Elvis On Tour

The Look

/ TY / 5 Comments

Last month, NEON released the official teaser trailer for Bazz Luhrmann’s latest project, EPiC: Elvis Presley in Concert. Check it out over on YouTube.

As Elvis Presley fans we could say a lot of things about that trailer, couldn’t we? We could quibble over dates, for instance, or debate the definition of “lost.”

None of that matters.

There’s a blink-and-you-miss-it moment in the trailer that clinches EPiC for me. Watching Elvis over the years, you become familiar with a certain look in his eyes. It’s a quick glance. Sometimes directly to fans. Sometimes to cameras. He seems to say, “You’re in on this with me, aren’t you?”

In the EPiC teaser, it occurs at 0:58. Here it is:

Elvis Presley in 1970, from the EPiC: Elvis Presley in Concert teaser, 2025, NEON

Elvis Presley in 1970, from the EPiC: Elvis Presley in Concert teaser (2025, NEON)

The film hits IMAX theaters worldwide on February 20, with early access showings beginning on February 18, and then expands to wide release on February 27 globally.

While there have been limited-run screenings over the years, EPiC represents the first wide release of an Elvis documentary in cinemas since 1981’s This Is Elvis.

We’ve lost many first generation Elvis fans since that time. For many second (and beyond) generation fans, like myself, events like EPiC are the closest we’ll ever come to experiencing Elvis in person.

EPiC allows Elvis to tell his own story, using audio from multiple sources. It also features fully restored video of previously released and unreleased content. Most of the footage used was originally filmed for the documentaries Elvis: That’s The Way It Is (1970) and Elvis On Tour (1972).

The film left stellar reviews in its wake after the world premiere at the Toronto International Film Festival in September last year, the European premiere at the Zurich Film Festival in September and October, and the United States premiere in Memphis at the TCB Showroom on January 8, the 91st anniversary of Elvis’ birth.

Footage from other eras is also featured to help round out the narrative. Most notably, color footage of Elvis performing in Hawaii in 1957 is included–30 seconds of which was first released by Graceland with little fanfare on the Aloha From Hawaii: 40th Anniversary Edition DVD (2013).

Sony on January 8 announced plans for the EPiC soundtrack, which will be available February 20 on digital and CD and April 24 on vinyl.

You can preview one of the songs on YouTube here: “Wearin’ That Night Life Look.”

This mashup combines elements from “Wearin’ That Loved-On Look,” “Night Life,” “Let Yourself Go,” and “I, John.” On paper it sounds like a mess, but it manages to work. I love it. As Elvis says, “Just play the hell out of it!”

Luhrmann produced and directed EPiC. He also co-produced, co-wrote, and directed ELVIS (2022), a fictionalized account of the singer’s life that starred Austin Butler (Elvis Presley), Tom Hanks (“Colonel” Tom Parker), and Olivia DeJonge (Priscilla Presley). That film earned nearly $300 million worldwide in its box office run. Butler won a Golden Globe for his portrayal and the movie earned eight Academy Award nominations, including Best Picture and Best Actor (Butler).

That the editor of the teaser trailer included “the look” gives me confidence that EPiC will do Elvis justice. We need to experience and support this one at our local theaters. Don’t make the mistake of waiting to watch it at home. Find it at a theater near you.

And, yes, we’re still in on it with you, Elvis.

Lost and Found and Lost and Found and Lost and Found

/ TY / 1 Comment

Presented without comment.

From Elvis: The Lost Performances (1992, MGM/UA Home Video, Turner Entertainment Co.):

“The performances you are about to see were rescued from discarded outtakes MGM had stored in an underground salt mine in Kansas.

“They were taken from two of Elvis’ live concert movies, ‘Elvis—That’s The Way It Is,’ and ‘Elvis On Tour,’ produced in 1970 and 1972, respectively.

“Also included in this program is a rehearsal that Elvis did on the MGM lot in 1970.

“None of these performances have ever been seen by the public except, of course, by those who were present when they happened.”

From Elvis: That’s The Way It Is – Special Edition (2001, Warner Home Video, Turner Entertainment Co.):

“In November 1970 MGM released the documentary film ‘Elvis: That’s The Way It Is,’ directed by Denis Sanders. It chronicled Elvis Presley as he returned to the live performances he had abandoned while making movies in Hollywood during the sixties.

“Most of the footage shot was unused in the final film and remained lost in studio vaults.

“Until Now.”

From EPiC: Elvis Presley In Concert Official Teaser (2025, NEON, Universal):

“In 1969, Elvis returned to the stage to begin a legendary residency in Las Vegas.

“For 40 years there have been rumors of lost footage.

“During the production of Baz Luhrmann’s ELVIS, it was found.

“This is more than a documentary.

“This is more than a concert film.

“This is Baz Luhrmann’s EPiC: Elvis Presley In Concert.”

VHS covers for ELVIS: THE LOST PERFORMANCES (1992) and ELVIS: THAT'S THE WAY IT IS - SPECIAL EDITION (2001); teaser poster for EPiC: ELVIS PRESLEY IN CONCERT (2025)

VHS covers for ELVIS: THE LOST PERFORMANCES (1992) and ELVIS: THAT’S THE WAY IT IS – SPECIAL EDITION (2001); teaser poster for EPiC: ELVIS PRESLEY IN CONCERT (2025)

Ramblings

/ TY / 1 Comment

One of our annual traditions this time of year on The Mystery Train Blog is that I make note of the fact that I haven’t posted in many months.

Indeed, it has been many months since I posted. Outside of a quick tribute to Elvis Presley in August, my last real post here was in April! I did have a seemingly strong start to 2023 as I began (but never finished) a multi-part review series of Sony’s then-new Elvis On Tour set. I also examined two more Elvis movies.

In the Elvis world, 2023 will be remembered with sadness due to the loss of Lisa Marie Presley on January 12. Nearly a year later, I still find it hard to believe. On a brighter note, Lisa’s daughter, Riley Keough, seems to have risen to the occasion as far as taking up the Presley mantle. Her mom would be proud.

A few tidbits when it comes to Elvis news since I last posted. While reviewing the top-notch Elvis On Tour set back in the first few months of 2023, I kept thinking, “If only Madison Square Garden would get a similar treatment.” I thought it would never happen, since that event had already been revisited as recently as 2012 with Sony’s excellent Prince From Another Planet set. Wow, did I underestimate the Elvis re-release machine. Indeed, the FTD collectors label for Elvis fans released new mixes of the Madison Square Garden concerts not long after I had that very thought.

On the main Sony label, a set containing new mixes of the 1973 Aloha From Hawaii concerts and related material on 3 CDs as well as a Blu-ray version of that event were also released. Sony’s 2023 Aloha From Hawaii release was slightly controversial, though, and rightly so.

FTD only a year before had already released 2 of the 3 CDs of new mixes at a premium price. The remaining CD of the 2022 FTD set used a vintage 2013 Sony mix – meaning that, Blu-ray aside, fans that already bought the 2022 FTD set but wanted all of the new mixes would still have to buy the 2023 Sony set for the 1 CD. Why Elvis’ music catalog continues to be treated in this haphazard manner is beyond me. Incompetence? Contempt? Greed? A little of all of these? Your guess is as good as mine.

While I originally intended not to touch Sony’s 2023 Aloha set until after I had listened to the “new” As Recorded At Madison Square Garden, I couldn’t help but watch the Aloha From Hawaii Blu-ray the night of August 16. I wanted to experience it as a fan rather than as a writer, so I did not take any notes or watch it from a critical or analytical perspective. I just sat back and immersed myself in the shows again. As I’ve mentioned many times on here, my mom was a first-generation Elvis fan who first started listening to him in 1956 when she was 12. For her, 1973’s Aloha From The Hawaii was the absolute pinnacle of Elvis. I miss seeing her watch it.

Elvis Presley conquers the world during the 1973 ELVIS: ALOHA FROM HAWAII VIA SATELLITE television special (NBC)

Elvis Presley conquers the world during the 1973 ELVIS: ALOHA FROM HAWAII VIA SATELLITE television special (NBC)

As for that FTD Madison Square Garden set, I still haven’t even opened it. So, I’m looking forward to listening to it in 2024.

There is also word that Baz Luhrmann, director of 2022’s very successful ELVIS movie, might be assembling a re-edit of “lost” footage from documentaries Elvis: That’s The Way It Is (1970) and Elvis On Tour (1972) – possibly as a streaming series à la Peter Jackson’s The Beatles: Get Back (2021). While intriguing, when it comes to any Warner Brothers project involving Elvis, I will believe it when I see it. I am very cautiously optimistic.

I still have a couple of posts to go in that review of Elvis On Tour. Will I ever finish them? I am not sure. Maybe. I will surely continue my re-watch of Elvis’ movies, Lord willing. My goal is to cover at least three Elvis movies in 2024. There is also at least one new-to-me book I would like to feature in a future post.

2023 has been a year full of blessings for me – more than I could ever begin to list here. Know that I count those of you who take the time to read my infrequent ramblings here to be among those blessings.

Thank you for reading. May your 2024 be full of joy.

“I pray that God, the Source of hope, will fill you completely with joy and peace because you trust in Him. Then you will overflow with confident hope through the power of the Holy Spirit.”
Romans 15:13

Another Elvis Song of the Year (2023)

/ TY

We have at least two annual traditions this time of year on The Mystery Train Blog. One is that I make note of the fact that I haven’t posted in many months. The second is that I indulge my analytical side by looking at my music-listening history for the past year.

Indeed, it’s been many months since I posted. Outside of a quick tribute to Elvis Presley in August, my last real post here was in April! I did have a seemingly strong start to 2023 as I began (but never finished) a multi-part review series of Sony’s then-new Elvis On Tour set. I also examined a two more Elvis movies.

I still have a couple of posts to go in that review of the audio portions of Elvis On Tour. Will I ever finish them? I am not sure. Maybe. I will surely continue my re-watch of Elvis’ movies, Lord willing. My goal is at least three Elvis movies in 2024.

A few tidbits when it comes to Elvis news since I last posted. While reviewing the top-notch Elvis On Tour set back in the first few months of 2023, I kept thinking, “If only Madison Square Garden would get a similar treatment.” I thought it would never happen, since that event had already been revisited as recently as 2012 with Sony’s excellent Prince From Another Planet set. Wow, did I underestimate the Elvis re-release machine. Indeed, the FTD collectors label for Elvis fans released new mixes of the Madison Square Garden concerts not long after I had that very thought.

On the main Sony label, a set containing new mixes of the 1973 Aloha From Hawaii concerts and related material on 3 CDs as well as a Blu-ray version of that event were also released. Sony’s 2023 Aloha From Hawaii release was slightly controversial, though, and rightly so.

FTD only a year before had already released 2 of the 3 CDs of new mixes at a premium price. The remaining CD of the 2022 FTD set used a vintage 2013 Sony mix – meaning that, Blu-ray aside, fans that already bought the 2022 FTD set but wanted all of the new mixes would still have to buy the 2023 Sony set for the 1 CD. Why Elvis’ music catalog continues to be treated in this haphazard manner is beyond me. Incompetence? Contempt? Greed? A little of all three? Your guess is as good as mine.

While I originally intended not to touch Sony’s 2023 Aloha set until after I had listened to the “new” As Recorded At Madison Square Garden, I couldn’t help but watch the Aloha From Hawaii Blu-ray the night of August 16. I wanted to experience it as a fan rather than as a writer, so I did not take any notes or watch it from a critical or analytical perspective. I just sat back and immersed myself in the shows again. As I’ve mentioned many times on here, my mom was a first-generation Elvis fan who first started listening to him in 1956 when she was 12. For her, 1973’s Aloha From The Hawaii was the absolute pinnacle of Elvis. As for that FTD Madison Square Garden set, I still haven’t even opened it. So, I’m looking forward to listening to it in 2024.

There is also word that Baz Luhrmann, director of 2022’s very successful ELVIS movie, might be assembling a re-edit of “lost” footage from documentaries Elvis: That’s The Way It Is (1970) and Elvis On Tour (1972) – possibly as a streaming series à la Peter Jackson’s The Beatles: Get Back (2021). While intriguing, when it comes to any Warner Brothers project involving Elvis, I will believe it when I see it. I am very cautiously optimistic.

I have been tracking my music-listening numbers annually since 2010 (except, apparently, for 2017). I now have 5,000 unique Elvis tracks backed up to iTunes. Out of those Elvis tracks, the one I played most often in 2023 across all devices was…

Drumroll, please.

Credit: Vevo’s Elvis Presley channel (YouTube)

…the legendary “Jailhouse Rock” from 1957. It took the prize for my most-played song of the year with 17 plays.

Second place went to another killer track, 1972’s “Burning Love” with 16 plays.

I listened to 2,023 unique Elvis tracks on my devices in 2022 (meaning 2,977 Elvis tracks went unplayed all year). Including duplicate plays, I listened to 5,306 Elvis songs on my devices during the year. That is about 15 Elvis songs a day on average.

Out of 6,638 non-Elvis tracks in my collection, my most played song overall in 2022 was for KING & COUNTRY’s “The Proof Of Your Love” from the album Crave (2012). This recording played 7 times on my various devices, putting it in 50th place.

Credit: For KING & COUNTRY channel (YouTube)

Overall, I listened to 6,692 recordings using my digital devices last year (including duplicate plays). That works out to 18 songs a day. I listened to 3,098 unique tracks during the year.

While a slight increase from 2021’s 17 songs a day, my music listening remains down compared to the 2010s. For instance, in 2019, I listened to 35 songs a day. I expected a more significant increase in 2022, as after 2 years of being fully remote, I returned to working in person a few days a week — and thus, had more car time for music during my commute.

In any event, Elvis dominated my listening in 2022 – leaving room for only about 3 non-Elvis songs a day! My listening is normally not that out of balance, but it was definitely an Elvis year.

Thank you for reading and for indulging me in my analytical diversion.

Jesus answered many prayers for me in 2022, filling my life with blessings. May He do the same for you in 2023.

TY

“God will generously provide all you need. Then you will always have everything you need and plenty left over to share with others.”
2 Corinthians 9:8

As Recorded At Greensboro Coliseum: ELVIS ON TOUR – First (or Second) Reactions

/ TY / 5 Comments

I really struggled during my first run-through of CD 3 of Elvis On Tour, as I initially found it disappointing. I decided to give it another try about a week later, so this consolidated review actually represents impressions from both my first and second listens of the show.

I’ve been enjoying the new Elvis On Tour boxed set, so I’m continuing my informal, off-the-cuff reviews. This time, I’ll be listening to CD 3, which captures Elvis Presley’s concert on Friday, April 14, 1972, at the Greensboro Coliseum in North Carolina. Though this show is previously unreleased, it does have 3 songs that appear in the actual movie.

Elvis Presley performing at the Greensboro Coliseum on Friday, April 14, 1972 (MGM)

Also Sprach Zarathustra (Theme from 2001: A Space Odyssey)

See See Rider: Though nothing really distinguishes it, this is a fine 1972 version of “See See Rider.”

Proud Mary: This is a rockin’ version but, much like “See See Rider,” nothing really distinguishes this one from other fine performances of this tune in 1972.

Never Been To Spain: This is an okay version of this song on Elvis’ part, with nothing standing out. “We’ll get the ending right one day,” he notes after completing it.

I must admit, I’m disappointed in this concert so far. I’d been looking forward to it. Hopefully things will pick up. I’m also hoping for a surprise or two in terms of the setlist (I have not read the accompanying booklet yet, which includes the track listing).

You Gave Me A Mountain: I’ve mentioned in previous reviews that this is a poor spot in the setlist to downshift to slow songs. “Polk Salad Annie” right here would be so much better. I love slow songs, but this should be a little later in the show. This is not an especially good version of “You Gave Me A Mountain,” either.

Until It’s Time For You To Go

Polk Salad Annie: The Greensboro crowd reacts loudly as “Polk Salad Annie” begins. I love the wild Jerry Scheff bass guitar solos on the 1972 versions of the song, and this one is no exception.

Love Me: The crowd is definitely enthusiastic in Greensboro. Way to go, North Carolina!

All Shook Up: Elvis offers up a surprisingly spirited version. At least he doesn’t seem bored like he often does on this song.

Teddy Bear/Don’t Be Cruel: I usually don’t enjoy the “oldies” section of the show in 1972, but Elvis again seems enthusiastic on this medley.

Hound Dog: Well, that all just went out the window. Elvis really should have retired “Hound Dog” after 1970. This is a rather poor version.

Heartbreak Hotel: I normally like 1972 versions of “Heartbreak Hotel.” This one is good, though he gets distracted.

A Big Hunk O’ Love: Here we go! “A Big Hunk O’ Love” really takes off! Elvis says, “It’s your big chance, man” during Glen Hardin’s piano solo. I love how this song has two instrumental breaks, one for Glen and the other for James Burton on lead guitar. This should have happened more often. I love this song! So awesome!

Bridge Over Troubled Water: This version of “Bridge Over Troubled Water” appeared in the Elvis On Tour movie. I know some fans consider it Elvis’ best version ever, but I can’t grasp how they can think that when 1970 exists. In any event, it’s fun to hear a 1972 version of this song. As a teen, I remember being surprised to see this in Elvis On Tour when I watched it for the first time. I associated the song with 1970, for it was such a climactic moment in Elvis: That’s The Way It Is, and I didn’t realize he continued performing it after that year.

Suspicious Minds: All right, let’s do it right, Elvis! The start is fairly strong, for 1972. Overall, a decent version. It’s probably the best version of the three I’ve heard so far on this set – which isn’t necessarily a huge compliment. Why did Elvis allow his most recent #1 hit to become almost a throwaway?

As the band begins “Comin’ Home Baby” for the introductions portion of the show, Elvis says, “My first movie, ladies and gentlemen, was Love Me Tender. I’d like to sing that for you,” and the band quickly shifts into “Love Me Tender” instead.

Love Me Tender: A short but fine version. Includes the ad-lib, “You have made my suit turn blue, and I love you so.”

Elvis Presley performing at the Greensboro Coliseum on Friday, April 14, 1972 (MGM)

Comin’ Home Baby/Introductions By Elvis

For The Good Times: I really enjoyed the multiple attempts of “For The Good Times” on the Hollywood Studio CDs of this set. While I prefer studio versions of this song, this live version is still good. Possibly my favorite live version of this song.

An American Trilogy: Dixie/Battle Hymn Of The Republic/All My Trials – This appeared in the Elvis On Tour movie. It’s a great version. I like the Hampton Roads version better, but I can see why they went with this one for the movie – it’s visually better than Hampton. This makes me want to watch the movie again. It’s been a few years.

Burning Love: Oh, cool! Elvis debuts his soon to be hit song, recorded only a couple of weeks earlier. You’ve gotta crank the sound up on this one. Go Elvis! Who cares if some of the words are wrong? It’s the feel of the song. That’s always been the case when listening to Elvis. This Greensboro version of “Burning Love” is possibly my second favorite live version, after San Antonio.

Release Me: This one appeared in the excellent Elvis: The Lost Performances VHS video in 1992. It’s a good version of “Release Me,” but certainly anticlimactic after “Burning Love.”

Funny How Time Slips Away: This is a good 1972 version of “Funny How Time Slips Away.” It will probably be my go-to version for that year. This performance appears in Elvis On Tour. I love finally hearing these songs in context of the full shows. When multiple police officers pull a fan away after trying to reach Elvis on the stage, he says “Let her have that, let her have that, man,” to one of them, handing the officer a scarf to give to the overzealous fan. How cool.

Generally, this song indicates the show is almost over (because time is slipping away). I am hoping he squeezes in at least one more song before the “Can’t Help Falling In Love” finale, though. “Let me drink a little Gatorade, and I’ll sing another song for you,” he says. Maybe!

Can’t Help Falling In Love: Well, darn. The show is just about over. 1972 versions of “Can’t Help Falling In Love” are way too fast, but he does sound good here.

I really wish the show was a bit longer. Most Elvis concerts are around 60 minutes. This one clocks in at 62 minutes. For some reason, it feels shorter than that. The overall Greensboro experience feels unsatisfying compared to Hampton and San Antonio.

Well, 51 years later, I guess I shouldn’t complain since at least I get to hear this show at all. The first listen was definitely disappointing, but I enjoyed it more the second time through, including multiple highlights noted above.

“May the mountains yield prosperity for all, and may the hills be fruitful.”
Psalm 72:3

As Recorded At RCA Hollywood Studios: ELVIS ON TOUR – First Reactions

/ TY / 1 Comment

Before the 15-city, April 1972 concert series chronicled in MGM’s Elvis On Tour documentary even began, Elvis Presley already had a busy year.

In mid-January, Elvis began rehearsals for his next Las Vegas season – his sixth such month-long engagement since 1969. From January 26 to February 23, he performed 57 concerts at the Las Vegas Hilton. RCA recorded portions of various concerts in mid-February. Most of these recordings would go unreleased during Elvis’ lifetime. “An American Trilogy,” however, was released as a single in April, while “It’s Impossible” would appear the following year on the Elvis (Fool) album.

His wife, Priscilla, had moved out of Graceland in late 1971, and the couple formally separated on February 23. A month later, on March 27, Elvis began a recording session at RCA’s Hollywood Studios. The session lasted through March 29 and yielded the following masters:

  • Separate Ways (Single A-Side)
  • For The Good Times (Studio version unreleased until 1995)
  • Where Do I Go From Here (Album cut)
  • Burning Love (Single A-Side)
  • Fool (Single B-Side)
  • Always On My Mind (Single B-Side)
  • It’s A Matter Of Time (Single B-Side)

Though Elvis was not a songwriter, many of the songs he chose to record during the session reflected his personal life and featured heartbreaking lyrics about love lost:

Separate Ways: “Someday when she’s older, maybe she will understand why her mom and dad are not together. The tears that she will cry when I have to say goodbye will tear at my heart forever” (written by Red West and Richard Mainegra).

For The Good Times: “Hear the whisper of the raindrops flowing soft against the window, make believe you love me one more time” (written by Kris Kristofferson).

Fool: “Fool, you didn’t have to hurt her. Fool, you didn’t have to lose her. Fool, you only had to love her, but now her love is gone” (written by Carl Sigman and James Last).

Always On My Mind: “If I made you feel second-best, girl, I’m so sorry I was blind” (written by Mark James, Wayne Carson, and Johnny Christopher).

Due to its happy lyrics, the singer had to be goaded into recording “Burning Love,” the only rock ‘n’ roll number of the session. It became his last big hit on the pop charts.

On March 30, MGM’s camera crews arrived at the studio and began rolling for the Elvis On Tour documentary. For two days, Elvis and his band re-created the recording session they had just completed and then rehearsed for the upcoming tour. The majority of these recordings are captured on Discs 5 and 6 of Sony’s new Elvis On Tour set, the focus of today’s post. As I have done with the live recordings, this will mostly be a stream-of-consciousness approach as I listen to the discs for the first time – so bear with me.

Disc 5 kicks off with a slightly slower, gritty-sounding version of “Burning Love.” Unfortunately, this version of “Burning Love” eventually falls apart. I really liked it!

After some studio chatter, another version of “Burning Love” kicks off. Maybe Elvis will finish this one. I honestly wasn’t looking forward to the studio discs on the set. I was more focused on the live concerts. Uh oh, a couple minutes in, and it sounds like it might turn into another long false start. All right, Elvis is back on track, maybe he will finish it. Close enough, anyway. I really enjoyed this version.

A third attempt at “Burning Love.” Sounds awesome! Definitely reminiscent of the master so far. Maybe Elvis will stay focused. We’re closing on the ending. Maybe a complete version. I love it!

Elvis sings a line of “Sweet, Sweet Spirit,” and then they are off into a rehearsal of “For The Good Times.” This is such a beautiful song.

I’m not sure why they never released Elvis’ studio version of “For The Good Times.” The live version recorded a few months later on As Recorded At Madison Square Garden, which is inferior, beat it to record stores, but surely they could have used it on a subsequent studio album? It seemed they were always trying to fill gaps on albums, so why not use a quality recording like this one that was just sitting in the vault?

Elvis sounds so good on this. His voice is perfect for this song. “For The Good Times” is one of those, like 1970’s “How The Web Was Woven,” where it’s fun even to listen to rehearsal snippets. There’s a lot of laughter and clowning around between takes. I’m glad his fellow performers are seemingly able to keep Elvis in good spirits during such a rough period.

“For The Good Times,” at least that I’ve heard so far, doesn’t work nearly as well in a live concert setting as it does here in the studio. While I do wish Elvis had tried “Always On My Mind” on stage, I suspect the same would have been true of that song.

I could listen to “For The Good Times” all day, which is a good thing, because there are apparently a lot of takes of this song on this set. I just like to close my eyes and listen to his voice.

Elvis sings a few lines of “El Paso” between takes, which I remember hearing before on FTD’s Elvis On Tour: The Rehearsals. Too bad he didn’t attempt a full version.

And suddenly they are rockin’ again with “Johnny B. Goode”! It falls apart quick, though. James Burton sounds so awesome on electric guitar. They launch it again, and it falls apart again just as Elvis begins to sing. I don’t know if this was the first session where Elvis is using headphones, but they seem really to bother him.

A third attempt… will they keep going this time? Oh, yes they will! This is the version which is excerpted at the beginning of the Elvis On Tour documentary and appears in full on the Elvis On Tour: The Rehearsals CD.

Then we pick up in progress on a rehearsal of “Always On My Mind.” This is one of my favorite songs, specifically the version from This Is Elvis – which was recorded during this mock session. Though the term wasn’t in use back then, that version was a bit of a remix in that it had some 1981 overdubs, but the untampered version was later released on The Great Performances and Elvis On Tour: The Rehearsals. I still tend to gravitate towards the This Is Elvis version.

Elvis has started a proper version of the song now. It’s not the This Is Elvis take yet, and it unfortunately turns out to be a long false start. The song begins again, but the band is not together, so it stops.

Take 3, and it’s the one from This Is Elvis. It sounds good. I love James’ guitar part on this, rather than the steel guitar of the master version. This gives it more of a pop and less of a country feel. In the realm of lost Elvis opportunities after his death, one of the biggest is that the This Is Elvis remix version of “Always On My Mind” was not released as a single in 1981. Instead, Willie Nelson got the hit when he recorded and released his version in 1982. Nelson’s version became so popular that many people think the song originated with him.

Now we are on to “Separate Ways.” I was typing about “Always On My Mind” and missed it. I need to back the CD up. Okay, here we go. Track 16. This feels slower than usual. Too slow. This might be one of the takes used in the Elvis On Tour movie. Let’s see if he cuts it for being too slow.

I don’t know how Elvis sang the lines about Lisa Marie, which I excerpted above. I wouldn’t have been able to get through it.

“I think I can do it better,” Elvis says after the song concludes. How many times is he going to torture himself?

Some of the dialogue from Elvis On Tour is here, including Elvis saying, “Ronnie, it seems a little bit slow in the beginning.” It appears he didn’t actually cut the song in progress like the movie makes it appear, though. This next take still seems a bit too slow. It was also used in the movie.

Elvis Presley recording at RCA Hollywood Studios on Thursday, March 30, 1972 (MGM)

On to “Proud Mary” – so presumably the concert rehearsals have begun. It’s an okay version. Lots of microphone feedback at times. This is one where it works better in concert, I guess because Elvis played off the energy of the crowd. Ronnie Tutt is great on drums, of course.

“Never Been To Spain” is next, much like in the live show. Elvis did not do a studio version of a number of these songs, including “Proud Mary” and “Never Been To Spain,” so these rehearsals could have filled that gap – but Elvis is simply not focused enough. This portion of the CD is disappointing – though not unexpected. I’m glad the mock studio session portions were so great, at least.

Hmm…the rest of this disc and then all of another disc with this? Come on Elvis, get on it, man.

“You Gave Me A Mountain” is next. I’ve been enjoying the live versions from this set, even though it’s normally not a standout song for me. The first attempt is a false start due to more microphone feedback. This is another one without a formal studio version. Elvis sounds tired or slightly out of it. He stops the song early on.

And then we’re on to “Until It’s Time For You To Go,” which has been tiring on the live shows and is really no better here. I wish they had finished “You Gave Me A Mountain” instead.

I hope there aren’t ten takes of “Until It’s Time For You To Go” on here. Otherwise, it might be time for me to go!

Yay, “Polk Salad Annie” is next. Elvis doesn’t seem right here, I unfortunately have to say. I guess something happened between the excellent mock session on the 30th and the lackluster rehearsal so far on the 31st.

Well, I guess the rehearsal version doesn’t have the Scheff solo like the live versions do. I have played it back a couple of times, but I keep getting distracted in the middle of it by how Elvis sounds. So, it is actually possible I missed it. I don’t have the heart to play it again.

“Love Me” is next. He sounds a little better here. At least at the beginning. I don’t know. If only Elvis had taken some time off to get his life together instead of making this movie – but he just wasn’t like that. The Elvis Presley Show must go on.

That’s the end of CD 5. A strong start and a poor finish. I can’t say I’m too excited anymore about CD 6, which picks up where this one left off.

All right, I took a little break and put some LEGOs together with my bride. Now, on with the rehearsal.

Up first is “All Shook Up.” At least Elvis has some spunk in him at the beginning of this song. Then, it’s time for “Heartbreak Hotel.” Elvis continues to sound a little better, and James Burton is terrific as always on electric guitar. The “Teddy Bear/Don’t Be Cruel” medley is up next. Elvis seems slightly more engaged with “Teddy Bear” than usual. Elvis then launches into the bluesy “Hound Dog” intro before accelerating into the full-speed version. You can tell he’s holding back here, which I think is fine for a rehearsal, actually. This is a song that thrives on an audience, so doing it with the band and a camera crew, I can see how it’s not that inspiring.

“The First Time Ever I Saw Your Face” is up next. He had recorded the song in Nashville in 1971, and it would soon be the B-Side of “An American Trilogy” in April. I like the arrangement here better than the single version. The Ronnie Tutt drumming adds an extra dimension to it. It’s not one of my favorite songs, but it is better than “Until It’s Time For You To Go” – particularly in this arrangement.

“A Big Hunk O’ Love” picks the pace back up. I love how this arrangement is so respectful of his original 1958 version. After a decent version, Elvis has them run through it again. And it is still good! Elvis seems much better now than at the beginning of the rehearsal. I love this song, especially the 1972 and 1973 versions.

The band then tears into a great version of “See See Rider.” Elvis seems quite engaged on the song, even without an audience.

Next in the rehearsals for the live show, they run through “For The Good Times” – the first overlap with the mock session. It’s not as fantastic as the previous day, but it still sounds good. A second attempt sounds better, though it eventually falls apart. They go a third time. Elvis’ voice really suits this song. He doesn’t like something, though, and he stops it early on, and they go a fourth time. I still like even these rehearsal versions better than the live versions I’ve heard thus far. That voice. Wow.

Elvis had recorded a studio version of “Funny How Time Slips Away” in 1970, after running through it live the previous year. They rehearse it next. The 1972 versions just don’t compare at all to the stellar 1970 studio version or even the 1969 live version. For 1972, this rehearsal isn’t a bad version, though. I like it better than the live versions I’ve heard of that year, at least.

Elvis rocks into “Burning Love” next, another overlap with the mock session of the previous day. And again, it’s not as good here, but it’s still a fun version. This feels faster than the previous day as well. The first rehearsal attempt falls apart near the end, so they go a second time.

I wish they would keep going with “Burning Love,” but instead they move to “Help Me Make It Through The Night,” which Elvis had recorded in 1971. It appeared the previous month on the album Elvis Now. It’s not a bad song, and Elvis is engaged on it.

“Can’t Help Falling In Love” is next. Too fast for my taste. An unremarkable version.

Elvis dips way back into his past with “Young And Beautiful,” a song from the movie Jailhouse Rock (1957). I would love to know how this one came about as a contender for his 1972 setlist. It has a decent arrangement and everything. Unfortunately, he did not put the song in the live show. This would have been far better than “Until It’s Time For You To Go,” for instance. I first heard this “Young And Beautiful” rehearsal on Elvis On Tour: The Rehearsals, and I have loved it ever since.

“Lawdy Miss Clawdy” sounds good. Elvis could still rock ‘n’ roll when he wanted. “Release Me” is next and sounds good as well. Elvis first recorded the song live during his early 1970 Las Vegas engagement. He sings slightly different lyrics in 1972, though. In 1970 he sings, “To live a lie would be a sin,” whereas in 1972 he sings, “To live a lie would bring us pain.” They run through “See See Rider” again for some reason. It sounds as good as earlier in the rehearsal. “See See Rider” is another song that made its debut in the early 1970 Vegas season. “Proud Mary,” again from the early 1970 Vegas season, is rehearsed a second time as well. This is much better than the version from the beginning of the rehearsal.

They run through “Never Been To Spain” again, too. I’m glad he hit these songs again so that we can have decent versions. If only they had done “Polk Salad Annie” again.

The rehearsals, which took place on Good Friday, close out with a number of inspirational songs. Up first is “I, John,” which Elvis had recorded in 1971 and would release on the He Touched Me album in April. The album would earn Elvis his second Grammy award. It’s a fun version of the song. Next is a brief rendition of “Bosom of Abraham,” which has a similar feel and also appears on He Touched Me. This performance appears in the Elvis On Tour movie.

The group then sings “You Better Run.” There is real joy in this music, and I’m glad this aspect of Elvis was captured.

A great version of “Lead Me, Guide Me,” also from He Touched Me, is next. This performance appears in the Elvis On Tour movie as well.

The group closes out the rehearsal and the CD with a medley of additional inspirational songs: “Must Jesus Bear The Cross Alone/Turn Your Eyes Upon Jesus/Nearer My God To Thee.” This is the kind of music Elvis sang when he was unwinding with friends, and it’s the perfect way to end the rehearsals.

These rehearsals had a rocky start, but finished strong. Overall, CDs 5 and 6 end up being winners.

Selected Sources

  • Elvis Presley: A Life In Music – The Complete Recording Sessions by Ernst Jorgensen, St. Martin’s Press, New York, 1998.
  • Elvis Day By Day: The Definitive Record Of His Life And Music by Peter Guralnick and Ernst Jorgensen, Ballantine Books, New York, 1999.
  • Elvis Presley In Concert, accessed February 12, 2023.
  • Keith Flynn’s Elvis Presley Pages, accessed February 12, 2023.
  • ELVIS: His Life From A To Z by Fred Worth and Steve Tamerius, Wings Books, New York, 1992.

“Lead me, O LORD, in thy righteousness because of mine enemies; Make thy way straight before my face.”
Psalm 5:8

As Recorded At San Antonio Convention Center: ELVIS ON TOUR – First Reactions

/ TY / 1 Comment

My last Elvis On Tour post was so off-the-cuff that I failed to give much background. MGM in 1972 filmed portions of Elvis Presley’s April concert tour for a documentary. Multitrack recorders captured audio from four of the concerts, which make up four of the six CDs of Sony’s Elvis On Tour set released last month (also released digitally in late 2022). Elvis’ record label released none of the audio recordings during his lifetime, and, until this release, only one of the four concerts had been officially available in audio form.

Here is the itinerary for the April 1972 concert tour, sourced from the 2010 Elvis On Tour Blu-ray book (Warner Home Video):

April 5: Buffalo, NY
April 6: Detroit, MI
April 7: Dayton, OH
April 8: Knoxville, TN (Afternoon Show)
April 8: Knoxville, TN (Evening Show)
April 9: Hampton Roads, VA (Afternoon Show)
April 9: Hampton Roads, VA (Evening Show) [Elvis On Tour CD 1]
April 10: Richmond, VA [Elvis On Tour CD 2]
April 11: Roanoke, VA
April 12: Indianapolis, IN
April 13: Charlotte, NC
April 14: Greensboro, NC [Elvis On Tour CD 3]
April 15: Macon, GA (Afternoon Show)
April 15: Macon, GA (Evening Show)
April 16: Jacksonville, FL (Afternoon Show)
April 16: Jacksonville, FL (Evening Show)
April 17: Little Rock, AR
April 18: San Antonio, TX [Elvis On Tour CD 4 | Close Up CD 4]
April 19: Albuquerque, NM

Elvis and his band played 19 shows for 15 straight days in 15 different cities. This must have been grueling. Last time I covered the previously unreleased Hampton Roads concert from the evening of Sunday, April 9, 1972. For today’s post, I’m going to jump ahead to Disc 4, which has a new mix of the San Antonio Convention Center concert from Tuesday, April 18, 1972. BMG released the first mix of this show way back in 2003. The reason I’m jumping ahead to this one is to “save” the remaining two previously unreleased concerts.

Elvis Presley performing at the San Antonio Convention Center on Tuesday, April 18, 1972 (MGM)

Though I stopped playing it once I heard this new set was coming, I already know this concert from Close Up, so there shouldn’t be any surprises here.

Also Sprach Zarathustra (Theme from 2001: A Space Odyssey) –  I just love this opening. So perfect for an Elvis concert. If I recall correctly, it was conductor Joe Guercio’s wife who came up with the idea for this piece to introduce Elvis.

See See Rider: People might find listening to four shows recorded within nine days to be boring, but I enjoy it. I think of it as if I was fortunate enough to follow Elvis on part of his tour. Of course you’d hear mostly the same songs, but there would always be a little something different in there, too. It does make reviewing a little difficult, though, because my thoughts are as similar as the song versions. Anyway, this is a strong “See See Rider,” and Elvis sounds better than he does at the beginning of Hampton.

Proud Mary: I first heard “Proud Mary” on the As Recorded At Madison Square Garden (June 10, 1972, Evening Show) album. While his 1970 versions of “Proud Mary” might be better (e.g., On Stage), the 1972 versions remain compelling, and this is one of the best from that year. This version also appears in the film.

Never Been To Spain: All-in-all, San Antonio has a better start than Hampton. Elvis seems more focused. This is a great version of “Never Been To Spain,” another song that I first heard on the Madison Square Garden album. This version is better, and it appears in the movie.

You Gave Me A Mountain: Introduced during his February 1972 Las Vegas engagement, “You Gave Me A Mountain” became a mainstay of Elvis’ setlist. The song appears in Elvis On Tour (1972) [Hampton Roads version], Aloha From Hawaii (1973), and Elvis In Concert (1977). The version here is solid.

Until It’s Time For You To Go: This song just doesn’t work well live. Even the studio version of “Until It’s Time For You To Go” should have simply been an album track rather than becoming a single. Elvis begins to lose some focus here. Hopefully, “Polk Salad” will get things back on track.

Polk Salad Annie: A good version.

“Good evening, ladies and gentlemen. Welcome to the show,” Elvis says. This is probably the latest in a show I’ve heard Elvis welcome the audience. “I’d like to do some of my first records for you,” he continues, before jokingly singing a half-line of “Carry Me Back To Old Virginia.”

Wait, we are still in Texas, right? I guess Elvis wanted to go back to Virginia.

I don’t blame him.

Love Me: The only real interest here is James Burton on guitar.

All Shook Up

Teddy Bear/Don’t Be Cruel

Heartbreak Hotel: Elvis first introduced this bluesy arrangement in his 1969 Las Vegas shows. A decent version for 1972.

Hound Dog: The bluesy “Heartbreak Hotel” nicely sets up the bluesy “Hound Dog” intro before Elvis launches into the song full bore. Madison Square Garden has a better take on the slow-to-fast “Hound Dog,” though.

How Great Thou Art: Oh, to have been there to see Elvis perform “How Great Thou Art” live. This is another stellar version of the song he first recorded in 1966. Glen Hardin features on piano.

I Can’t Stop Loving You: This was one of my favorite songs on the Madison Square Garden album (it is hard to talk about Elvis live in 1972 without mentioning that classic album). This is a great version. This is one of the very rare occasions where 1972 versions of a song equal or exceed Elvis’ 1969 and 1970 versions.

Love Me Tender

Suspicious Minds: James Burton’s guitar intro is fantastic. The more I repeatedly listened to Hampton after writing my review, the less I liked the “Suspicious Minds” on there. This one seems much better so far. Well, not so fast, Elvis sounds distracted again. I like when he has fun, but “Suspicious Minds” is one of his best songs and is a highlight of concerts from this era, so it is disappointing when a version is subpar. Madison Square Garden has it beat by a mile.

Comin’ Home, Baby/Introductions By Elvis: This version of the introductions appears in the Elvis On Tour movie.

For The Good Times: Elvis’ voice is so beautiful. At times, “For The Good Times” sounds like a lullaby. I love his phrasing on “Don’t say a word about to-mor-row or forever. There’ll be time enough for sadness when you leave me.”

Burning Love: Featured in the movie, this is a killer version of “Burning Love.” Much better than Aloha From Hawaii several months later.

An American Trilogy: Dixie/Battle Hymn Of The Republic/All My Trials – Elvis substitutes “Disneyland” for “Dixieland” in the opening song of “An American Trilogy” before proceeding to perform an okay version. The orchestra is sloppy at times. Hampton remains his best version ever of “An American Trilogy.”

Funny How Time Slips Away: The 1970 studio version is so much better than any live version I’ve heard so far. This version of “Funny How Time Slips Away” is nothing special.

Can’t Help Falling In Love: Wow, the show seems short. I forgot to check the run time before starting the CD. Before “Funny How Time Slips Away,” Elvis said they weren’t leaving yet, and joked they still had 30 songs to go. I guess he really meant 2 songs to go. While San Antonio started stronger, Hampton is by far the better Elvis On Tour show of the two I’ve played so far.

So, it turns out the Texas show is just under 56 minutes long! About ten minutes shorter than Hampton.

Not a bad show, and it was definitely a welcome highlight of the Close Up box back in the day, but it is not all that memorable compared to other shows of 1972. Arguably, the two showstoppers of a 1972 Elvis concert are “Suspicious Minds” and “An American Trilogy,” and both versions here are subpar.

“How Great Thou Art” is certainly a stand-out here, though, as are some others, including “Never Been To Spain” and “I Can’t Stop Loving You.” It may not be his best show, but Elvis still delivers.

“All the nations You made will come and bow before You, Lord; they will praise Your holy name.”
Psalm 86:9