentary film, I wish for a definitive multi-disc DVD set containing as many That’s The Way It Is outtakes as commercially possible. (And while you’re looking at documentaries, Warner Brothers, hurry up already with that Elvis On Tour DVD release. The format’s going to be dead before you get around to releasing this Golden Globe winning movie.)

Songs: 10 (out of 10)
Liner Notes: 9
Cover Art: 8
Packaging: 7
Overall Experience: 10

John Berkey; Elvis; Twilight Zone (News from the frontier, 5/14/2008) [The Film Frontier blog]

/ TY

Artist John Berkey, 1932-2008
Berkey's Elvis Stamp BStarWars.com reported yesterday that artist John Berkey passed away on April 29. He was 75. Berkey painted the cover of the 1976 novelization of Star Wars, an image that continued to appear on early editions of the book. Berkey also painted a poster depicting a dogfight over the Death Star, used as an insert in the original Star Wars soundtrack LP.

The StarWars.com article includes a link to a gallery of ten Berkey Star Wars images. You can also find pictures of Berkey’s work in 2005’s The Star Wars Poster Book by Stephen J. Sansweet and Peter Vilmur. Though known for his science fiction and Star Wars art, Berkey was reportedly not a science fiction fan and never saw Star Wars.

Elvis Presley, 1973For a 1992 US Postal Servicing stamp voting campaign, Berkey also painted “Elvis Stamp B” (above), which depicted Elvis Presley as he appeared in his historic 1973 Aloha From Hawaii TV special (right). Berkey’s image lost to Mark Stutzman’s “Elvis Stamp A,” which depicted Elvis in 1956, his first year of national fame. Stutzman’s 1950s Elvis image became an official US stamp the following year, while Berkey’s 1970s Elvis image was never issued.

I voted for Berkey’s Elvis stamp back in 1992 and never knew about his Star Wars connection until reading The Star Wars Poster Book a couple of years ago. Though, again, I had no idea who the artist was back then, I actually had several posters of Berkey’s science fiction and fantasy imagery hanging in my bedroom when I was growing up. He was a real talent and will be missed.

Elvis: That’s The Way It Is (FTD Classic Album Series) available this week
Follow That Dream (FTD) records, BMG’s Elvis Presley collectors label, is scheduled to release a 2-CD set of Elvis: That’s The Way It Is this week to the US as part of its “Classic Album Series.”

This 2008 edition of the 1970 album includes all of the original tracks, plus numerous alternate takes, a 20-page booklet, and other extras. The new Elvis: That’s The Way It Is CD set was first released in Europe last month.

Check out Thomas’ review, over at his Elvis Today blog, and Lex’s review, over at ElvisNews.com. To obtain FTD CDs, visit ShopElvis.com. Most FTD CDs are much more interesting than the mainstream “greatest hits”-style Elvis CDs you’ll find at your local store.

Twilight Zone graphic novels on the way for 50th anniversary
It is hard to believe that 2009 will mark the 50th anniversary of the television debut of Rod Serling’s The Twilight Zone. Next to the original Star Trek, The Twilight Zone is my favorite TV series. I grew up watching both of them, and still watch them now (yet another indication that, in fact, I never did grow up).

Publishers Weekly announced earlier this month that Walker & Co. will release a series of graphic novels based on Twilight Zone‘s original scripts, in conjunction with Rod Serling’s estate. There will be at least eight graphic novels in all. Look for the first to hit US stores in October.