Elvis: Aloha From Hawaii

REVIEW: Elvis – The Complete Masters Collection (Part 3)

/ TY

This is Part 3 of an ongoing series reviewing Elvis: The Complete Masters Collection. Read Part 2.

CD Vol. 5: Complete Aloha From Hawaii Concert

Volume 5 of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents the 1973 concert album Aloha From Hawaii via Satellite as well as bonus songs recorded for insertion into the NBC version of the Elvis: Aloha From Hawaii TV special.

Elvis: The Complete Masters Collection - Volume 5

This disc features the original mix of the 1973 double album. In 1998, BMG/RCA released a CD with a new mix and mastering by Dennis Ferrante. At that time, I tried to keep my Elvis CD collection consolidated. Since I much preferred the new mix, I gave away my older Aloha From Hawaii via Satellite CD with the original mix. Therefore, I do not have anything to make fair sound comparisons against for this CD. These days, I put more stock into owning the original mixes as released during Elvis’ lifetime than I did back then.

Elvis recorded all songs on the Complete Aloha From Hawaii Concert on January 14, 1973. Though it aired live in some parts of the world, Aloha From Hawaii did not air in the United States until April 4 of that year. To this day, many Americans wrongly believe they saw the special live. In reality, it had an even longer “tape delay” than NBC’s abysmal Summer Olympics 2012 coverage.

01. Also Sprach Zarathusta/02. See See Rider: “Also Sprach Zarathustra” (used as the theme for 2001: A Space Odyssey) was the perfect way to open Elvis concerts in the 1970s. This is a particularly fine version, beginning with low rumbles and building into a fantastic crescendo as Elvis appears on stage and quickly rocks into “See See Rider.” Listen to James Burton’s guitar work on the solo, sounding better than I remember it.

03. Burning Love: Elvis moves right into another rocker, “Burning Love.” The sound on this CD is so incredible, I can already tell I may go back to this mix when I want to listen to Aloha, over the 1998 version. Elvis just kills the song on the end during the “Hunka’ hunka’ burnin’ love” segment. What a fantastic opening to the live broadcast. Sounding sheepish, Elvis quietly tells the audience after the song, “Good evening, and I hope you enjoy our show tonight. We’re gonna try to do all the songs you wanna hear, you know.”

04. Something: For this third song of the international event, Elvis launches into a Beatles number, “Something.” The performance is okay, but a bit of a letdown after the concert’s stellar opening. Wow, this CD sure does sound awesome, though. It can make an okay song sound a little better.

05. You Gave Me A Mountain: Elvis had first tackled Marty Robbins’ “You Gave Me A Mountain” while on tour in 1972, including one performance used in the 1972 documentary Elvis On Tour. While this version is a step down from that one, Elvis still sounds great here.

06. Steamroller Blues: Next up, Elvis takes on James Taylor with “Steamroller Blues,” adding some much-needed energy back into the show. Elvis earned a top 20 hit when RCA released this performance as a single (backed with the 1972 studio cut “Fool”). Authentic to the original album (the end of side 1), the CD fades on the applause after the song ends.

07. My Way: As with the original album, “My Way” begins with the piano strains, leaving out Elvis’ introduction of the song. This is a fine, though not very compelling, version of the Frank Sinatra hit. In the first six songs of his live event, Elvis has already tackled the blues, rock ‘n’ roll, the Beatles, country, James Taylor, and Frank Sinatra.

08. Love Me: Before the song, Elvis mentions that he’s planning to do a medley of his records later in the show, to which an audience member shouts, “Do all of them!” Elvis hears this and replies, “Okay, I’ll do it, all 429 of ’em. I’ll do it.” He then dips back into his own catalog for a disappointing version of 1956’s “Love Me.” The song borders on being a throwaway, which is a shame.

09. Johnny B. Goode: James Burton carries this Chuck Berry classic on guitar, as Elvis forgets some of the lyrics early on (the song was added to fill time when a rehearsal revealed the planned show was too short). Still, Elvis rocks the song and the show benefits from its inclusion.

10. It’s Over: “I’ll watch you walk away somehow, I have to let you go, because it’s over,” Elvis sings in what must have been another heart-wrencher for him, as his own marriage was ending at this time. Unfortunately, “It’s Over” is otherwise forgettable.

11. Blue Suede Shoes: It’s back to rock ‘n’ roll, this time with a rousing but short rendition of Carl Perkins’ “Blue Suede Shoes.”

12. I’m So Lonesome I Could Cry: Elvis introduces the Hank Williams classic “I’m So Lonesome I Could Cry” as “the saddest song I’ve ever heard” and proceeds to do a commendable job.

13. I Can’t Stop Loving You: Next, Elvis moves right into “I Can’t Stop Loving You.” Though the arrangement is the same, Elvis sounds much more subdued here compared to the rocking version found on the previous year’s As Recorded At Madison Square Garden.

14. Hound Dog: Elvis then launches into a perfunctory version of “Hound Dog,” lasting a mere 45 seconds and leaving me to wonder, “Why bother?” As with the record, the CD fades out shortly after the song ends, leaving out Elvis’ joke about first performing that song when he was twelve-years-old.

15. What Now My Love: Elvis gets serious again and puts more effort into “What Now My Love” than his own hit material. This is one of the highlights of the show, and the sound quality on this CD makes it shine even more.

16. Fever: Maybe it’s because I heard this one first, but I’ve always preferred this live version of “Fever” over Elvis’ 1960 recording of the song for the Elvis Is Back! album. The song just works better in a concert setting. I also see this as the point in Aloha From Hawaii where Elvis finally shakes off the rest of his nerves and really loosens up – making for a better second half to the show.

17. Welcome To My World: This is a lightweight song that serves as a breather for Elvis between “Fever” and “Suspicious Minds.”

18. Suspicious Minds: Growing up, the first versions I heard of “Suspicious Minds” were on this album and the similar one released on As Recorded At Madison Square Garden. It took me a long time to become accustomed to the studio version. While I now prefer the studio and early live versions best, I still enjoy the 1972 and 1973 versions. Great to hear Elvis rocking on one of his more contemporary hits.

19. Introductions By Elvis: I’m not going to start reviewing band introduction tracks, but I will point out that this is the edited version as released on the original album (i.e., Elvis calling Charlie Hodge a “general flunky” and later mentioning Hawaii Five-O star Jack Lord have been omitted).

20. I’ll Remember You: Also omitted is Elvis explaining that proceeds from the concert would benefit the Kui Lee Cancer Fund. “I’ll Remember You,” first recorded by Elvis in 1966, was written by Kuiokalani Lee, who passed away from cancer that same year. The lyrics take on even more signficance if you listen with that in mind: “I’ll remember you long after this endless summer is gone. I’ll be lonely, oh so lonely, living only to remember you.” Though a decent live version that matches the mood of the show, “I’ll Remember You” really does not live up to Elvis’ 1966 recording – both in terms of the vocals and the percussion.

21. Long Tall Sally/Whole Lotta Shakin’ Goin’ On: The closest thing the show gets to the promised medley is this combination of Little Richard’s “Long Tall Sally,” which Elvis recorded in 1956, and “Whole Lotta Shakin’ Goin’ On,” popularized by Jerry Lee Lewis in 1957 and recorded by Elvis in 1970. While the medley works in the show and picks up the pace as needed, both songs pale next to Elvis’ studio efforts. “Whole Lotta Shakin’ Goin’ On” in particular has a completely different, watered-down arrangement compared to Elvis’ version from less than 3 years earlier.

22. An American Trilogy: Reportedly, when asked what kind of costume he wanted for the live broadcast, Elvis noted that he wanted something that said “America.” The custom-designed American Eagle jumpsuit fit the bill visually, while “An American Trilogy” sealed the deal on the musical side. This is both the climax of the show and the most impressive performance on the album. An argument could even be made that this moment was the climax of his career as well. Though not evident on the record, Elvis throws his jewel-studded belt into the audience shortly after this song.

23. A Big Hunk O’ Love: Serving as a bookend of sorts with the similar “Burning Love,” Elvis reaches back to 1958 for this hit and serves up a great rendition. If only he had treated his other classics with this respect for this show. “A Big Hunk O’ Love” provides a powerful rock ‘n’ roll ending for the live broadcast.

24. Can’t Help Falling In Love: Finally, Elvis closes out the show with a quick version of “Can’t Help Falling In Love.” It is not in the same league as his 1968 or 1969 live versions, but it almost does not matter at this point. The power of the overall concert wins out, and it ends in utter excitement. What a performer.

25. Blue Hawaii [Re-recording]: For the NBC version of the special, Elvis recorded several “insert” songs without an audience to extend the length of the special. This is a fine version of the title song to his 1961 movie Blue Hawaii.

26. Ku-U-I-Po [Re-recording]: The remaining songs on this CD were first released after Elvis’ death, on the 1978 album Mahalo From Elvis. Though they are technically outside of the parameters of Franklin Mint’s Elvis: The Complete Masters Collection, I am happy to have them as bonuses. This is a great re-recording of “Ku-U-I-Po” from Blue Hawaii.

27. No More [Re-recording]: Though recorded for the NBC version of the show, “No More” actually went unused. The visual portion of this performance was first released on DVD in 2004. This is another strong re-recording of a song from Blue Hawaii.

28. Hawaiian Wedding Song [Re-recording]: “Hawaiian Wedding Song” was featured in the finale of Blue Hawaii. Elvis does another good job on this re-recording. Perhaps he should have performed one or two of these Blue Hawaii songs during the actual concert. Why not drop “Welcome To My World” or “It’s Over” for one of these? (Other than the fact that the other two songs had never been released before by Elvis.)

29. Early Mornin’ Rain [Re-recording]: Though Elvis had first recorded it only two years earlier, this re-recording of “Early Mornin’ Rain” has a different vibe. I enjoy both versions. Again, this would have made a great number for the actual concert.

The sound is terrific, and so is the show. This will now become my go-to edition of Aloha From Hawaii.

* * *

I was about 13-years-old before my older brother would allow me to touch his record collection. As a small child, I had a bad habit of accidentally destroying his stuff (Star Trek posters, a trumpet, and pretty much anything else I could get my curious little hands on), so his records were off limits for a long time.

Of his fifty or sixty Elvis albums, the one I considered the most special was Aloha From Hawaii via Satellite. I was sure at the time that this was the greatest Elvis concert ever. Though I could name dozens of live recordings now that would top it, I did relive some of that youthful exuberance when listening to the Complete Aloha From Hawaii Concert. While I do not have the older release to compare, I am sure this album has never sounded better on CD.

* * *

With thirty-one CDs still to go, continue to look for future installments here on The Mystery Train Blog.

Read Part 4.

And all four speakers were blaring Elvis

/ TY / 2 Comments

The latest FTD release, Live In Vegas: August 26, 1969 Dinner Show, arrived at my house yesterday. I resisted the urge to give it a quick listen last night so that I can give it proper attention this weekend. I’ll be reviewing this one soon, and I can’t wait to hear it. I wonder if my neighbors would mind if I blared an Elvis concert at 6:30 in the morning? Of course, it wouldn’t be the first time.

* * *

Came across a nice little Elvis mention courtesy of Google News while web surfing last night. I started to post a link here, but was too sleepy to type coherently. I’m definitely a morning person, you see. Anyway, over on JSOnline, the web site of the Milwaukee Journal Sentinel, someone wrote the following comment and question to “Mr. Music:”

I know the peak time for quadraphonic albums is around 1975. But the first quad LP I bought was ‘Aloha From Hawaii via Satellite,’ the soundtrack of Elvis Presley’s 1973 Honolulu concert. Since this came out before quad’s heyday, is it the first quad album? I’ll bet it is the top-selling quad release. Also, did anyone ever make quad singles?”- Jeremy Norbert, Milwaukee

Quadraphonic sound was an early consumer version of what we now call surround sound. In stereo sound, the audio is separated into two distinct channels. In quadraphonic sound, the audio was separated into four distinct channels – meaning you would listen with four speakers. Though it was indeed used for Aloha From Hawaii via Satellite, the format did not catch on.

I didn’t even notice this last night, but another perusal of the article just now reveals that “Mr. Music” is none other than renowned record collecting and Elvis expert/author Jerry Osborne. No wonder I was so impressed with his response. I was surprised last night that a “mainstream media” member could give such a knowledgable reply without tossing in snide comments or jokes about Elvis in the 70s. Now it all makes sense.

Check out Osborne’s reply: “Elvis in Hawaii helped take sound to a new level” — JSOnline. I’ll definitely be keeping an eye on Osborne’s Mr. Music column in the future.

An updated version of Osborne’s Elvis: Like Any Other Soldier book is available now. You can find out more information about his publications over at Jerry Osborne’s site.

Viva Elvis “Burning Love” video fails to ignite, while Elvis.com makes embarrassing mistake (Conductor’s Reflections #7)

/ TY / 4 Comments

The official Elvis Presley Enterprises site reports that the folks behind Viva Elvis: The Album have released a new music video for “Burning Love.” Sadly, the Elvis.com news item states, “The video features archival footage of Elvis’ iconic Las Vegas performance.”

Uh, hello official Elvis site? Are you there? That footage is from Elvis’ iconic Aloha From Hawaii performances. You know, the ones that Elvis Presley Enterprises owns and occasionally promotes on DVD? The Aloha From Hawaii concerts took place, oddly enough, in Hawaii. White jumpsuit does not always equal Vegas. E! and other idiotic entertainment sites make this kind of mistake all of the time, but the official Elvis site should know better.

I loved the Viva Elvis album, including this track, so I figured I’d check this video out (“Burning Love” from Viva Elvis: The Album video — YouTube). First of all, it is miles ahead of the horrible video released last month for the otherwise incredible Viva Elvis version of “Suspicious Minds.” At least this “Burning Love” video doesn’t shy away from featuring footage of Elvis singing the song.

The first video, on the other hand, would have you believe that Elvis sang “Suspicious Minds” during the ELVIS (’68 Comeback) special. “Because, like, black leather is just so much cooler than a white jumpsuit,” was their way of thinking, I’m sure. That video mostly stars shadowy images of either 1968 Elvis or, it appears at times, an elvis impersonator dancing around on the screen. At least, that’s what I remember of it. I couldn’t bare to watch that thing twice.

By the way, they could have actually featured “archival footage of Elvis’ iconic Las Vegas performance” of this song. There was a fantastic 1970 version of “Suspicious Minds” filmed in Las Vegas for That’s The Way It Is. Granted, Elvis Presley Enterprises doesn’t own that movie footage (they only own Elvis’ three 1968-1977 television specials), but I’m sure they could have worked something out with Warner Home Video. They cross-promoted and worked together on Warner’s recent Elvis On Tour release, after all.

Though it may represent a switch in the targeted market for Viva Elvis: The Album from newcomers to established fans, I love the fact that this “Burning Love” video actually embraces the jumpsuited Elvis as he appeared in the Aloha concerts. Elvis did not die in 1968 (or, worse, 1958), despite what some would have you believe.

What doesn’t work for me at all, though, is the juxtaposition of Viva Elvis musicians thrown into the Aloha footage. Perhaps it is because I have watched the real Aloha so many times, but there is no illusion established that these people are all playing together on stage. It looks like you are watching two different concerts at once. Maybe that’s one of the problems some fans have with Viva Elvis: The Album. I guess the visual mash-ups bother me more for some reason than the audio ones.

The “Burning Love” video also suffers from a bit of the same problem as “Don’t Be Cruel” on the 2010 version of Elvis On Tour. About halfway through “Burning Love,” the video producers decide to cut to Elvis dramatically taking off his guitar (in reality, from the end of the song). This allows Elvis to move around freely, dance a bit, and interact with the audience. Suddenly, he is back with guitar at the end of the song – and then dramatically removes it again for the song finale. Ugh.

It makes Elvis look silly to apparently do this guitar removal bit twice in this “Burning Love” video – much like hearing Elvis apparently sing his funny “Please let’s forget the past, before I kick your —” line twice for “Don’t Be Cruel” did in the 2010 Elvis On Tour. That’s the problem with the realm of video and audio trickery. Some people do not know how to properly use the toys.

If they just had to show him with the guitar again, why not at least show him putting the guitar back on first? Then, just have him leave the guitar on when the song ended. The footage was there to do both, using elements from “See See Rider.”

The whole thing just seems sloppy, cheap, and rushed. At least it’s better than “Suspicious Minds,” though.

“The silence of a falling star” (Playlist Recipes #1)

/ TY

Any of you that have made your way to The Mystery Train Elvis Blog via my old sci fi blog know that school (night classes) always takes up a lot of my time during this part of the year. On top of that, I’ve had a couple of challenging projects going on at work as well.

Though I may not be posting here as often as I’d like at the moment, Elvis is never far from my thoughts. I’m usually able to listen to my iPod a bit at work, especially when I’m handling a writing-related assignment. It helps to block out the distractions of whatever else is going on around me and allow me to focus.

Just for fun, I made up a couple of standard playlists to use at work yesterday.

Elvis 1972: The Unreachable Star

  • Burning Love [Burning Love And Hits From His Movies, Volume 2]
  • For The Good Times[Walk A Mile In My Shoes]
  • Always On My Mind [Separate Ways]
  • Fool [Elvis (Fool)]
  • Where Do I Go From Here [Elvis (Fool)]
  • Separate Ways [Separate Ways]
  • Also Sprach Zarathustra/Opening Riff/That’s All Right (Live) [An Afternoon In The Garden]
  • Proud Mary (Live) [Elvis As Recorded At Madison Square Garden]
  • Never Been To Spain (Live) [Walk A Mile In My Shoes]
  • You Gave Me A Mountain (Live) [Walk A Mile In My Shoes]
  • Polk Salad Annie (Live) [Close Up]
  • A Big Hunk O’ Love (Live) [Walk A Mile In My Shoes]
  • The Impossible Dream (Live) [He Walks Beside Me]
  • Burning Love (Live) [Close Up]
  • Until It’s Time For You To Go (Live) [An Afternoon In The Garden]
  • Suspicious Minds (Live) [An Afternoon In The Garden]
  • It’s Impossible (Live) [Elvis (Fool)]
  • I Can’t Stop Loving You (Live) [Welcome To My World]
  • An American Trilogy (Live) [This Is Elvis]
  • Can’t Help Falling In Love/Closing Riff (Live) [Elvis As Recorded At Madison Square Garden]
  • Elvis Talks About His Father (“Make up your mind…”) [Eye Of The Hurricane]
  • Johnny B. Goode (Rehearsal) [Elvis On Tour: The Rehearsals]
  • The First Time Ever I Saw Your Face (Rehearsal) [Elvis On Tour: The Rehearsals]
  • Young And Beautiful (Rehearsal) [Elvis On Tour: The Rehearsals]
  • Lawdy, Miss Clawdy (Rehearsal) [Elvis On Tour: The Rehearsals]
  • Funny How Time Slips Aways (Rehearsal) [Elvis On Tour: The Rehearsals]
  • Always On My Mind (Rehearsal)[This Is Elvis]

Elvis 1973: Part I – The Midnight Train

  • Also Sprach Zarathustra/Opening Riff/See See Rider (Live) [Aloha From Hawaii Via Satellite]
  • Burning Love (Live) [Aloha From Hawaii Via Satellite]
  • You Gave Me A Mountain (Live) [Aloha From Hawaii Via Satellite]
  • Steamroller Blues (Live) [Aloha From Hawaii Via Satellite]
  • Love Me (Live) [Aloha From Hawaii Via Satellite]
  • Johnny B. Goode (Live) [Aloha From Hawaii Via Satellite]
  • It’s Over (Live) [Aloha From Hawaii Via Satellite]
  • I’m So Lonesome I Could Cry (Live) [Aloha From Hawaii Via Satellite]
  • What Now My Love (Live) [Aloha From Hawaii Via Satellite]
  • Fever (Live)[The Alternate Aloha]
  • Welcome To My World (Live) [Aloha From Hawaii Via Satellite]
  • Suspicious Minds (Live)[The Alternate Aloha]
  • I’ll Remember You (Live) [Aloha From Hawaii Via Satellite]
  • An American Trilogy (Live) [Aloha From Hawaii Via Satellite]
  • A Big Hunk O’ Love (Live) [Aloha From Hawaii Via Satellite]
  • Can’t Help Falling In Love/Closing Riff (Live) [Aloha From Hawaii Via Satellite]
  • Blue Hawaii (Remake) [A Legendary Performer, Volume 2]
  • Hawaiian Wedding Song (Remake) [Mahalo From Elvis]
  • No More (Remake) [Mahalo From Elvis]
  • Early Morning Rain (Remake) [Mahalo From Elvis]
  • Baby, What You Want Me To Do (Informal) [Elvis By The Presleys]
  • Just A Little Bit [Raised On Rock]
  • For Ol’ Times Sake [Raised On Rock]
  • Sweet Angeline [Raised On Rock]
  • If You Don’t Come Back [Raised On Rock]
  • I Miss You [Raised On Rock]
  • Are You Sincere [Raised On Rock]
  • It’s Different Now (Rehearsal) [Walk A Mile In My Shoes]
  • I’m So Lonesome I Could Cry (Informal) [Elvis By The Presleys]

I made it through the 1972 playlist, which was fantastic – a real testament to the power of Elvis during that year. For 1973, I only made it as far as “See See Rider” before it was time to go. Aloha sounded like so much fun, though, that I decided to watch the 2004 edition when I got home last night.

One of the things I love about Aloha, as well as a number of other Elvis events, actually, is watching his eyes. Particularly evident on the 2004 cut, you can see a “We’re all in on the same joke/Isn’t it crazy that this is going on?” expression of bemusement. Even in this concert, where he is sometimes criticized as being too serious, Elvis never really takes himself too seriously.

After a quick run-through of the obligatory “Hound Dog,” he says, “I was just a baby when I did that song. I was about 12-years-old, had sideburns. I’m lying like a rug, too.” Too bad this line was cut from the 1973 album and subsequent NBC broadcast.

The ability to laugh at himself was one of Elvis’ most endearing qualities, and that’s no lie.

I forgot all the words

/ TY

I wrote this guest post in 2009 for Elvis Today.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

/Tygrrius, The Film Frontier

Elvis across time and space [The Film Frontier blog]

/ TY

I’m sitting here working on homework and listening to Elvis. More listening than working.

It’s amazing sometimes, when I really stop and think about it.

I’m listening to a recording (“An American Trilogy” from The Alternate Aloha) made over 36 years ago—before I was born—in Hawaii—a place I’ve never been—by a man I’ve never met—who has been dead for nearly as long as I’ve been alive.

Yet, the song, the music, still touches me.

REVIEW: Elvis In Person at the International Hotel, Las Vegas, Nevada CD Set (2008 FTD Edition)

/ TY

Elvis In Person At The International Hotel, Las Vegas, Nevada CD (Follow That Dream Records, 2008)

“I’ve appeared dead before, but this is my first live one.”

By the time RCA Records and producer Felton Jarvis arrived to start recording some of his shows on August 21, 1969, Elvis Presley had already conquered Las Vegas. As another piece of his comeback that started with the 1968 ELVIS television special and continued with his first Memphis recordings since the mid-1950s, Elvis had been performing to sold-out crowds in the newly-opened International Hotel’s main showroom since July 31.

With a grueling two-shows-a-night, seven-days-a-week, schedule, Elvis had performed over 40 triumphant concerts in just three weeks. He was starting the last week of an engagement that, outside of four shows for small studio audiences during his TV special, represented his first live concerts in nearly nine years.

Starting with the August 21 Midnight Show and running through the August 26 Midnight Show, RCA recorded eleven complete concerts. They also made test recordings during a rehearsal and the Dinner Show on August 21. From all of this material, RCA edited together twelve recordings from the August 24 & 25 Midnight Shows and the August 25 & 26 Dinner Shows to create Record 1 of that November’s From Memphis To Vegas/From Vegas To Memphis release, which was Elvis’ first double album. Record 2 consisted of additional material from his Memphis sessions, a follow-up of sorts to June’s From Elvis In Memphis album.

A year later, RCA re-released Record 1 by itself, as Elvis In Person At The International Hotel, Las Vegas, Nevada. Record 2 also earned a solo release, as Back In Memphis.

This 2008 2-CD edition of Elvis In Person is part of Follow That Dream Records’ Classic Albums series. Since the original Elvis In Person album was a re-release, you could say this FTD edition is actually a re-release of a re-release. However, if any re-release deserves the label “classic,” it is Elvis In Person.

Elvis In Person was actually the second Elvis record I ever owned. The first was Return of the Rocker, which I won on a radio call-in contest. My older sister gave Elvis In Person to me for my twelfth birthday in 1987. I loved this album so much that I later bought a cassette tape version that, incidentally, had the songs in a different sequence than the original album and a 1992 CD version. Just about the only versions I haven’t owned of this album are the 8-track version and the MP3 version. Though I rarely play the vinyl record she gave me anymore, I still associate this album, even on CD, with my sister. I’m sure this 2008 FTD version won’t be the last time I buy Elvis In Person, either. It’s just that kind of album.

Disc 1

The Original Album

Considering the space restrictions of the 1969 double album, the twelve tracks that make up the original album are well-chosen. Elvis’ between-song banter is also nicely edited to achieve an effective concert package. The only thing I would do differently would be to replace the August 26 Dinner Show version of “Suspicious Minds” with the August 26 Midnight Show version, which can be heard on FTD’s All Shook Up and may well be the best-ever performance of the song.

The sound quality of the original Elvis In Person tracks on this FTD release is about the same as on the main label’s 1992 CD edition. If you are hoping for a sound and mix upgrade along the lines of FTD’s Recorded Live On Stage In Memphis, you will be disappointed.

The CD tracks have been divided differently on this FTD version, though. Elvis’ spoken introductions to most songs now appear at the end of the previous track, rather than at the beginning of the relevant track. Oddly, FTD does not follow this convention on Disc 2, however, where most of the spoken introductions are at the beginning of the relevant track rather than at the end of the previous track. Attention to detail has never been FTD’s strong point, though. They rely instead on the power of the underlying Elvis content.

Bonus Songs & Rare Performances

Disc 1 is rounded out by seven other previously-released tracks from the 1969 concerts. Two first appeared on the misleadingly named On Stage – February, 1970 album. The others first appeared on 1991’s Collectors Gold, though the sound quality here is superior.

Unfortunately, these seven tracks are poorly edited together to form a mini-concert. It would have been cleaner to simply fade up and down each track during the applause and treat them separately, especially given the little care that was taken here to edit these songs together.

Disc 2

The Complete August 22, 1969, Dinner Show

Given that the original Elvis In Person album was compiled from the August 24 & 25 Midnight Shows and the August 25 & 26 Dinner Shows, one might logically expect Disc 2 of this release to feature the complete version of one of these source concerts with upgraded sound and mixing. Instead, FTD delivers up the August 22 Dinner Show, for which all tracks but two are previously unreleased.

While it’s always nice to have a new 1969 show, the relevance of this show to the Elvis In Person album is not entirely clear. It contributed in no way to the original album. Fortunately, FTD did not follow this rather bizarre methodology on 2004’s Recorded Live On Stage In Memphis, one of the first Classic Albums releases. If they had, Disc 1 would have been the 1994 CD release of the edited concert with original sound and Disc 2 would have been some other random but unreleased 1974 concert. Instead, they gave us the complete version of the same Memphis show with improved sound and mix, and did it with a single disc. They did not bother including the edited album and original mix, since they were aware back then that those who collect FTD CDs would already have this material.

With all that being said, the August 22 Dinner Show is fine. It is pretty much a standard 1969 show, similar to two or three of the other full-length releases that preceded it. Outside of a questionable mixing choice on a track or two, most of the sound is fantastic.

Like the other concerts in this series, Elvis tends to ramble on a lot between songs. The distracted nature of many of his quirky comments would be a real detriment to these concerts if the songs he eventually gets around to singing just weren’t so damned incredible.

When it comes to concerts, I definitely prefer a talkative, interactive Elvis (think the August 1970 That’s The Way It Is concert series) versus a quiet, distant one (think the January 1973 Aloha From Hawaii concert), but sometimes his talking on these 1969 shows is too much even for me. As I said, the fantastic performances more than make up for it, though.

Even now, it is hard to believe that a mere eight years after these dynamic shows, the Elvis world would be in mourning and this wonderful entertainer would be forever gone.

* * *

“Blue Suede Shoes”

  • Disc 1, Track 01, Live Master—8/25/1969 Midnight Show (MS) [2:05]: With trumpets blaring, the show begins with Elvis’ rockin’ take of this Carl Perkins classic. This is Elvis’ best live version of this song from the 1969-1977 era.
  • Disc 2, Track 01, Live—8/22/1969 Dinner Show (DS) [2:26]: There’s a bit of audio trickery going on, either in this release or Disc 2 of the 2007 Elvis: Viva Las Vegas release. Though the tracks are not completely identical, at least some of the audio from what was supposedly the August 21 Midnight Show appears on this supposedly August 22 Dinner Show track, or vice-versa. Presumably, the “Blue Suede Shoes” audio was damaged or missing for one show or the other. I am not expert enough to figure out to which show this song really belongs, and since Elvis isn’t kind enough to mention the date and time of the show he is performing during the song, I can’t tell you for sure. What I can say is that this is another great version of “Blue Suede Shoes,” no matter when it was recorded.

“Johnny B. Goode”

  • Disc 1, Track 02, Live Master—8/24/1969 MS [2:19]: Up next on the original Elvis In Person album is another rocker, this one originally by Chuck Berry. Again, Elvis’ best version. The 1972 version on Elvis On Tour: The Rehearsals is nearly as good, though.

“All Shook Up”

  • Disc 1, Track 03, Live Master—8/25/1969 MS [2:07]: By 1972, this song had become a throw-away, but in 1969 Elvis still rocked his 1957 hit. At the end of this track, Elvis notes that “This is my first live appearance in nine years,” which led me to wrongly believe as a kid that Elvis In Person was a recording of his opening night in Vegas. Now we know that Elvis said a variation of this phrase in every 1969 concert released so far. There is even a famously mis-titled bootleg floating around out there due to this line, so I don’t feel so bad.
  • Disc 2, Track 03, Live—8/22/1969 DS [3:18]: Another great version, nearly the same as the Elvis In Person master from a few nights later except that overall sound quality is better on this 2008-mastered track.

“Are You Lonesome Tonight”

  • Disc 1, Track 04, Live Master—8/24/1969 MS [3:15]: As a kid, I used to float the balance on my stereo to the left to eliminate the soaring female vocal in the background on this track. As an adult, I appreciate the singer’s near-operatic approach and now consider this a beautiful arrangement. The end of this track contains part of Elvis’ introduction to “Hound Dog” from the August 24 Dinner Show, released in full on Live In Las Vegas, though the “Hound Dog” that follows on the next track here is actually from the August 25 Midnight Show. Those clever RCA people.
  • Disc 2, Track 13, Live—8/22/1969 DS [2:42]: “Where’re you goin’?” asks Elvis to someone early on in this song, ruining an otherwise decent version. The best “serious” version is from the August 24 Dinner Show, released on Live In Las Vegas. The “laughing” version from the August 26 Midnight Show trumps all others, though. I wonder if there was ever any consideration of using that one on Elvis In Person? Probably not.

“Hound Dog”

  • Disc 1, Track 05, Live Master—8/25/1969 MS [1:53]: For the 1969-1977 phase of his career, this is the definitive live version of “Hound Dog.” Though this would also eventually become a throwaway, Elvis really kicks the song into high gear here. My all-time favorite “Hound Dog” released so far, though, is his June 5, 1956, live version from The Milton Berle Show, available on A Golden Celebration.
  • Disc 2, Track 07, Live—8/22/1969 DS [4:00]: Elvis rambles on for over two minutes to introduce his “message song” for the night. At least he doesn’t do the frog and lily pad bit this time. There is also some sad irony here, as Elvis correctly notes, “Man, I tell you, if this comes out on record, I’m dead, I tell you for sure, boy.” Sound quality on “Hound Dog” is again better than on the Elvis In Person track, but Elvis’ performance is not quite as good.

“I Can’t Stop Loving You”

  • Disc 1, Track 06, Live Master—8/25/1969 MS [3:19]: This is a fine version of “I Can’t Stop Loving You,” though I prefer the August 24 Dinner Show. He performed this one better in 1970, anyway.

“My Babe”

  • Disc 1, Track 07, Live Master—8/25/1969 MS [2:05]: Elvis really rocks this Willie Dixon blues classic. This is definitely one of the highlights of this album. This is easily the best of the three versions released thus far.

“Mystery Train/Tiger Man”

  • Disc 1, Track 08, Live Master—8/25/1969 MS [3:43]: At the beginning of this track, FTD mixes Elvis’ introduction to “Mystery Train” from Side 2 of the original album over the “My Babe” applause fade out that ended Side 1. This makes for a sloppy transition. Even the 1992 CD release handled it better than this. Anyway, forget all of that, though. This is a fantastic version of the “Mystery Train” and “Tiger Man” medley that keeps the rocking spirit of this album moving. I prefer the excitement of the 1969 and 1970 live versions of “Tiger Man” over the version performed for the 1968 TV special.
  • Disc 2, Track 09, Live—8/22/1969 DS [4:23]: Elvis and the band are just not quite as hot here as on the superior Elvis In Person and August 22 Midnight Show (Collectors Gold) versions. This is a nice mix, though, emphasizing both the percussion and guitar, while other mixes of this medley tend to emphasize one or the other.

“Words”

  • Disc 1, Track 09, Live Master—8/25/1969 MS [2:45]: Elvis slows things down a bit with this beautiful cover of the 1968 hit by the Bee Gees. I prefer his August 1970 versions, but this is probably the best 1969 version.

“In The Ghetto”

  • Disc 1, Track 10, Live Master—8/25/1969 DS [2:55]: Next up, Elvis performs a great version of his then-current hit. At the February 1970 Vegas engagement, Elvis appropriately preceded “In The Ghetto” with Joe South’s “Walk A Mile In My Shoes” in a medley, though RCA edited “In The Ghetto” out of the original On Stage album.
  • Disc 2, Track 16, Live—8/22/1969 DS [2:51]: Elvis’ vocals on this track sound a bit muffled at times. Listen out for Jerry Scheff’s impressive bass work on this version, though.

“Suspicious Minds”

  • Disc 1, Track 11, Live Master—8/26/1969 DS [7:45]: As the show nears its end, Elvis next introduces his new single, “Suspicious Minds.” I remember being fascinated by the length of this live version as a kid. Most Elvis songs I had been exposed to up until that point were about two minutes long, so this felt like four songs in one to me. Though this version is okay, it is one of the weaker ones from this engagement. As noted above, I prefer the August 26 Midnight Show version. Perhaps RCA did not want a superior live version to overshadow the single, which became his biggest seller in years.
  • Disc 2, Track 17, Live—8/22/1969 DS [7:17]: This is one of many tracks that makes you wish these 1969 shows were professionally filmed. It must have been something to see. A great version, Elvis’ performance, the sound quality, and the mix are all top-notch. I love this song. I just hope the neighbors don’t mind hearing it, too.

“Can’t Help Falling In Love”

  • Disc 1, Track 12, Live Master—8/26/1969 DS [2:12]: Elvis closes out the show with a beautiful rendition of his 1961 hit, the best released thus far from 1969-1977.
  • Disc 2, Track 19, Live—8/22/1969 DS [2:11]: An unexceptional version. Elvis sounds tired out from “Suspicious Minds” and “What’d I Say.”

Other Songs (not on original album)

  • Disc 1, Track 13, “Runaway” (Live Master–8/25/1969 DS) [2:32]: Despite its recording date, this fantastic version of the 1961 Del Shannon hit was first released on On Stage – February 1970. My favorite “Runaway” version, though, is from the August 21 Midnight Show, released on Disc 2 of 2007’s Elvis: Viva Las Vegas.
  • Disc 1, Track 14, “Yesterday” (Live Master–8/25/1969 DS) [2:29]: As with “Runaway,” this cover of the 1965 Beatles song was first released on On Stage. In his 1969 performances of “Yesterday,” Elvis concluded the song with the repetitious ending of “Hey Jude.” RCA edited this out of the original On Stage version, though restored it for a 1999 re-release of that album. Oddly, this FTD track is the edited version without “Hey Jude.” I can’t say I miss it too much, though. This is one of the only cases where that kind of tampering actually results in a stronger track. I do like Elvis’ 1969 studio version of “Hey Jude,” though, as released on Elvis Now.
  • Disc 1, Track 15, “This Is The Story” (Live Master–8/26/1969 MS) [2:55]: This live version of “This Is The Story” was first released on 1991’s Collectors Gold, as were the next four tracks. It is a slow song that at first sounds like it has potential, but really doesn’t go anywhere. Elvis improves this live version a bit by clowning around. At least it’s better than the 1969 studio version, released on Back In Memphis. Sound quality is better here than 1991, about the same as on FTD’s All Shook Up release.
  • Disc 1, Track 16, “Inherit The Wind” (Live Master–8/26/1969 DS) [3:41]: There is a previously unreleased, longer spoken portion prior to the song, assuming it’s not editing trickery, and sound quality is much better here than 1991. It’s too bad Elvis did not keep this song in the show. With a little more tweaking, it could have been a great number. The 1969 studio version of this Eddie Rabbitt-penned song first appeared on Back In Memphis as well. Both the live and studio versions are not to be missed.
  • Disc 1, Track 17, “Rubberneckin'” (Live Master–8/26/1969 MS) [3:53]: The long false start of this song was first released on FTD’s All Shook Up, and sound quality here is about the same – an improvement over 1991. Again, with some tweaks, this could have made a fantastic permanent addition to the show. The studio version of “Rubberneckin'” actually appeared in Elvis’ 1969 film Change of Habit, his last movie as an actor.
  • Disc 1, Track 18, “Reconsider Baby” (Live Master–8/23/1969 MS) [3:17]: Though this is Elvis’ best live version of “Reconsider Baby” released so far, it is not in the same league as his studio performance of this Lowell Fulson blues song on 1960’s Elvis Is Back, one of the best recordings of his career.
  • Disc 1, Track 19, “Funny How Time Slips Away” (Live Master–8/25/1969 DS) [2:38]: This live version of “Funny How Time Slips Away” actually precedes Elvis’ June 1970 studio version of the Willie Nelson song. Though the Elvis Country studio version is superior, the 1969 live versions are much better than live versions from the 1970s released thus far.
  • Disc 2, Track 02, “I Got A Woman” (Live–8/22/1969 DS) [2:54]: For many of his 1969-1977 shows, “I Got A Woman” was the standard second song. Elvis really rocked the 1969 and 1970 versions of this song, and this track is no exception.
  • Disc 2, Track 04, “Love Me Tender” (Live–8/22/1969 DS) [2:40]: This is one of those versions of “Love Me Tender” where Elvis spends some of the time kissing women in the audience. The best version from this engagement is probably the August 23 Midnight Show, released on FTD’s Elvis At The International.
  • Disc 2, Track 05, “Jailhouse Rock/Don’t Be Cruel” (Live–8/22/1969 DS) [3:21]: In my opinion, Elvis’ 1969-1977 performances of “Jailhouse Rock” cannot compare with his 1957 original and 1968 TV special versions. For whatever reason, despite Elvis excelling on some of the other rockers, this one did not work as well in 1969. On this version, Elvis falls a bit behind and seems unsure of some of the lyrics. This medley also contains one of the weaker 1969 versions of “Don’t Be Cruel.” The best version of this medley is the August 24 Dinner Show on Live In Las Vegas.
  • Disc 2, Track 06, “Heartbreak Hotel” (Live–8/22/1969 DS) [2:37]: In 1969, Elvis introduced a slower, bluesier version of “Heartbreak Hotel,” which he continued to use in various live shows through 1977. I must admit, I much prefer the rocking versions from the ’68 special. This particular track is again one of the weaker 1969 versions released to date. The best 1969-1977 version of this song can also be found on the August 24 Dinner Show.
  • Disc 2, Track 08, “Memories” (Live–8/22/1969 DS) [2:50]: An okay version, notable mostly for Elvis recognizing Gladys Tipler in the audience, who tells him that it’s her birthday. “I just blew my mind, man,” says Elvis when jumping back into the song. Mrs. Tipler co-owned Crown Electric, for whom Elvis was a truck driver before gaining fame. “Happy birthday, Miss Tippler,” he states after the song ends.
  • Disc 2, Track 10, Monologue (Live–8/22/1969 DS) [9:09]: After hearing a few of them, you might say that these monologues are interchangeable between the 1969 shows. The main label apparently takes that literally. That’s right, we now have more evidence of audio trickery. This monologue track is identical to one already released on the supposed August 21 Midnight Show, Disc 2 of 2007’s Elvis: Viva Las Vegas. This time, though, we can verify that it actually belongs with the August 22 Dinner Show, as Elvis mentions the Tiplers being in the audience and that it is Gladys Tipler’s birthday. It doesn’t bother me at all that they would splice shows together to create Disc 2 of Elvis: Viva Las Vegas. What does bother me is that they try to pass it off as the August 21 Midnight Show. How many other misplaced tracks are also thrown into that release? Why not just be up front about the source show for each song? Anyway, if you are not familiar with these ten-minute long monologues, Elvis tells a tongue-in-cheek version of the story of his career thus far. In typical Elvis fashion, he does not let facts get in the way of a good story. If he didn’t ramble and sound distracted so much, these might be more interesting. In certain bits, Elvis does demonstrate his gift for comedic timing, at least. My favorite is actually the “Memphis!” version first released on Having Fun With Elvis On Stage.
  • Disc 2, Track 11, ‘“Baby, What You Want Me To Do” (Live–8/22/1969 DS) [3:15]: After the ten minute monologue, Elvis treats the audience to “Baby, What You Want Me To Do,” the Jimmy Reed blues song that he had reverted to so many times while filming his 1968 special. The song worked much better in the raw, stripped-down form as recorded for the special than it does in the 1969 arrangement. The best 1969 version is on the August 26 Midnight Show (All Shook Up).
  • Disc 2, Track 12, “Runaway” (Live–8/22/1969 DS) [2:59]: Elvis teases the audience with a tiny snippet of “Surrender” before tearing into “Runaway.” This would be a decent version if it wasn’t for the mix. A male background vocalist is too loud, drowning out Elvis in a number of spots. Because of that, this version quickly becomes tiring.
  • Disc 2, Track 14, “Yesterday/Hey Jude” (Live–8/22/1969 DS) [4:37]: “Suddenly, I’m not half the stud-” Elvis sings early on and then pauses to laugh at his joke. The result is a rather typical, distracted-sounding version of “Yesterday.” The “Hey Jude” ending doesn’t help matters, either. Stick with the On Stage version for “Yesterday” (found on Disc 1 of this release).
  • Disc 2, Track 15, Introductions (Live–8/22/1969 DS) [2:59]: I’m not going to get into the business of reviewing Elvis’ band introductions. And if you have a problem with that, Tutt Scheff.
  • Disc 2, Track 18, “What’d I Say” (Live–8/22/1969 DS) [4:11]: Elvis’ second song of the night was a Ray Charles classic, “I Got A Woman,” so it is appropriate that Elvis bookends the show with “What’d I Say,” another Ray Charles classic as the second-to-last song. Actually, this tune from Viva Las Vegas was reportedly the “fake” last song before Elvis returned to sing the real last song, Blue Hawaii‘s “Can’t Help Falling In Love” as sort of an encore. This is one of the weaker 1969 versions of “What’d I Say.” All of the 1969 versions suffer from being too fast, though. His 1963 studio version and 1970 rehearsal, the latter of which is found on Platinum: A Life In Music, are both much better.

* * *

As is standard for the Classic Album series, the front cover art duplicates the original Elvis In Person re-release. I was hoping FTD might use the 1969 variation of this cover, with the “From Memphis To Vegas” title, rather than going with the 1970 version. Then, it would have made a great companion with a future Back In Memphis Classic Album release with the “From Vegas To Memphis” 1969 cover variation.

FTD did a great job on the grayscale of the underlying Elvis photo this time around, as it is not as washed out as it appears on other versions of this release. I am not sure why RCA in 1969 reverted to using black & white photos of Elvis for album covers. Compare the vibrant color photo on From Elvis In Memphis to the black & white one on Elvis In Person, for instance. Though it is a great photo, it would have been even better in full color.

That wasn’t the only odd choice in 1969, either. Though this album contains 1969 Vegas performances, the cover photo is actually from Elvis’ 1968 TV special. For some reason, a 1969 live in Las Vegas photo was used on the companion Record 2: Back In Memphis album instead – which contained only Memphis studio cuts. I guess there is just no figuring out the logic of record companies, then or now.

Remember when I said that FTD’s strong point was not attention to detail? The back cover art of this release is new. It features a photo of the International Hotel’s marquee from August 1970, a full year after these concerts. Oops.

On the inside of this tri-fold, 45 RPM single-sized packaging is a reproduction of the original back cover art, featuring three black & white photos of Elvis on stage in 1969. It’s probably not, but I always like to imagine that the bottom right photo of Elvis laughing while playing the electric guitar was taken during the “Are You Laughing Tonight?” performance at the August 26 Midnight Show, released on All Shook Up, among other releases.

I have complained in a couple of recent FTD reviews that the CD prongs are misaligned against the underlying images in the packaging. I am happy to report no alignment issues this time.

The enclosed booklet includes over two dozen familiar photos of Elvis from around this period. It also contains the full-track listing and performance dates for most of the songs on the two CDs. “Behind the Scenes” this time around features a partial timeline of the events surrounding the live performances and recordings, as well as the history of some of the more recent releases of this material. Of interest is that the August 21 performance released on the 2-CD version of 2007’s Elvis: Viva Las Vegas is noted as the Midnight Show—which, as I have mentioned in a couple of spots above, may not really end an ongoing debate as to exactly which show or shows that disc contains.

That is it as far as liner notes, though. A complete set list for every recorded concert and each track’s first record/CD release, if applicable, would have been nice—similar to the presentation in FTD’s The Way It Was book for the That’s The Way It Is concerts. At least toss some vintage reviews in there. As it is, the booklet feels hastily assembled and lacking. Perhaps twelve FTD releases a year is about eight too many?

The Final Verdict

Unfortunately, this 2-CD set from FTD is not the “definitive” or “ultimate” Elvis In Person release that it could have been. Of the five complete concerts released thus far from the 1969 shows, none of them contains songs that were used on the original Elvis In Person album. None of the true Elvis In Person concerts have been released as full concerts.

This material is strong enough for a mainstream boxed-set similar to the four-CD ELVIS: The Complete ’68 Comeback Special. Disc 1 could be the complete August 24 Midnight Show, Disc 2 the complete August 25 Dinner Show, Disc 3 the complete August 25 Midnight Show, and Disc 4 the complete August 26 Dinner Show. Then, you would have a definitive, ultimate version of this album.

The bottom line for FTD’s Elvis In Person 2-CD set is that it manages, just barely, to be at least essential.

If, like me, you want to collect all of the material from the 1969 Las Vegas engagement, the first disc is basically a backup copy of tracks you already own, while the second disc is the must-have portion. Still not a bad deal, as the price is the same as buying a single-disc FTD release anyway.

If, on the other hand, you are an Elvis fan who has not been exposed to this material very much before, then you are in for a real treat. Between the two discs on this set, you will have at least one version of every song released from this engagement thus far.

Sit back, crank it up, and enjoy!

Songs: 10 (out of 10)

Audio Quality: 8

Liner Notes: 5

Cover Art: 8

Packaging: 9

Overall Experience: 9