Elvis Movies: JAILHOUSE ROCK

May 27, 2024August 8, 2025 / TY / 1 Comment

Hey folks, I didn’t expect it to be this long between posts but here I am. It’s been over a year since the last entry in my random rewatch of Elvis Presley movies. It sure doesn’t feel that long ago. As a great philosopher once asked, “Ain’t it funny how time slips away?”

Elvis’ 3rd movie was called Jailhouse Rock. It is the 2nd of 3 Elvis movies shot in black & white, which certainly adds to the gritty tone.

“Elvis in Action as Never Before!”

Jailhouse Rock (MGM)
Wide Release: November 8, 1957 (United States)
Starring: Elvis Presley, Judy Tyler, Mickey Shaughnessy
Screen Play By: Guy Trosper
Story By: Ned Young
Music Supervised By: Jeff Alexander
Produced By: Pandro S. Berman
Directed By: Richard Thorpe
Running Time: 96 Minutes

Elvis Presley stars in 1957’s JAILHOUSE ROCK (MGM)

Elvis stars in Jailhouse Rock as Vince Everett, a tractor driver who has just received his weekly paycheck. As is his custom, he cashes the check at the neighborhood bar and then arm wrestles the proprietor. After losing, Vince good-naturedly buys a round of drinks for everyone at the bar. The film soon takes a dark turn when another patron roughs up a woman for talking to Vince. Vince tells him to leave her alone.

“Look, buster, you want some teeth knocked out? Just keep it up,” warns the man.

“You scare me,” says Vince. “Woman-beaters always scare me.”

This being an Elvis movie, a fistfight of course ensues.

Much like in Loving You, released earlier in 1957, the fight concludes with the Elvis character punching his opponent into a jukebox. In Loving You, the Presley Maneuver causes the jukebox to turn on. In Jailhouse Rock, it turns the jukebox off.

Unlike most Elvis movies, though, this fight turns out to have lethal consequences. When the woman-beater dies, Vince is convicted of manslaughter and sentenced to 1 to 10 years in the state penitentiary. If only he had cashed his check at a bank instead of a bar.

Before we go much further, I want to jump back for a moment to the credits. I love the opening theme of Jailhouse Rock, an overture of sorts that includes instrumental renditions of portions of “Baby, I Don’t Care,” “Jailhouse Rock,” and “Young And Beautiful.”

This jazzy version of “Jailhouse Rock” is quite a treat. I played trumpet in our middle school jazz band, and when I first saw the movie on TV as a teenager back then, the “Jailhouse Rock” instrumental reminded me of the arrangement we were using for the same song.

Mickey Shaughnessy is Hunk Houghton in 1957’s JAILHOUSE ROCK (MGM)

Anyway, Vince shares a cell with Hunk Houghton (Mickey Shaughnessy), a washed-up country singer. Hunk is near the end of an 18-year term for robbing a bank. Despite some of the variances, Jailhouse Rock is still an Elvis movie, so Hunk of course has a guitar hanging on the prison cell wall that draws Vince’s attention. Though Hunk is annoyed at first, he softens and teaches Vince some chords. When Hunk tells him about his 10-year career, Vince says, “I never heard of anybody paying money to hear a guitar player” and Elvis seems barely able to hold a straight face delivering the line. He is, after all, the highest paid “guitar player” in the world by this point.

Elvis performs Vince’s early songs in Jailhouse Rock as intentionally flat and tentative, reflecting the character’s inexperience with singing. However, Hunk hears something in the young man and offers him a spot in Breath of a Nation, a nationwide television special he is producing for the warden. You see, a state inspection committee is coming to review prison conditions, and the warden wants the prisoners to put on a show as a smokescreen. Conditions at this prison must be pretty rough to require a national television special to cover things up.

Vince sings “I Want To Be Free” in his segment, and, unlike Hunk or anyone else, he receives a large bag full of fan mail from all over the country. Hunk sees to it that Vince does not learn of the mail, saving face with the mailroom workers by saying he made a mistake by giving Vince the best spot in the show. He soon offers Vince a partnership contract for the pair to perform together and split everything 50/50. Great shades of Colonel Parker!

“Alone, son, you’d be like a lamb in a pack of wolves,” Hunk tells him. Vince signs the contract, thinking that the deal is in his favor since Hunk is the established “star.”

The State Pen in 1957’s JAILHOUSE ROCK (MGM)

Soon thereafter, a food fight turned riot breaks out in the prison over the poor conditions. Hunk tries to get Vince back to their cell, but a guard roughly handles Vince. Having apparently not yet learned his lesson from the barroom brawl, Vince swings his fists. He is caught and whipped. Outtakes of this scene surfaced on the 1993 VHS Elvis In Hollywood: The 50s. The original Jailhouse Rock film trailer also shows a clip that did not make it to the final film where Vince lunges at the warden when the guards untie his hands after the whipping.

Back in their cell, Hunk states that he tried to pay off the guards to prevent Vince’s whipping but he didn’t have enough money. He emphasizes the importance of having money to Vince and also teaches him his twisted version of the Golden Rule: “Do unto others as they would do unto you, only do it first.”

Hunk still has 10 months to go, but Vince is released from prison after serving 14 months – including 2 extra months for the riot incident. The warden gives Vince his remaining pay from the state. He also gives him the large bag of fan mail from the television special 8 months earlier. Vince realizes that Hunk helped keep the letters secret.

Vince buys a guitar from a pawnshop and goes to a bar where Hunk has arranged a job for him with an old contact. There, he meets Peggy Van Alden (Judy Tyler), who looks at some indicators inside of a jukebox and makes notes. He is curious what she is up to, but she is not impressed at all that Vince is a singer. However, she does say she’ll tell him more about her job if he buys her a fresh drink.

“Buy your own drink,” Vince says, wryly – no doubt remembering that the last time he bought a woman a drink in a bar he ended up in prison.

Judy Tyler is Peggy Van Alden and Elvis Presley is Vince Everett in 1957’s JAILHOUSE ROCK (MGM)

“Is yours the approved manner with ladies in the backwoods?” Peggy fires back at him, but then goes on to explain that she is an “exploitation man” in the record business. “I work for Mickey Alba, you’ve heard of him?”

“Word sometimes gets to the backwoods,” says Vince. Alba (Don Burnett with vocals by Bill Lee) is a popular singer along the lines of Pat Boone.

Vince meets the bar’s owner, thinking he is going to be hired on as a singer. However, it turns out the job Hunk secured for him is as a barboy, essentially a bartender’s helper (“make setups, bring ice”). Vince is disappointed and forces his way on stage. Hey, it’s Scotty Moore, Bill Black, and DJ Fontana! Elvis’ real band! And Mike Stoller (composer of “Jailhouse Rock” and many other Elvis classics) on piano. Vince sings, “Young And Beautiful.” The owner actually seems to like the song, but a guy keeps laughing and carrying on in the audience, distracting both him and Vince.

Finally, Vince jumps from the stage and smashes his guitar into the obnoxious patron’s table. However, he refrains from killing him. That’s called character development.

Vince storms out, with Peggy trailing. “Hey, you forgot something,” she calls.

“What?”

“Me!”

So, before this re-watch, it had been over a decade since I last saw Jailhouse Rock. While I’ve always liked it, in fact it’s one of my favorite Elvis movies, I never really saw much chemistry between Vince and Peggy. Watching it through this time, though, I disagree with my past self. Now I see it.

Anyway, Peggy suggests Vince make a recording of himself to discover what’s wrong with his singing. This is not as simple a task as it is these days. Vince rents out a recording studio for $20 to make a demonstration recording. Peggy supplies a borrowed guitar and the background musicians. It’s Scotty, Bill, DJ, and Mike again! I guess Peggy knew them from the bar.

Vince records a faltering version of “Don’t Leave Me Now.” However, Peggy loosens him up a bit, and he also decides to ditch the guitar. He tries again, and they decide the resulting demo is good enough to shop around to the record labels. Jack Lease (Peter Adams), Peggy’s contact at Geneva Records, which is Mickey Alba’s label, seems unimpressed, but he decides to borrow the tape to play over the phone to someone else in New York later.

After it turns out to be a rejection anyway, Vince shows up disgruntled and late for a dinner meeting with Peggy. Even when she tells him the good news that she has gotten them a deal with another label, Deltona Records, he is still rude to her. He just wants to brood. “When the money starts rolling in, then I’ll say I’m happy,” he says.

After a celebratory steak dinner, they head out to meet Peggy’s parents, who are having a party. They seem to know all about Vince, including that he sold his first record that day. However, Peggy has not told them about his stay in the state penitentiary. He expects this information to shock them, but it does not phase them. Instead, they start the record player and a technical discussion begins about jazz.

Another guest tries to involve Vince. “I say atonality is just a passing phase in jazz music. What do you think, Mr. Everett?”

Vince’s response is classic and one that I’ve had to bite my tongue not to use in various situations over the years: “Lady, I don’t know what the hell you talking about.”

Judy Tyler is Peggy Van Alden and Elvis Presley is Vince Everett in 1957’s JAILHOUSE ROCK (MGM)

He storms out, and Peggy chases after him again. She is angry and embarrassed by his behavior – noting they were only trying to draw him into the conversation.

“They can shove their conversation,” he retorts. “I’m not even sure they were talking English!”

When Vince decides to walk home after their bickering, Peggy says, “I think I’m gonna just hate you.”

“You ain’t gonna hate me. I ain’t gonna let you hate me.” He grabs and kisses her.

“How dare you think such cheap tactics would work with me,” she exclaims. He kisses her again.

“That ain’t tactics, honey. That’s just the beast in me.”

On paper, the scene sounds creepy, but it is extremely well-executed by both performers – one of the best acted scenes in any Elvis movie.

Vince half-heartedly apologizes to Peggy on the way into the record store on the release day of “Don’t Leave Me Now.”

The girl at the cash register states that the record is flying off the shelves. Vince asks for a half dozen copies. Peggy looks alarmed when she sees the stack of records, and Vince looks over one curiously, reading aloud, “‘Don’t Leave Me Now’ by Mickey Alba? Geneva Record Company.” It turns out that Lease, the Geneva executive, only borrowed the tape so Alba could copy Vince’s arrangement and style. Vince’s record is gone – somehow squashed by Geneva.

Vince makes an unscheduled visit to Lease. “You’re a thievin’ rat” Vince exclaims and goes to punch him. However, seeing as how no jukebox is available to land the body on, he just slaps him a couple of times instead. “Go back under your rock, you snake!”

Later, he speaks of his time in prison to Peggy: “On the inside, they’re cub scouts compared to Jack Lease. If you make something, they might steal it from you, but they’d be too honorable to say they made it themselves.”

Vince suggests they start their own record company, and they form Laurel Records – splitting things 60/40. “I’m the artist, don’t forget,” Vince explains when Peggy at first objects to holding only 40%. After Peggy agrees to the deal, they have the following conversation – illustrating how they are both on different pages.

“This really calls for a celebration, Vince.”

“Do you know a lawyer? We need a good one. . .”

“Do you know how to dance?” asks Peggy.

“. . .A guy with an eye for a buck. Do you know a lawyer?”

Peggy is disappointed. “Yeah, I know a lawyer. Mr. Shores. . .”

After Vince makes it clear he is only interested in money, they form the record company. Vince records “Treat Me Nice,” which becomes a big hit. Vince makes reservations at a fancy restaurant to celebrate with Peggy but is disappointed when she points out that he failed to make reservations with her. She has a date, and states, “Vince, I will not be subject to your beck and call.” Go, Peggy! That’s a bold stance in 1957, especially in the male-dominated world of Jailhouse Rock.

Despite emotional setbacks, Vince’s career continues to skyrocket, including appearances in Las Vegas. After Vince agrees to do an NBC television special, Peggy shows up to ask him to record more records. Vince is rude to her, but reaches out right as she is leaving, almost like he wants to apologize or say something else – but his heart is still too hardened to get the words out. As Peggy exits, Hunk returns – fresh out of prison and looking for his spot in the TV special.

Elvis Presley is Vince Everett in 1957’s JAILHOUSE ROCK (MGM)

The character of Vince is an unusual one in the Elvis cinematic universe. For most of the film, as many have pointed out over the years, Vince is a conceited jerk seemingly obsessed with money. Most of Elvis’ characters are likable guys cut from the same cloth. Vince is different, primarily due to his stay in prison, and offers a refreshing change of pace from the run-of-the-mill Elvis character. Vince should not be dismissed as a complete jerk, however. In several scenes, Elvis convincingly displays the emotional turmoil going on inside the man. He outwardly says he is all about the money, but you can also see that he loves Peggy and even Hunk.

In the music department, Jailhouse Rock is more than solid. The title song is a bonafide Elvis masterpiece. While the single version, one of Elvis’ greatest recordings, is used as the underlying track here in the film, the guitar riff opening of the song is unnecessarily hacked off. The screen version of the song is also hampered by awful overdubs of instruments and backing male vocals. Only the strength of Elvis’ underlying performance and the stellar production number save the tune. What were they thinking?

“Baby, I Don’t Care” and “Treat Me Nice” are also fantastic renditions. While “Young And Beautiful” is not quite up to the same par established by those three songs, it is still a lovely performance. “I Want To Be Free” and “Don’t Leave Me Now” serve their purposes well in the context of the film as does Mickey Shaughnessy’s “One More Day” — which is reminiscent of the classic folk song “Sixteen Tons.”

Vince Everett (Elvis Presley) sings “Baby, I Don’t Care” at a pool party as a guitarist (Scotty Moore) plays along in the background in 1957’s JAILHOUSE ROCK (MGM)

There is an oft-noted continuity error in Jailhouse Rock. During the “Baby, I Don’t Care” scene, guitarist Scotty Moore is shown wearing sunglasses in the wide shots but no eyewear in the closeups.

Vince Everett (Elvis Presley) sings “Baby, I Don’t Care” at a pool party as a band (Bill Black, DJ Fontana, Scotty Moore, Mike Stoller) plays along in the background in 1957’s JAILHOUSE ROCK (MGM)

Another error is one I just noticed for the first time – a 1957 calendar is shown on the wall during a strikethrough sequence when Vince is in prison. When the calendar page is ripped down to show the next year, it is a 1957 calendar again. Talk about a life sentence! For the purposes of the Action File at the end of this post for Vince Everett, my conjecture is that the initial calendar was supposed to represent 1956 and that he was released in 1957.

One supposed error that is sometimes referenced with this film is that the prison ID number stamped on Vince’s shirt changes. Vince’s number is consistent during the penitentiary portions of the movie, however. Later, during the “Jailhouse Rock” production number, well after he has been released from actual prison, Vince wears a costume with a different number stamped on it. One was the character’s actual prison garb, the other was simply a costume. So calling it an error is . . . an error.

When Vince makes it to Hollywood, he takes his leading lady (played by Jennifer Holden) to Knott’s Berry Farm – a real amusement park in California that is still open to the public, including the “Old West” town represented in Jailhouse Rock.

A photographer prepares to take a souvenir picture of Vince Everett (Elvis Presley) and Sherry Wilson (Jennifer Holden) at Knott’s Berry Farm in 1957’s JAILHOUSE ROCK (MGM)

Elvis released 33 movies during his lifetime, but Jailhouse Rock is one of only a small handful that is a serious contender as his very best. It was inducted into the US Library of Congress’ National Film Registry in 2004, the only Elvis movie to achieve this honor.

Just a few days after filming wrapped on Jailhouse Rock, actress Judy Tyler (Peggy) was killed at the age of 24 in a horrific car accident on July 3, 1957. Tyler’s husband and a passenger in another vehicle were also killed in the crash.

Elvis was devastated and according to many sources never watched the completed movie. Peter Guralnick & Ernst Jorgensen’s Elvis: Day By Day – The Definitive Record Of His Life And Music, however, notes that Elvis watched a special screening of the film with his parents on October 2, 1957. The book provides no further details, nor does Guralnick’s Last Train To Memphis: The Rise Of Elvis Presley, but perhaps Elvis was unable to finish the screening — thus validating both versions of the story.

Judy Tyler is Peggy Van Alden in 1957’s JAILHOUSE ROCK (MGM)

Jaihouse Rock was Tyler’s second and final movie. Her first, Bop Girl Goes Calypso, hit theaters only a couple of weeks after her death. While Jailhouse Rock, released in November 1957, carries no dedication to Tyler – I am not even sure that kind of thing was done back then – there is a moment in the closing scene during “Young And Beautiful” where the edit seems to linger on her more than it perhaps otherwise would have. In the magic of the movies, she will indeed remain forever young and beautiful.

Boldly Go

Multiple uncredited cast members from Jailhouse Rock went on to play roles in Star Trek.

K.L. Smith appears in the opening bar scene in Jailhouse Rock and appears as a Klingon in the Star Trek episode “Elaan Of Troyius” in 1968. Eagle-eyed readers will note that I also referenced Smith in a previous “Boldly Go” installment for his appearance in 1964’s Roustabout. Speaking of eagle eyes, thank you once again to Elvis movie superfan Gary Wells for pointing out where Smith shows up in Jailhouse Rock for me.

Elvis Presley and K.L. Smith in 1957’s JAILHOUSE ROCK (MGM)

K.L. Smith is a Klingon captain in the 1968 STAR TREK episode “Elaan Of Troyius” (Paramount)

Other cross-overs include:

Buzz Barbee [Jailhouse Rock: Apartment party guest | Star Trek: Ambassador Fox’s aide in “A Taste Of Armageddon” (1967) and maiden voyage official in Star Trek Generations (1994)]
Albert Cavens [Jailhouse Rock: Nightclub patron | Star Trek: Klingon crewmember in “Day Of The Dove” (1968) and fop 2 in “All Our Yesterdays” (1969)]
Noble “Kid” Chissell [Jailhouse Rock: Convict | Star Trek: Server in “The City On The Edge Of Forever” (1967)]
Richard Dial [Jailhouse Rock: Minor role | Star Trek: Sam in “The Devil In The Dark” (1967), Kaplan in “The Apple” (1967), security guard in “And The Children Shall Lead” (1968) and Fabrini guard in “For The World Is Hollow And I Have Touched The Sky” (1968)]
Shep Houghton [Jailhouse Rock: Nightclub patron | Star Trek: Cameraman in “Bread And Circuses” (1968)]
Arthur Tovey [Jailhouse Rock: Record shop owner in montage | Star Trek: Vulcan citizen in Star Trek: The Motion Picture (1979)]

Elvis Presley is Vince Everett and Mickey Shaughnessy is Hunk Houghton in 1957’s JAILHOUSE ROCK (MGM)

Jailhouse Rock Tote Board

Punches: 23
Songs: 15
Kisses: 12
Storm-Outs: 4
Slaps: 2

Songs In Jailhouse Rock

Mickey Shaughnessy: “One More Day” (1957) [performed twice], written by Sid Tepper & Roy C. Bennett
Elvis Presley: “Young And Beautiful” (1957) [performed 3 times], written by Abner Silver & Aaron Schroeder
Elvis Presley: “I Want To Be Free” (1957), written by Jerry Leiber & Mike Stoller
“Don’t Leave Me Now” (1957) [performed three times by Elvis Presley and once by Bill Lee], written by Aaron Schroeder & Ben Weisman
Elvis Presley: “Treat Me Nice” (1957) [performed three times], written by Jerry Leiber & Mike Stoller
Elvis Presley: “Jailhouse Rock” (1957), written by Jerry Leiber & Mike Stoller
Elvis Presley: “Baby, I Don’t Care” (1957), written by Jerry Leiber & Mike Stoller

The Mystery Train’s Jailhouse Rock Scorecard

Story: 8 (out of 10)
Acting: 10
Entertainment Value: 8
Songs: 9
Overall: 9 (Must See)

Jailhouse Rock Around The Web

Hey Dullblog – “Some thoughts on ‘Jailhouse Rock'” by Michael Gerber
Elvis Today – “The trailer outtakes” | “Jailhouse Rock – colorized version” by Thomas Melin
Moody Blue Elvis – “Elvis In The Movies: Jailhouse Rock (1957)” by Ashley Renay
Graceland Blog – “Flippy, Real Flippy: ‘Jailhouse Rock’ at 60”
Scotty Moore: The Official Website – “Harmony Stella H929 used in Jailhouse Rock” | “Maton HG100 used in Jailhouse Rock” by James V. Roy
Internet Movie Cars Database – “Jailhouse Rock, Movie, 1957”

Click image for larger, color version

“But to you who are willing to listen, I say, love your enemies! Do good to those who hate you. Bless those who curse you. Pray for those who hurt you. If someone slaps you on one cheek, offer the other cheek also. If someone demands your coat, offer your shirt also. Give to anyone who asks; and when things are taken away from you, don’t try to get them back. Do to others as you would like them to do to you.”
Luke 6:27-31 NLT

Elvis Movies: EASY COME, EASY GO

April 6, 2023May 24, 2024 / TY / 1 Comment

Up next in my rewatch of Elvis Presley movies is Easy Come, Easy Go – his 23rd movie to be released.

“Excitement! Adventure under the sea! Skin-diving for treasure, adventure and fun!”

Easy Come, Easy Go (Paramount)
Wide Release: March 22, 1967 (United States)
Starring: Elvis Presley, Dodie Marshall, Pat Priest
Screenplay By: Allan Weiss, Anthony Lawrence
Music Score By: Joseph J. Lilley
Produced By: Hal B. Wallis
Directed By: John Rich
Running Time: 95 Minutes

1967’s EASY COME, EASY GO features multiple underwater scenes (Paramount)

Easy Come, Easy Go premiered only two weeks before Double Trouble, which was actually filmed first.

Elvis stars as Lieutenant Ted Jackson, a US Naval officer who serves aboard the USS Gallant, an Aggressive Class minesweeper. Ted is nearing the end of his military service and during his final Explosive Ordnance Disposal (EOD) mission, he discovers a sunken treasure chest. Wealthy Dina Bishop (Pat Priest) skippers a civilian boat in the area and deploys her boy-toy Gil Carey (Skip Ward) to obtain a photo of the Naval officer, interfering with Ted’s work.

Elvis Presley is Ted Jackson and Dodie Marshall is Jo Symington in 1967’s EASY COME, EASY GO (Paramount)

Once he leaves the Navy, Ted is determined to raise the treasure chest. He enlists help from Judd Whitman (Pat Harrington) and Jo Symington (Dodie Marshall). Ted was former partners with Judd in a nightclub business, while Jo is a free spirit looking to open an art center with her share of the pending fortune. Both Marshall and Harrington are strong in their roles. Marshall, in particular, brightens the movie whenever she appears.

A 1967 Dodge Dart becomes a work of modern art in EASY COME, EASY GO (Paramount)

Dina and Gil find out about the treasure, too, and begin trying to thwart Ted’s plans in order to get the treasure for themselves. Gil’s motivation is that if he becomes wealthy through the treasure, Dina might begin treating him as an equal.

Jo and Ted are usually friendly to one another through most of Easy Come, Easy Go, but a romance between the two late in the film seems to happen only out of obligation to the Elvis movie formula rather than as a natural result of the story.

Elvis Presley is Ted Jackson in 1967’s EASY COME, EASY GO (Paramount)

Easy Come, Easy Go makes a good second movie in a double feature with Spinout, for Marshall appears briefly near the end of the latter (as a different character, for Elvis never made a sequel to one of his narrative films). In fact, Spinout was the Elvis movie released just prior to Easy Come, Easy Go, so her appearance almost acts as a kind of advertisement for the next movie in the Elvis Cinematic Universe.

Easy Come, Easy Go reflects the culture of its time by the mostly sexist ways it portrays women – the worst of which is exemplified by a dreadful musical number, “The Love Machine.” Navy men spin a wheel of fortune where the “prizes” are available ladies, complete with photos, measurements, and phone numbers.

Elvis Presley is Ted Jackson and Dodie Marshall is Jo Symington in 1967’s EASY COME, EASY GO (Paramount)

The movie includes a number of well-filmed underwater scenes, though they often drag on too long by modern standards – especially considering that the underwater version of “Ted Jackson” is not portrayed by Elvis. Though Elvis often did many of his own stunts in his movies, scuba-diving was not among his skillsets. At one point, Gil even attempts to kill Ted underwater – pretty intense for an Elvis movie.

Elsa Lanchester and Elvis Presley in 1967’s EASY COME, EASY GO (Paramount)

As for the music, there are no real stand-out numbers – at least not for the right reasons. The legendary Elsa Lanchester (Bride Of Frankenstein) appears briefly as a yoga instructor – just long enough to become one of the few people ever to sing a duet with Elvis. Unfortunately, “Yoga Is As Yoga Does” is a disservice to both stars, and I’ll just leave it at that.

Ted performs “Easy Come, Easy Go” during the opening credits on a small Navy boat – even using a paddle to play air guitar along to an unseen background music source (Elvis movies had long ago given up trying to make such scenes make logical sense).

Ted Jackson (Elvis Presley) tries to part the waters of a crowded party in 1967’s EASY COME, EASY GO (Paramount)

Faring better in the music department are “Sing You Children,” an inspirational number that Ted uses to “part the waters” of a crowd and “I’ll Take Love,” which serves as the film’s finale.

Easy Come, Easy Go is a good example of an average Elvis movie. It is not very ambitious, but it manages to entertain.

Elvis Presley is Ted Jackson in 1967’s EASY COME, EASY GO (Paramount)

Boldly Go

Shari Nims, who played Mary, one of Dina’s friends, in 1967’s Easy Come, Easy Go, appeared as Sayana, a Vaalian, later that same year in the Star Trek episode “The Apple.”

I knew where Nims was in Star Trek, but I sure couldn’t find her in Easy Come, Easy Go. Instead, my friend and Elvis movie superfan Gary Wells over at SoulRide Blog tracked down one of her scenes for me. Thanks, Gary!

Shari Nims is Mary in 1967’s EASY COME, EASY GO (Paramount)

William Shatner is James T. Kirk, Shari Nims is Sayana, and Leonard Nimoy is Spock in the 1967 STAR TREK episode “The Apple” (Paramount)

Easy Come, Easy Go Tote Board

Punches: 11
Songs: 6
Kisses: 5

Songs In Easy Come, Easy Go

Elvis Presley: “Easy Come, Easy Go” (1966), written by Sid Wayne & Ben Weisman
Elvis Presley: “The Love Machine” (1966), written by Gerald Nelson, Fred Burch, & Chuck Taylor
Elvis Presley & Elsa Lanchester: “Yoga Is As Yoga Does” (1966), written by Gerald Nelson & Fred Burch
Elvis Presley: “You Gotta Stop” (1966), written by Bill Giant, Bernie Baum, and Florence Kay
Elvis Presley: “Sing You Children” (1966), written by Gerald Nelson & Fred Burch
Elvis Presley: “I’ll Take Love” (1966), written by Dolores Fuller & Mark Barkan

The Mystery Train’s Easy Come, Easy Go Scorecard

Story: 4 (out of 10)
Acting: 5
Fun: 7
Songs: 5
Overall: 5 (For Elvis Fans Only)

Easy Come, Easy Go Around The Web

Click image for larger, full-color version

“Then Moses raised his hand over the sea, and the LORD opened up a path through the water with a strong east wind. The wind blew all that night, turning the seabed into dry land. So the people of Israel walked through the middle of the sea on dry ground, with walls of water on each side!”
Exodus 14:21-22 NLT

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

March 13, 2023December 23, 2025 / 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

Elvis Movies: BLUE HAWAII

February 22, 2023May 24, 2024 / TY / 5 Comments

After an eight month break, I am continuing my rewatch of Elvis Presley movies. Next up in the random sequence is Blue Hawaii – his eighth movie. Except for the Elvis: That’s The Way It Is documentary, I’ve probably seen this one more than any of the others.

“Ecstatic romance … Exotic dances … Exciting music in the world’s lushest paradise of song!”

Blue Hawaii (Paramount)
Wide Release: November 22, 1961 (United States)
Starring: Elvis Presley, Joan Blackman, Angela Lansbury
Screenplay By: Hal Kanter
Story By: Allan Weiss
Music Score By: Joseph J. Lilley
Produced By: Hal B. Wallis
Directed By: Norman Taurog
Running Time: 101 Minutes

Just before filming began on Blue Hawaii, Elvis performed a benefit concert for the USS Arizona Memorial in Pearl Harbor. It would prove to be his last live performance until the June 1968 shows captured for the ELVIS television special (NBC) and his August 1969 concert series at the International Hotel in Las Vegas.

Elvis Presley is Chad Gates in 1961’s BLUE HAWAII (Paramount)

In Blue Hawaii, Elvis stars as Chadwick Gates – and I can’t even get started on this post without noting that if there was ever a less Elvis character name than “Chadwick” in one of his movies, I sure don’t know what it is. Anyway, after a 2-year stint in the U.S. Army, where he served in Europe, Chad returns to Kahalo, Hawaii, where he has lived for the last 15 years with his parents. His father is an executive at the Great Southern Hawaiian Fruit Company, and Chad’s entire future has been neatly laid out for him there – mostly by his mother.

Chadwick’s mother has entire life plotted out for him in 1961’s BLUE HAWAII (Paramount)

Chad is having none of it, though. Instead, he hides out for a week at a beach shack until his father gets word through Chad’s girlfriend, Maile Duval, that he needs to come home before his mother finds out. The return home does not go well, particularly for the audience.

This is where we are introduced to one of the most annoying characters in any Elvis movie ever: Chad’s mother, Mrs. Sarah Lee Gates – portrayed by Angela Lansbury, who was only nine years older than Elvis.

Angela Lansbury is Mrs. Sarah Lee Gates and Elvis Presley is Chad Gates in 1961’s BLUE HAWAII (Paramount)

Mrs. Gates is from Georgia, and, as much as the Hawaiian portrayals in this film unfortunately are often stereotypes, so, too, is Blue Hawaii‘s portrayal of a Southerner. Mrs. Gates, of course, has to speak in an over-the-top Southern accent, call her husband “Daddy,” and bring up the Civil War, including a required reference to General “Stonewall” Jackson of the Confederacy. She also notes embarrassment around the fact that a war hero relative was a “Yankee” (i.e., he fought for the North/Union, rather than the South/Confederacy).

Mrs. Gates is alcoholic, racist, classist, and just all around insufferable.

All that said, Roland Winters, who plays Mr. Fred Gates, Chad’s father, does an excellent job playing off of Lansbury’s outlandishness. Winters gets two of the funniest lines of the movie – in two separate scenes. In the first, Mr. Gates has just commented to his wife that Maile is pretty.

Mrs. Gates: “Daddy, aren’t you forgetting yourself?”
Mr. Gates: “I’m trying, Mother. I’m trying.”

Later, Chad storms out of the house after an argument with his parents.

Mrs. Gates: “Oh, Daddy, what did we do wrong?”
Mr. Gates: “Offhand, I’d say, we got married.”

Maile is portrayed by Joan Blackman. The character’s father is French and mother is Hawaiian. Blackman and Elvis often seem wooden together in Blue Hawaii, though they would have much better chemistry in the following year’s Kid Galahad.

Joan Blackman is Maile Duval in 1961’s BLUE HAWAII (Paramount)

Shunning the fruit company, Chad instead decides to become a tourist guide and is soon hired by Floyd the Barber (Howard McNear), who owns the tourism company where Maile works. Okay, it’s not really Floyd the Barber, but Mr. Chapman does appear otherwise to be the exact same character that the beloved McNear played on the Andy Griffith Show from 1961 to 1967.

Howard McNear is Mr. Chapman and Elvis Presley is Chad Gates in 1961’s BLUE HAWAII (Paramount)

Chad’s first assignment? Escorting an attractive schoolteacher and four teenage girls around Hawaii, naturally. Jealousy and hilarity ensues. Well, jealousy anyway.

Jennie Maxwell’s portrayal of angry teenager Ellie Corbett soon livens up the movie, including this zinger she launches at Chad: “I believe you’re being paid to show us a good time. When does it start?”

Jennie Maxwell is Ellie Corbett and Elvis Presley is Chad Gates in 1961’s BLUE HAWAII (Paramount)

Considering that Blue Hawaii is his eighth movie overall and his fourth since returning from the Army in real life, Elvis’ acting is disappointingly poor several times – particularly when he does this high-pitched yelling thing that he tends to revert to in his movies when he seems uncomfortable in a scene (e.g., “I’ll getcha!” in one of the scenes of this movie).

I suspect director Norman Taurog was simply not focused on getting the best acting performance out of Elvis, and Hal Kanter’s flimsy script doesn’t help matters, either. Elvis had natural talent as a singer and musician, but he should have taken acting classes to hone his craft if he was serious about making films. 1957’s King Creole had already proven what Elvis could do under the guidance of an inspiring director (Michael Curtiz).

While Elvis may stumble on the acting side at times in Blue Hawaii, he brings his A-game on the music side. There are a number of stone-cold classic songs here, especially “Can’t Help Falling In Love” – which he sings in a beautiful version to Maile’s grandmother on her 78th birthday.

Years later, Elvis would reminisce about another musical highlight, saying, “We did a movie called Blue Hawaii, and in the movie, there was a song called the ‘Hawaiian Wedding Song,’ and it was so real, it took me two years before I realized, it was just a movie.”

Hawaii is the real star of 1961’s BLUE HAWAII (Paramount)

Blue Hawaii has some highlights, including the idyllic locations, great music, and a sense of escapism, but overall, it feels like a missed opportunity. Its subsequent success at the box office, however, would help lock Elvis into mostly similar movies going forward.

Boldly Go

Frank Atienza, who played Ito O’Hara in Blue Hawaii, later played a Kohn villager in “The Omega Glory” (1968) episode of Star Trek.

Frank Atienza is Ito O’Hara and Elvis Presley is Chad Gates in 1961’s BLUE HAWAII (Paramount)

Frank Atienza (far right) is a Kohn villager in the 1968 STAR TREK episode “The Omega Glory” (Paramount)

Ron Veto, who has an uncredited role as a Hawaiian in Blue Hawaii, later appeared in numerous Star Trek episodes as a member of the crew of the USS Enterprise as well as other uncredited roles on the show.

Blue Hawaii Tote Board

Punches: 21+
Songs: 16
Kisses: 13

Songs In Blue Hawaii

Elvis Presley: “Blue Hawaii” (1961), written by Leo Robin & Ralph Rainger
Elvis Presley: “Almost Always True” (1961), written by Fred Wise & Ben Weisman
Elvis Presley: “Aloha Oe” (1961), written by Queen Liliuokalani
The Surfers: “Hawaiian Beach Chant (Slap Happy/Shave And A Hair Cut)” (1961) [performed twice], written by unknown
Elvis Presley: “No More” (1961), written by Don Robertson & Hal Blair, based on “La Paloma” by Sebastián Iradier
Elvis Presley: “Can’t Help Falling In Love” (1961), written by George Weiss, Hugo Peretti, & Luigi Creatore, based on the classical composition “Plaisir d’Amour” by Giovanni Martini
Elvis Presley: “Rock-A-Hula Baby” (1961), written by Fred Wise, Ben Weisman, & Florence Kay
Elvis Presley: “Moonlight Swim” (1961), written by Sylvia Dee & Ben Weisman
Elvis Presley: “Ku-U-I-Po” (1961), written by George Weiss, Hugo Peretti, & Luigi Creatore
Elvis Presley: “Ito Eats” (1961), written by Sid Tepper & Roy C. Bennett
Elvis Presley: “Slicin’ Sand” (1961), written by Sid Tepper & Roy C. Bennett
Elvis Presley: “Hawaiian Sunset” (1961), written by Sid Tepper & Roy C. Bennett
Elvis Presley: “Beach Boy Blues” (1961), written by Sid Tepper & Roy C. Bennett
Elvis Presley: “Island Of Love” (1961), written by Sid Tepper & Roy C. Bennett
Elvis Presley: “Hawaiian Wedding Song (Ke Kali Nei Au)” (1961), written by Charles E. King, Al Hoffman, & Dick Manning

The Mystery Train’s Blue Hawaii Scorecard

Story: 2 (out of 10)
Acting: 3
Fun: 7
Songs: 8
Overall: 5 (For Elvis Fans Only)

Blue Hawaii Around The Web

Click image for larger, full-color version

“Get rid of all bitterness, rage, anger, harsh words, and slander, as well as all types of evil behavior. Instead, be kind to each other, tenderhearted, forgiving one another, just as God through Christ has forgiven you.”
Ephesians 4:31-32 NLT

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

February 12, 2023December 6, 2023 / 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

February 9, 2023December 6, 2023 / 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

As Recorded At Hampton Coliseum: ELVIS ON TOUR – First Reactions

January 28, 2023December 23, 2025 / TY / 2 Comments

Some Elvis Presley fans have been waiting over 50 years for his record label to release an extensive collection of audio from MGM’s 1972 concert documentary Elvis On Tour. Though there have been some scattered releases over the years, a comprehensive, six-volume set for Elvis On Tour audio finally appeared last month on digital and this week on CD. It’s been only about 30 years of waiting for me, though, as I wasn’t aware of the amount of Elvis On Tour recordings until the early 1990s.

While much of this material has been bootlegged in varying degrees of quality, the vast majority of it has not been officially released. As I tend to avoid bootleg releases, it appears my patience is finally being rewarded.

I don’t really feel like doing a formal review as I did for 2014’s similar That’s The Way It Is: Deluxe Edition, which covered MGM’s 1970 documentary of the same name. While there is less material here, I also have far less time and energy than I did back then. Instead, I am going to write in a “live” stream-of-consciousness type way. I hope you don’t mind. I plan to cover one CD in this first post.

I am cutting the packing tape off the outer shipping box now. I am really not into unboxing videos, but I’m sure you can find one from someone else out there. The packaging wasn’t the best. The outer case of the actual CD set is slightly bulged out on the top. However, it’s acceptable to me. I am liable to mar it myself at some point anyway. So, I’m proceeding to remove the shrink wrap. Otherwise, this would have been the shortest post ever as I arranged a return and exchange.

ELVIS ON TOUR (Sony, 2023) | Credit: Sony

The box art isn’t bad. I like the vintage style logos. Elvis has always looked a little “off” in Elvis On Tour to me, and that is reflected in many of the related photos.

It’s the music I care about, though, so on with Disc 1. I don’t even know which show is up first! Let’s see…

Well, the disc doesn’t even bother to say. Let me check the booklet.

Disc 1 is the Hampton Coliseum in Virginia, April 9, 1972. This concert formed the bulk of the Elvis On Tour movie, for which the four concerts included in this set were recorded and filmed. Outside of the film footage itself, only “An American Trilogy” from this Hampton show has been officially released on audio until now.

Let me hook up my headphones. I don’t want to blast the family out of the house.

The show is over 66 minutes – pretty long for an Elvis concert. He usually kept them at about an hour, probably due to the influence of his Las Vegas stints on his tour shows. The hotel’s priority in Vegas was to get the audience back out into the casino to gamble, so management did not like when his show lasted over an hour. While that wouldn’t have been a consideration as he criss-crossed the country on multiple tours throughout the 1970s, Elvis was definitely a creature of habit.

Also Sprach Zarathustra: Best known as the theme to MGM’s 1968 movie 2001: A Space Odyssey, “Also Sprach Zarathustra” is an exciting way to begin a concert – perfect for Elvis, despite having been written in 1896! It’s unfortunate that a “sound-alike” piece was used in the film itself in lieu of “Also Sprach Zarathustra” due to rights issues with the composition. The inferior piece, called “2001 Alternate,” was re-used in 1981’s This Is Elvis as well. As proven here, Elvis concerts used the real version, not the one you hear in the Elvis On Tour and This Is Elvis movies.

See See Rider: Right off the bat, Elvis sounds a little off. I know this is a good show, though, based on the movie, so I’m not too concerned. This song was used in the 1972 film.

I Got A Woman: This track has audio issues on Elvis’ vocals. He is in the background only. A disappointing way to start the set, I have to say. This song is used in the movie without these kinds of issues. Okay, about a minute or so in, Elvis is now fully audible. Why wouldn’t they fix this? Some fans have done so, taking minutes. Why not a company with the resources of Sony? I will never understand these kinds of missteps on Elvis releases. Well, no matter, it’s just a minute, and on a lesser song at that.

“I’d like to tell you it’s a pleasure to be here in West Virginia,” Elvis jokes. And then we’re on to the next song.

Never Been To Spain: In the realm of useless trivia, former racecar driver Dale Earnhardt, Jr.’s favorite song is Elvis’ version of “Never Been To Spain” (presumably from the As Recorded At Madison Square Garden album). Here in Hampton, this is a decent version. James Burton on electric guitar is a highlight.

You Gave Me A Mountain: Oh, Elvis, it’s too early in the set for such a downer song. But here we go. Just a few weeks into his separation from his wife Priscilla, this is where Elvis was at this time in his life, and I respect that he was attempting to heal through his music. “You Gave Me A Mountain” has never been a huge favorite of mine, but this is certainly a decent and committed version. You can hear the pain in his voice as he sings, “My woman got tired of the heartaches.” This rendition appears in the film.

Okay, I got bored during “You Gave Me A Mountain” and looked up what day of the week this concert was held. It was a Sunday.

Until It’s Time For You To Go: Elvis keeps the pace slow. This was one of his singles in 1972, and it wasn’t a good choice. His voice sure is pretty on it, though. I wasn’t even born when Elvis performed this show, but how I wish I could have somehow been there. I was only two when Elvis died, so never had the chance to see him in concert. In some ways, you could say my intense fandom of Elvis Presley is due to him being ripped away from the world too soon… and this has all been my quest to experience what it would have been like to witness Elvis first-hand.

Polk Salad Annie: Here we go! Elvis picks the pace back up. This song is a showcase for Jerry Scheff on bass. You’ll recognize this performance from the movie, too. It is great to hear the Sweet Inspirations – as this is a showcase song at times for them as well.

“I’d like to do a few oldies but goodies for you, ladies and gentlemen,” Elvis says before launching into “Love Me.” I believe this is the first time I’ve heard Elvis use that phrase – and about his own classic songs at that.

Love Me: It’s a typical 1972 version. In the recent past, he did it much better in 1970.

All Shook Up: The video of this one made its debut on Elvis: The Lost Performances VHS in 1992. This is its first official audio release. It’s really not that notable, however.

Teddy Bear/Don’t Be Cruel: Also from Elvis: The Lost Performances, Elvis has fun with Glen D. Hardin by making him begin the song on piano multiple times before finally singing. This medley isn’t a favorite, but it’s a decent version. Unfortunately, the audio of the “Don’t Be Cruel” part of this performance was later used in the 2010 DVD & Blu-ray release of Elvis On Tour to replace “Johnny B. Goode” over the opening credits due to rights issues. New old stock of that release was included in the physical version of this Elvis On Tour set – i.e., the Blu-ray included in this 2023 set has the butchered opening from 2010. The real selling points of this release are the CDs. I see the Blu-ray as a free bonus disc. Best used as a drink coaster. For the proper opening, I recommend watching the movie by buying/renting a digital version or streaming it. Or catch it during a TV broadcast, of course (how quaint!).

Are You Lonesome Tonight: A beautiful rendition of one of my favorite songs. Featured in The Lost Performances, I’m thrilled finally to have this rendition in my collection.

“Please ‘Release Me,’ baby,” Elvis says, but Glen instead launches into “I Can’t Stop Loving You.” Getting Elvis back for that “Teddy Bear” fun?

I Can’t Stop Loving You: Okay, so I guess the whole segment from “All Shook Up” to “I Can’t Stop Loving You” was in The Lost Performances. Between that release and Elvis On Tour itself, we have most of this concert available in video form. I never thought it would take over 30 years for this audio from The Lost Performances to be released – much less 50 for the audio from the film proper.

Hound Dog: This has the “bluesy” intro, as later featured on the As Recorded At Madison Square Garden album (June 10, 1972). I practically grew up on that album, so I like it. This Hampton version has a little too much “scatting” from Elvis for my taste, though.

Bridge Over Trouble Water: Elvis absolutely conquered this song in 1970. By 1972, it just wasn’t the same, though. Elvis had an unfortunate tendency to speed up a song over time. I guess to fit as much into those 60 minutes as possible.

Suspicious Minds: Wow, this feels way too early in the show for this song. This is a fast version, but he sounds good. His best versions are from 1969 and 1970, but if you can put that aside, the 1972 and 1973 versions are good on their own terms. Oh, to have been there! “Suspicious Minds” is one of those songs I always look forward to on a new-to-me concert. This one was a slight let-down due to Elvis playing around a bit with the audience, but still good. This was my Mom’s favorite song (specifically the Alternate Aloha version).

For The Good Times: Better than the sleepy version later recorded at Madison Square Garden.

Comin’ Home, Baby/Introductions By Elvis

An American Trilogy: Dixie/Battle Hymn Of The Republic/All My Trials – The video and audio from this first appeared in 1981’s This Is Elvis movie and album, albeit with additional instrumental overdubs added after Elvis’ 1977 death. That version is by far my favorite of “An American Trilogy.” The more authentic version here is unfortunately disappointing by comparison. The prominent scream from an audience member prior to the reprise of “Battle Hymn Of The Republic” is still there, at least (I used to wonder if that was overdubbed as well).

I mean, it’s still a great version, but it loses something. Maybe due to not having the overdubs. Anyway, it’s wonderful finally to have it in the context of the full show. A version of this song recorded during a February Las Vegas show was another 1972 single for Elvis. While a powerful and dramatic song in concert, this didn’t make for a great single choice, either.

Love Me Tender: Not a bad version until ruined by Elvis joking near the end of the song.

A Big Hunk O’ Love: By 1972, Elvis wasn’t treating many of his “oldies but goodies” with very much respect. This one is an exception. Fantastic version. This appears in the movie.

How Great Thou Art: Stunning. Probably his best live version. The highlight of this show so far. This can also be viewed on The Lost Performances.

Sweet, Sweet Spirit (J.D. Sumner And The Stamps): I didn’t really “get” this song and thought it was a waste of time in Elvis On Tour until I finally saw the movie on the big screen in 2010. Watching Elvis become lost in the moment while hearing his backing vocalists perform this gospel song at his request was really something special, particularly while being part of the theater audience – and I wasn’t even saved yet at that point of my life.

Lawdy, Miss Clawdy: Oh no, based on what I remember from the movie, the show is nearing its end. No, Elvis, we want more! This is a great version for the 1970s. Probably the best one from that decade, at least of the ones I’ve heard, of course. This one appears in the movie.

Can’t Help Falling In Love: Noooo, the show is indeed ending! This rendition appears in the movie. What a terrific concert. Songs from throughout his career. Different styles. A strong voice.

All in all, a wonderful start to exploring the Elvis On Tour set.

Elvis Presley performing at the Hampton Coliseum on Sunday, April 9, 1972 (MGM)

“After his baptism, as Jesus came up out of the water, the heavens were opened and he saw the Spirit of God descending like a dove and settling on him.”
Matthew 3:16

The Mystery Train Blog

Exploring the music & films of Elvis Presley

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Elvis Movies: JAILHOUSE ROCK

Elvis Movies: EASY COME, EASY GO

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

Elvis Movies: BLUE HAWAII

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

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

As Recorded At Hampton Coliseum: ELVIS ON TOUR – First Reactions

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