Blogs! Blogs! Blogs!

Today, The Mystery Train’s spotlight shines on some of the other Elvis Presley blogs out there in Internetland.

First up, I want to acknowledge a milestone over at ElvisBlog. Phil Arnold today published his 1,000th post! ElvisBlog began back in 2005, and Phil has really kept up with his writing since then. Lately, he has been thinking about retiring from his blog, but I’m happy to report that he still plans to post on occasion for at least the next year or so. Phil was once a contributing writer to the now-defunct Elvis International Forum magazine. He also wrote the foreword to Alfred Wertheimer’s 2010 photography book Elvis: The Early Years. In 2015, Phil published Big E and the Santa Man: A Rock & Roll Christmas Fantasy, a novel about a rock ‘n’ roll singer who gives up his former life and joins Santa Claus at the North Pole. Check out ElvisBlog #1000. Congratulations to Phil.

Speaking of books, Kees Mouwen last month released Elvis Day By Day 2020: The Year In Review, which compiles last year’s Elvis news stories from his Elvis Day By Day Blog as well as features additional content from Elvis Information Network and other Elvis fans worldwide. It is a follow-up to his first book, which covered 2019. Kees was one of the founders of what is now the site back in 1999. In 2010, Kees branched off to create the Elvis Day By Day Blog. Since that time, he has published over 3,370 blog posts about Elvis! 2020 ties with 2010 for his highest number of posts at 352. That’s almost one post a day, and it should certainly make for a fantastic read. Congratulations to Kees on his latest book. Find out more over on Elvis Day By Day.

ELVIS DAY BY DAY 2020 (Poplar Tunes Publishing and the Memphis Mansion, 2021) | Click image for full-color version | Original image credit: Kees Mouwen

Incidentally, I am honored to have contributed in a small way to Kees’ book. While some of my past posts have appeared in other Elvis books over the years, this is the first book to include an original piece from me. Thank you to Kees for the opportunity.

Finally, I want to say a hearty “Welcome back!” to Thomas Melin over at Elvis Today Blog. Last month, he quietly returned to blogging after an absence of more than three years. So quiet that I totally missed it until he recently emailed me. Thomas began the Elvis Today Blog back in 2007. By 2012, he had amassed over 500 posts. Though he’s slowed down since then due to other priorities, he says he plans to continue writing a post now and then. That’s the way to do it, and I’m definitely glad to hear he’ll still be around. Thomas published compilations of his first 500 posts on Elvis Today Blog in book form back in 2011 and 2012. Congratulations to Thomas on his return.

I don’t know about you, but I’m impressed by all three of these fellow Elvis fans. Keep up the good work, gentlemen!

Your conductor,

“Pride ends in humiliation, while humility brings honor.”
Proverb 29:23

The Elvis Today Blog Volume 2 author talks to The Mystery Train

Last month, Thomas Melin released a new book, The Elvis Today Blog: Volume 2. Available from Blurb, the paperback compiles 230 more Elvis Today Blog posts. It also features a foreword by Michael Jarrett, writer of “I’ll Be Home On Christmas Day” and “I’m Leavin'”, as well as a previously unreleased interview with DJ Fontana, Elvis’ first drummer. Melin recently took the time to chat about Elvis and the 328-page volume.

The Elvis Today Blog, Volume 2

Cover of The Elvis Today Blog, Volume 2

“Since the first time I heard Elvis, when I was nine or ten years old, I’ve been a fan,” said Melin. “I became really dedicated a short while later when I borrowed a bunch of Elvis albums from a classmate.” The titles included Elvis In Concert, A Canadian Tribute, and C’mon Everybody.

Melin, who lives in Sweden and is now 45, notes that it has always been Elvis’ music and variety of singing styles that have drawn him in. “Being a fan for me also means trying to learn more about the man that was Elvis Presley by listening to alternate takes, reading books, talking to his musicians, and watching documentaries,” he said.

He began blogging about Elvis on August 16, 2007. Five years worth of posts later, he is not sure if it has changed his perspective on the singer, but feels that it has enriched his life as a fan. “I’ve been able to share my ‘Elvis experiences’ with other fans,” Melin said, pointing out that the blog has helped him get to know other Elvis fans around the world.

The Elvis Today Blog: Volume 2 picks up right where the first volume ended. It collects all of the posts from January 8, 2010, through August 16, 2012. “I think it’s nice to have them all in one place, so to speak, and to be able to leaf through the pages and read a bit more thorough when something catches your eye,” said Melin.

“The kind of posts I’ve always loved to write the most has been […] ‘Special Moments With FTD,’ where I, with the help of an alternate take, some studio banter, information in books, and last, but not least, some imagination, try to describe what was going on in the studio or on stage when the recording equipment caught Elvis in his line of work. In my second book, the one that I’m the most satisfied with is the ‘Special Moments With FTD 11’ post, describing the recording of the song ‘Guitar Man’ on September 10, 1967,” he said. The post was inspired by the 2011 FTD release Elvis Sings Guitar Man.

As mentioned, one of the special bonuses this time around is a foreword by Michael Jarrett. “It all started in December 2008 when I wrote about one of the biggest daily newspapers in Sweden ranking Elvis’ ‘I’ll Be Home On Christmas Day’ as the second best Christmas song ever,” he said. Jarrett subsequently got in touch to thank him for mentioning his song.

“From there on we have stayed in contact, and I’m honored to have Michael Jarrett among my readers, which obviously means a lot. When I asked him if he would write the foreword and he accepted, I was thrilled,” he said.

The other special bonus, of course, is Melin’s interview with drummer DJ Fontana. In April 2006, Fontana was touring Sweden as part of a Swedish group called The Cadillac Band. At that time, Melin was working as a reporter at a radio station, where he also produced a one-hour program about Elvis’ religious music. He says he “begged” his news editor to let him interview the drummer when The Cadillac Band came to town. Melin said, “I found DJ Fontana very friendly, and he seemed to enjoy talking about his time with Elvis.”

Blurb specializes in self-publishing and provided the platform for both books based on Elvis Today Blog. “What you need is a PDF version of the book to upload on Blurb, and I’m lucky to have a brother who is very, very good when it comes to design and page layout,” he said. He explains that Staffan Melin used the Adobe Suite (Illustrator, Photoshop and Indesign) on the first volume, but decided to try open source software (Scribus, Inkscape and GIMP) on the latest volume.

“This book is actually part of [Staffan’s] master’s thesis in media technology, where he examines if free software can be used for book and magazine production. Obviously, it can,” said Melin.

Elvis Today Blog celebrated its 500th post on August 16, 2012, which was also the cutoff date for the new book. Since that time, Melin has been in semi-retirement from blogging. “When I decided to take an indefinite break from blogging, it was because so much was going on in my life, mainly due to my two-year-old daughter. I just didn’t have the time or energy to write about Elvis anymore. I still don’t,” he explained.

“I still listen to Elvis all the time, and my daughter seems to like his music, too, but I would be lying if I said I didn’t miss blogging at times. That’s why I’ve written one or two posts since ‘retiring,’ and I guess it will continue that way,” Melin said.

“For now, I’m satisfied with my 500 posts and two books. Every time I look at them sitting in the shelf I feel a bit proud, thinking in my own small way, I’ve done something to keep Elvis’ memory alive,” he said. “It’s been a fun ride!”

Order The Elvis Today Blog: Volume 2 over at Blurb.

No particular place to go

All right, this will be one of those off-the-top-of-my-head posts – so who knows what you’re gonna get out of reading this.

I’m just sitting here on a rainy Saturday afternoon listening to Elvis.

Blue HawaiiI’m getting back into vinyl after pretty much being all CDs all the time for the last twenty years. I pulled out my old collection, and the first one I played was Blue Hawaii.

I couldn’t believe how incredible it sounded on record. I sense a new obsession coming on.

The good thing is, I already have about 25 LPs and 25 45s from the old days before I had a CD player, so those should tide me over for awhile.

* * *

So, there were a bunch of great posts around the web for Elvis Week 2012. My favorite was probably Indisposable Johnny’s “When Elvis Moved On” over on The Round Place In The Middle blog. If you haven’t already, be sure to read it.

One post that I didn’t want to read because I knew what was coming was “Treat Me Nice”, a farewell of sorts by Thomas Melin over on his Elvis Today Blog. After five years and 500 posts, he’s taking an indefinite break from blogging about Elvis in order to spend more time with his family. It’s hard to fault him for that. I’m sure gonna miss his posts, though. Best wishes to Thomas.

While Thomas’ absence leaves a huge void, all is not lost. For instance, Sheila O’Malley continues her excellent series of Elvis Essays on The Sheila Variations blog. Meanwhile, artist Joe Petruccio just began a brand new blog called My Elvis Journal. Petruccio’s unique posts are definitely worth checking out.

Have a great weekend, everyone!

* * *

August 28 Update: I’ve just found that there is yet another new Elvis blog, and it’s one I definitely want to mention. Elvis audio expert and frequent For Elvis CD Collectors Forum poster elvissessions recently began, which will cover “Elvis Presley in the studio — and beyond.”

I love his informative FECC posts, so I’m looking forward to following elvissessions’ blog. Here’s a recent entry about obtaining Ernst Jorgensen’s autograph on his copy of A Boy From Tupelo during Elvis Week 2012.

Speaking of FTD’s mammoth SUN project, my copy will supposedly be in the mail this week. No autographs, though. I guess that’s one of the many perks of being in Memphis during Elvis Week. Either way, I can hardly wait for this release.

Guest Blog #6: From Hawaii To The Rest Of The World (The Edge Of Reality #7)

What if the previously unreleased cassette recording of Elvis rehearsing the day before his opening show at the Las Vegas Hilton on January 26, 1973, had been a rehearsal for an upcoming world tour instead? In an alternate universe, a review of the recently released From Hawaii To Las Vegas album from FTD would have sounded a bit different…. You’ve just crossed over into… the edge of reality.

The Edge Of Reality

[Read the full post by Thomas Melin over on Elvis Today Blog.]

Guest Blog #4: Elvis 1967 – That Wild Presley Beat (The Edge Of Reality #4)

What if the follow-up to the critically-acclaimed and Grammy-nominated Young Man With The Big Beat box set turned out to be something called That Wild Presley Beat, focusing on 1967? You’ve just crossed over into . . . the edge of reality.


1967 saw the beginning of Elvis Presley’s return to the charts with songs that were once again artistically significant. But it didn’t happen overnight. The once “young man with the big beat” from Memphis was still tied to the formula of making movies and recording soundtrack albums. By the end of that fateful year, though, he’d shown the world that he was still a force to be reckoned with.

That Wild Presley Beat

That Wild Presley Beat puts the focus on Elvis during 12 months, from February 1967 to January 1968. The package includes his RCA studio master recordings in Nashville; his soundtrack master recordings in Nashville and Hollywood; alternate masters, outtakes; home recordings, and much more. Taking its name from the poster for his movie Clambake, the super deluxe 5-CD, 12 inch square box set (with an amazing 80-page book with timeline) will be available on April 31.

The five CD’s comprise the following, all material originating from February 1967-January 1968:

CD One, Soundtrack Master Recordings
19 tracks recorded in Nashville and Hollywood, starting with nine songs from Clambake, (February 21-23, 1967) followed by 10 songs from Speedway, including the previously unreleased movie version of “Your Time Hasn’t Come Yet Baby” (June 20-21, 1967).

CD Two, Studio and Soundtrack Master Recordings
17 tracks recorded in Nashville, starting with 10 songs from the “Guitar Man sessions,” including the unedited masters of “Guitar Man” (with a fade-out jam on “What’d I Say”) and “High Heel Sneakers” (September 10-11, 1967), followed by three songs from Stay Away, Joe (October 1, 1967) and four more songs from the combined studio sessions/soundtrack recordings for Stay Away, Joe (January 15-16, 1968).

CD Three, The Outtakes I
Four outtakes from the Clambake soundtrack recordings (“The Girl I Never Loved,” “How Can You Lose What You Never Had,” “You Don’t Know Me,” “A House That Has Everything”), segueing into the complete session of October 1, 1967 (19 takes of “Stay Away, Joe,” three takes of “All I Needed Was The Rain” and five takes of “Dominick”).

CD Four, The Outtakes II
Nine outtakes from the “Guitar Man sessions” plus another 15 outtakes from the combined studio sessions/soundtrack recordings for Stay Away, Joe, including all 12 takes of “Too Much Monkey Business.”

CD Five, Home Recordings and Interview
Eight home recorded tracks done in early 1967, including “Suppose” that Elvis submitted to his producer Felton Jarvis for overdubbing (done on March 20, 1967) by musicians and backup vocalists. The other seven tracks are previously unreleased, among them “It’s Now Or Never” (with Charlie Hodge) and “Elvis Practicing Organ.” The CD ends with a newly discovered interview with Elvis on the set of Stay Away, Joe. The interview was done and taped by reporter Joseph Lewis, doing a story for the Cosmopolitan.

That Wild Presley Beat will feature an extraordinary book, where the focal point, spread across its 80 pages, will be a unique, meticulously-researched, day-by-day chronology of Elvis during 1967, including every recording date, film schedule, personal events in his life, and much more. A dazzling photo array of memorabilia will illustrate each day and entry. Movie posters, RCA memoranda, letters from fans, postcards from Elvis to his family, personal photos, magazine covers and articles, trade charts, fan club relics, RCA publicity photos, candid photos, and more will be a feast for the eyes and the imagination as 1967 unfolds.

That Wild Presley Beat will also include five rare 8×10 photographs, three original-size movie poster replicas, and a replica of the “specially autographed” wedding photo originally included as a special bonus inside the Clambake album.

Pre-order customers will also receive an exclusive “Stay Away, Joe” vinyl 7″. Sharing the same striking cover art as the movie poster, the EP features “Stay Away, Joe,” “Goin’ Home,” “All I Needed Was The Rain,” “Stay Away” and “Dominick.”

This imaginary box set is available only in . . . the edge of reality.

/Thomas, Elvis Today

Throughout 2011, The Mystery Train Blog has commemorated the 44th anniversary of 1967. Find out why here. This concludes our coverage.

From Sweden To Richmond/From Richmond To Sweden: A Little More Conversation

Welcome to the first ever simultaneous post of Elvis Today Blog and The Mystery Train Blog. We’re going to try something a little different and present a discussion of Forty-Eight Hours To Memphis: Recorded Live On Stage In Richmond, Virginia – March 18, 1974, one of the latest CDs from Sony’s Follow That Dream Records collectors label for Elvis fans.

The Forty-Eight Hours To Memphis title reflects that Elvis closed out his tour two days after the Richmond concert with a show in Memphis – portions of which became the 1974 album Elvis Recorded Live On Stage In Memphis.

Forty-Eight Hours To Memphis (2011 FTD, booklet cover)

Forty-Eight Hours To Memphis (2011 FTD, booklet cover)

Ty [The Mystery Train Blog]
I’m glad you thought of this idea, Thomas.

Thomas [Elvis Today Blog]
Yeah, well, it must have been exciting when you heard of this release. What was your first impression when you listened to it?

That this was obviously the best Elvis Presley release in history, as I’m sure you’ll agree! Just kidding… The first time I played it, I just tried to imagine being there, in the Richmond Coliseum that night.

I would’ve loved to be there, that’s for sure. The atmosphere during that particular tour in the southern states obviously was an indescribably electric one, and the shows were of high quality. Have you noticed the joyful laughter from one person in the audience when “Also Sprach Zarathustra” begins? A safe bet is he’s one excited man.

That almost nervous laughter was the first thing I noticed. My other first impression, I was really happy to hear Elvis make Richmond-related references not once, not twice, but three times during the show. I think you’ve heard more Elvis concerts than I have, Thomas, but I believe it is rare for him to mention what city he is in – outside of Las Vegas, that is.

And multiple times at that! Also, I was pleased that he mentioned Sweden as well!

This is probably the only concert where he mentions both Richmond and Sweden. Now that I think about it, I suppose he very well could have mentioned both during the March 12 show in Richmond, too. This March 18 Richmond show was added because the March 12 one sold out so quickly. So there might be two concerts where he mentions both Richmond and Sweden

The reason Elvis mentioned my country is because Sweden’s Per-Erik “Pete” Hallin was playing piano for the group Voice at the time. I actually interviewed him once, but that’s another story.

He was a second piano player on the stage at the same time as Glen Hardin? Or just when Voice was opening?

I think he was just playing the piano when Voice was opening, and then sang together with them on stage while Elvis was on. Elvis actually mentions Pete at the end of this concert, during “Can’t Help Falling In Love,” when he sings “… some things, you know, Pete, are meant to be…” He did this two days later in Memphis as well, where he also introduced Pete and the other members of Voice individually.

I had always wondered who “Pete” was on the Memphis show, so that clears it up. Funny that he gets the exact same mention here on the Richmond concert. As far as I could tell, it is just Elvis doing the same joke, not an audio repair or anything where they pulled it from the Memphis show.

I agree, it’s the same joke. Elvis obviously liked to recycle his jokes, like the “I saw J.D., with baldheaded Sally” that was used both in Richmond and in Memphis during the “Rock Medley.”

I’m also pretty sure, outside of Vegas, I’ve never heard Elvis reference the hotel where he stayed. After the introductions on Forty-Eight Hours To Memphis, he thanks Richmond’s John Marshall Hotel.

Yes, I was actually surprised to hear him mention the hotel. That is unusual.

So, that first time through, I was really happy with this CD. I was all kinds of worried that I would be disappointed with either the sound or the show itself.

Glad you liked the show as well as the sound. Now there’s been a lot written about the sound, this being a newly discovered 2-track copy of a 16-track tape.

Right, we should address the sound controversy. I was already excited about this release when it was first announced. This represents the first official release of an Elvis concert in Richmond, after all. However, when the news later came out that the source of this concert was a 16-track professional recording, rather than the expected soundboard, I think that brought the rest of the Elvis World to where I already was in anticipating this CD.

Yes, I was excited when I heard of this, also. A newly discovered 16-track professional recording, where did that one come from?

That’s right. All the fans were excited until FTD essentially said, “Oops, did we mention this was mono?” Then, I think FTD took a lot of heat for that. Some of it deserved, for poor communication. At the same time, I think the reaction by some fans was way overblown. But, hey, I guess that’s what Elvis fans do. How did you feel when you found out Forty-Eight Hours To Memphis would actually be in mono?

At first, a little disappointed, maybe, but I was looking forward to the album anyway, and I have to say I was pleasantly surprised when I listened to the show for the first time. I think the sound is great!

I agree, the sound is incredible, especially considering that it is from a mono tape. I was glad to be able to put that concern to rest. I’m not someone who hates mono recordings, though. After all, Elvis has quite a few more mono songs that maybe a few of the complainers should try hearing someday. Such “unknowns” as “Mystery Train,” “Jailhouse Rock,” “One Night,” “Baby, Let’s Play House,” “Love Me,” “Santa Claus Is Back In Town,” and “Don’t Be Cruel” – to name but a few. There are also some 1960s movie soundtrack songs that I think sound better in mono than their stereo counterparts. “Viva Las Vegas” is one that immediately comes to mind. You can never please everyone, though.

Yes, they should give them a spin. I remember when RCA made “electronically created stereo” out of a lot of the mono albums – they sounded terrible!

I’m glad they didn’t try that here.

Yeah, me too. Thinking about it, it’s really incredible that a show in this sound quality surfaces so many years after it was recorded.

That is the real mystery here, and the liner notes really do nothing to clear that one up. Just the same kinds of speculation all of us were doing when we first heard.

So, what about the actual show, Ty? No doubt Elvis is in good spirits and enjoying his work, wouldn’t you agree? He sounds happy and close to laughter on many occasions. “Fever” is probably as close to a laughing version as it gets. “That’s a fun song to do!” he says. At the same time, he delivers good, solid renditions of many of the songs. “Steamroller Blues” is one of the highlights to me, as is “Polk Salad Annie” and “An American Trilogy.” Not to mention “Trying To Get To You,” where he really uses his voice to the fullest.

Well, jumping right into “Fever,” I’ve never been a big fan of the “I light up when you call my name… ELVIS!” versions of this song, for some reason. So, that is my least favorite track on the album.

In a way I agree, but I think the version two days later in Memphis is even worse.

I agree that the Richmond Fever is better than the Memphis Fever, but it’s a bad bug, either way. At times, “Let Me Be There” also grates on my nerves, and don’t even get me started on J.D. Sumner’s “Amen” dive-bomb routine. However, those are just about the only negatives I ultimately found about this show.

Maybe that was a song that was more fun to watch than only hear.

I was also worried about “Suspicious Minds” – a favorite of mine.  I was really disappointed by the Memphis live version of that one when it finally came out a few years ago. So, I was worried that I wouldn’t like the Richmond version, either. But it’s great, very energetic. It would’ve been great to see.

Yes, by this time he’d performed “Suspicious Minds” for five years or something, and I always thought he was tired of it, when I heard the version from Memphis. But in Richmond he does sound happier with it, that’s true, Ty!

Elvis at the Richmond Coliseum, March 18, 1974 (FTD)

Elvis at the Richmond Coliseum, March 18, 1974 (FTD)

The other highlights for me were “Also Sprach Zarathustra”/”See See Rider,” for the excitement of imagining Elvis taking the Richmond Coliseum stage by storm. “Steamroller Blues,” which I might like even better than Memphis version, my favorite rendition until this point.

I just love the way he shouts “Aargh!” at the intro of “Steamroller Blues,” and what then follows really lives up to the song’s name.

Let’s see, I also enjoyed the “Rock Medley” – what a great idea for Elvis to link together all those songs. Rather than just do the typical “Hound Dog” throwaway, I think it worked somewhat better like this, at the tail end of the medley. It’s still too fast, but not as disappointing as most of the other post-1970 Hound Dogs.

For some reason I thought the “Rock Medley” rocked even more than it did in Memphis, and I love the tail end too!

Yes, the “Rock Medley” was another one that Elvis performed better than its Memphis counterpart.
“Polk Salad Annie” was one I didn’t care for on Memphis, but loved it in Richmond.

I always enjoy hearing Elvis saying things I’ve never heard in songs before, like during the guitar solo in “Polk Salad Annie” by James Burton where he says something like “Sneak up on him, Ronnie!” I can just imagine him casting a glance in Tutt’s direction while saying this.

Yeah! I guess because we’ve heard so many of his shows, that’s the kind of stuff that stands out to us. While the general public would say, “Why do I need another ‘Polk Salad Annie’?”

The two songs that got the most serious renditions were the gospel songs, “Why Me, Lord” and “Help Me.”

I was relieved that “Why Me” wasn’t a laughing/joking version. Not that I mind some joking, but it seems ill-suited for a gospel song. I think I like the Memphis version of “Why Me” better, though.

Elvis cared deeply for that kind of music.

You know, that’s one of the terrific things about his show, especially from this time period, the way it brings together so many kinds of music – gospel, country, blues, rock ‘n’ roll. What other so-called “rock star” could do that?

That’s true, Ty, Elvis sang “Something for Everybody.” Speaking of the gospel stuff, I did miss “How Great Thou Art.” But hey, that’s a minor complaint.

Funny, I was just about to say the same thing about “How Great Thou Art,” which of course featured prominently on the Memphis concert album. I had a slight twinge of disappointment when I saw the Richmond track listing and it wasn’t there.

I just love it when he sings the ending one more time in Memphis. And his voice, so powerful, it gives me goose bumps!

At least the Grammys got that one right. So, what did you think about the bonus songs, recorded in Tulsa and Memphis? I thought it was cool to hear “Sweet Caroline” in 1974. I don’t remember hearing that one outside of 1970 before. Also, “Johnny B. Goode” is always welcome.

I think the most important thing was that they showed what a difference there is in sound quality between a soundboard and the professionally recorded Richmond concert. And once again I was reminded how very similar “My Baby Left Me” and “That’s All Right” sound.

It was really awesome to hear a 1974 version of “That’s All Right” in Memphis. That live performance was just a few months shy of the 20th anniversary of Elvis first recording it at Sun Studio there – the record that started it all.

I hadn’t thought of that. That is indeed awesome!

What do you think about Forty-Eight Hours To Memphis being presented in the oversized, 7-inch digipack format usually reserved for FTD’s Classic Albums series?

I thought it was great that it was presented this way. I’m a bit tired of the live material not getting treated as serious as the classic album series.

Agreed. If I remember correctly, they originally planned this treatment for As Recorded At Boston Garden last year, but a production issue or something caused them to put it in the standard, smaller format.

Or was it the latest 1969 concert, I don’t remember.

That’s right, it was actually the Live In Vegas release they originally planned for the larger format. Maybe, FTD now intends to use that format more often? Perhaps, at least on “special” releases of live material where the sound and/or show is of a high quality.

Here’s hoping the last couple of August 1969 and 1970 concerts will get this treatment.

That would be great. I hope that’s the case as well.

Hopefully the 1972 concert in Richmond will also get an official release soon, together with the other shows recorded for Elvis On Tour.

Yes, that is the Richmond show that has the best chance of also getting an official release at some point.  I just hope it’s sooner, rather than later. Do you think the release of this 1974 show will mean that there will be less of a chance of the 1972 Richmond show coming soon?

I hope not, Ty. I’ve heard that Ernst Jorgensen is waiting for Turner/Warner Home Video to make a move with the unreleased footage, to do a combo of sorts, but that won’t happen anytime soon, I’m afraid. I just hope he realizes this and releases the shows from Elvis On Tour anyway. For now I’m really pleased with FTD for releasing this Richmond show, it’s not an album that’s going to collect a lot of dust on the shelf for a long time yet.

I’m definitely happy about this release as well. This is a special CD that I’ll be playing often for the rest of my life. What are your final thoughts on this CD? What are you going to remember most about it?

You know what I thought halfway into listening to it the first time? It hit me how happy I am being an Elvis fan, and what a pleasure it gives me to listen to a great concert like the one from Richmond. Also, that Elvis was in great shape during the March 1974 tour, delivering the goods in style! But I guess, I’m gonna remember the most how incredible it is that a professionally Elvis concert like this can suddenly make an appearance out of the blue. It was almost as exciting waiting for it as listening to it. Well, not really, but hopefully you see my point.

Yes . . . it shows hope that there is still more out there, waiting to be discovered. Things not even rumored to exist.
For me, it was really something to finally hear an Elvis concert recorded here in Richmond, where he appeared 15 times. This is number 14, yet he still sounds engaged, like he’s having a great time. Obviously, the audience was, too. It was a fantastic show. Though he came back to Richmond once more in 1976, my understanding is that this 1974 concert was his last great show in Richmond.
Thanks again, Thomas. This has been a fun little experiment, but I wonder if people will enjoy reading this kind of post?

I sure hope so. At least it was enjoyable to write, so thank you, Ty!

As with other FTD releases, the only physical store in the US authorized to sell the Forty-Eight Hours To Memphis CD is Good Rockin’ Tonight, a Graceland gift shop in Memphis. However, the CD may be obtained online from a variety of other Elvis stores – including Graceland’s

Forty-Eight Hours To Memphis

Live At The Richmond Coliseum, March 18, 1974
01) Also Sprach Zarathustra/
02) See See Rider
03) I Got A Woman/Amen [edited with Memphis, March 20, 1974]
04) Love Me
05) Tryin’ To Get To You
06) All Shook Up
07) Steamroller Blues
08) Teddy Bear/Don’t Be Cruel
09) Love Me Tender
10) Long Tall Sally/Whole Lotta Shakin’ Goin’ On/Your Mama Don’t Dance/Flip, Flop & Fly/Jailhouse Rock/Hound Dog
11) Fever
12) Polk Salad Annie
13) Why Me
14) Suspicious Minds
15) Introductions By Elvis
16) I Can’t Stop Loving You
17) Help Me
18) An American Trilogy
19) Let Me Be There
20) Funny How Time Slips Away
21) Can’t Help Falling In Love/
22) Closing Vamp

Elvis at the Richmond Coliseum, March 18, 1974 (FTD)

Elvis at the Richmond Coliseum, March 18, 1974 (FTD)

Bonus Songs
23) Sweet Caroline [Tulsa, March 1, 1974]
24) Johnny B. Goode [Memphis, March 17, 1974]
25) That’s All Right [Memphis, March 17, 1974]

Elvis revamps his show

Inspired by a recent eBay auction of Elvis’ handwritten rehearsals set list from August 1974, Thomas has a posted another creative piece over on his Elvis Today Blog. This is a must-read:

“The Handwritten Las Vegas Rehearsal Set List” — Elvis Today Blog

Sony’s Follow That Dream collectors label for Elvis fans documented the rehearsals on the 2-CD set From Sunset to Vegas. The unique opening show of this engagement is one of two concerts that appear on FTD’s 2-CD Nevada Nights.

“The Twelfth Of Never” and “Softly, As I Leave You” from the August 16, 1974, rehearsal first appeared on 1995’s Walk A Mile In My Shoes.

I always find it a little eerie while listening to “Softly” in particular to think that Elvis would pass away exactly three years later.

He felt himself start to die, and he took his notepad from the side of the bed, and he wrote, ‘Softly, I will leave you, softly. For my heart would break, if you should wake, and see me go…'” –From “Softly As I Leave You,” Elvis Presley version, August 16, 1974