Virginia

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

/ TY / 1 Comment

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

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

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

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

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

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

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. I am enjoying this mix. Very clear. James Burton sounds terrific on lead guitar.

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: As with Hampton, Jerry Scheff on bass is way too low in the mix on what should be a highlight song for him. His solo does seem a tad louder here than Hampton, at least. A good version, but disappointing mix. When I am done, I will go back to Close Up and compare the mix for this song in particular.

“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 the mix featuring James Burton.

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 sounds fantastic on this. 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. The James Burton heavy mix is perfect for this song, of course.

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.

I went back and played “Polk Salad Annie” from the 2003 Close Up set, and the bass is not very prominent on that mix, either. I’ve seen other fans theorize that it was a recording issue, so perhaps they’re on to something. (I’m reminded of Elvis shouting, “Bring that bass up!” during “Proud Mary” of this very concert.) With that in mind, I prefer the 2023 Elvis On Tour mix – at least based on a first listen. Incidentally, a few of these songs are in the actual movie, which has its own mix and, if I’m not mistaken, more prominent bass. The recording source could have been different, however. I’m no expert on the recording intricacies of Elvis’ films.

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

/ 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. James Burton’s guitar sounds awesome! Matt Ross-Spang, who has a proven track record with Elvis releases, mixed this set, and the sound is exciting. 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. Again, James Burton on electric guitar is a highlight. This show sounds great!

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. My first complaint as far as the mix on this CD, though, is that Jerry Scheff is way too buried in the mix on this song. This song is a showcase for Jerry on bass, but you can barely hear him. James dominates in the mix. Now, I love some James Burton, but this is Jerry’s song. Anyway, you’ll recognize this performance from the movie, too. It is great to hear the Sweet Inspirations at least – 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 at this sound quality.

“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. His voice sounds thin here. Elvis also 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 in this mix. Or 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

Elvis: The Ultimate Live Top Ten Hits (Part 4)

/ TY / 3 Comments

This is the finale of a four post series covering Elvis Presley’s best officially-released live recording of each of his US top ten hits.

[Read Part 3]

Released as a 2-LP set in 1987, The Top Ten Hits contained all 38 of Elvis’ top 10 hits on Billboard‘s key US charts. Other than a few outliers that failed to make the top 10 and are not on the set (“Blue Suede Shoes,” “Blue Christmas,” “Viva Las Vegas,” “My Way,” and “A Little Less Conversation”), it includes all of his most famous songs for the general public. Indeed, outside of boxed sets, The Top Ten Hits remains one of the most comprehensive Elvis releases to date when it comes to mainstream songs.

Today’s post will feature hits included on Side D of The Top Ten Hits, most of which were studio recordings on the original album.

01. Return To Sender (hit version recorded 1962)
Ultimate Live Version: August 1, 1976, Hampton Roads, VA, New Haven ’76
Per request, Elvis performs “Return To Sender” off the top of his head at a concert in Hampton Roads, Virginia. Included as a bonus track on New Haven ’76, this is the only officially released live version of the song. Considering it was recorded in 1976, the nadir of Elvis concert years, it actually isn’t horrible.

02. Devil In Disguise (hit version recorded 1963)
Ultimate Live Version: None available
It is unfortunate that Elvis never performed live in the mid-1960s. This song would surely have resulted in a classic rendition at that time.

03. Bossa Nova Baby (hit version recorded 1963)
Ultimate Live Version: None available
A medley of “Return To Sender” and “Bossa Nova Baby” might have been fun in his 1969 live shows to acknowledge a couple of hit songs from his 1960s movies.

04. Crying In The Chapel (hit version recorded 1960)
Ultimate Live Version: None available
Voice-wise, 1968 probably would have been the best time for Elvis to have performed “Crying In The Chapel” live. I don’t see where it would really fit in any of his four shows captured for the ELVIS special, though. August 1970 probably would have been a good vocal opportunity for it, too. I would love to hear the Blossoms or the Sweet Inspirations backing Elvis on this instead of the Jordanaires.

Elvis Presley performs “The Wonder Of You” at the August 13, 1970, Dinner Show, in Las Vegas, Nevada, captured for the ELVIS: THAT’S THE WAY IT IS documentary film (MGM)

05. In The Ghetto (hit version recorded 1969)
Ultimate Live Version: August 26, 1969, Dinner Show, Las Vegas, NV, From Memphis To Vegas/From Vegas To Memphis [Elvis In Person]
Elvis’ live versions of “In The Ghetto” never quite lived up to the studio versions. While he usually performed it strongly, he never seems as “into” the song. A stripped-down version, with just Elvis and an acoustic guitar would have been ideal.

06. Suspicious Minds (hit version recorded 1969)
Ultimate Live Version: August 25, 1969, Midnight Show, Hot August Night
An apparent mistake is actually what gives this live version of “Suspicious Minds” an edge over other stellar versions recorded in the same concert series. After James Burton’s opening guitar solo, Elvis fails to begin singing, so Burton continues the solo. Overall, this live version is even better than the studio master.

07. Don’t Cry Daddy (hit version recorded 1969)
Ultimate Live Version: February 18, 1970, Dinner Show, Las Vegas, NV, Greatest Hits, Volume One
While I love “Don’t Cry Daddy,” it does not work as well in a live concert setting, and I can understand why Elvis dropped it by 1971. That said, this live version is top-notch.

08. The Wonder Of You (hit version recorded live, February 18, 1970, Midnight Show, Las Vegas, NV, On Stage)
Ultimate Live Version (after hit recorded):
August 13, 1970, Dinner Show, Las Vegas, NV, The Way It Was
I have found that time behaves inconsistently in certain situations and for certain people. Elvis’ entire career, for instance, was compressed into about 21 years, yet he left a wealth of material behind that continues to forge his musical legacy. Elvis released his February 1970 live version of “The Wonder Of You” as a single in April 1970, and it peaked at number nine on June 27, 1970. Less than two months later, during one of the concerts captured for the MGM documentary movie Elvis: That’s The Way It Is, he introduces this August 1970 live recording by stating, “I had a record out last year that–-this year . . . this year, wasn’t it?–-that did pretty good for me. I’d like to sing it for you.” In this case, two to four months in “Elvis time” was like a year in normal time.

09. Burning Love (hit version recorded 1972)
Ultimate Live Version: April 18, 1972, San Antonio, TX, Close Up
Featured in the documentary movie Elvis On Tour (MGM, 1972), this rockin’ version of “Burning Love” exceeds any other live renditions released thus far. The March 1972 studio master remains the best, however.

Well, that about wraps things up for our look at Elvis’ best officially released live recordings of his hit songs. Over 43 years after his death, Elvis Presley concert recordings continue to surface. With that in mind, we may have to check in on these live hits again in a few years.

Thanks for reading.

Your Conductor,
TY

“Do not let your hearts be troubled. You believe in God; believe also in me.”
John 14:1

ELVIS RECORDED LIVE ON STAGE IN MEMPHIS Legacy Edition out today, with bonus Richmond concert

/ TY

Before we begin, a reminder that there are less than 13 hours left to lock in your predictions bracket for Elvis Mania 2014. The person with the highest score will receive a Sony Legacy Edition CD of an Elvis title, courtesy of The Mystery Train Blog. See yesterday’s post for more details. [Update: Predictions are now locked.]

* * *

Forty years ago today, on March 18, 1974, Elvis Presley rocked the Richmond Coliseum in Virginia. A live recording of the concert features on the second CD of a new Legacy Edition of Elvis Recorded Live On Stage In Memphis, in stores today from Sony.

The first CD features a complete version of the March 20 Memphis concert at the Mid-South Coliseum that RCA first released in an edited form in 1974. Elvis earned his third and final Grammy Award for his performance of “How Great Thou Art” in Memphis on that original 1974 album.

The Follow That Dream collectors label for Elvis fans restored the missing tracks from the Memphis concert and removed unnecessary audience overdubs in a 2004 Classic Albums CD release of the title, including a new mix. The same label also issued the expanded show in vinyl format as a 2-record set last year. This new 2014 Legacy Edition features yet another new mix of the Memphis concert.

The Richmond concert made its debut in 2011’s Forty-Eight Hours To Memphis on the FTD label. This new release features the same mix of the Richmond show as on the 2011 collectors CD.

The Elvis Presley Show crisscrossed back and forth from Virginia to Tennessee on that leg of his tour. Tickets for a March 12 appearance at the Richmond Coliseum sold out so quickly that Elvis’s management re-routed the tour to accommodate a second show there on March 18. Elvis performed four shows in Memphis on March 16 and 17, hit Richmond, Virginia, again on March 18, and then returned to Tennessee for concerts in Murfreesboro and Memphis on March 19 and 20, respectively.

RCA professionally recorded the March 20 Memphis concert for the album project. It is a 16-track recording (audio elements recorded on separate channels) that can be tweaked for optimum sound quality. The Memphis show is presented in stereo.

Though the background story remains mysterious, the March 18 Richmond concert was supposedly captured as a 16-track recording, too. If so, it remains missing from the Sony vaults – lost, stolen, or erased.

The Richmond concert audio source on both the 2011 and 2014 releases is a tape copy of a mono mix-down of the 16-track recording, with artificial reverb applied. In other words, no further changes can be made to the Richmond mix or reverb since the 16-track original is unavailable.

While Elvis’s sound engineers often made informal reference tapes of his shows from the soundboard mixing console, the Forty-Eight Hours To Memphis liner notes in 2011 only speculated about why RCA apparently recorded the Richmond concert in multitrack. The 2014 Legacy Edition refers to the Richmond show as a “test run concert” for the subsequent Memphis recording.

Five selections from an August 16, 1974, rehearsal at RCA Hollywood for an upcoming Las Vegas engagement round out the second CD of the release. Captured on a personal cassette recorder, the rehearsals are in comparatively poor sound quality. The five tracks were among twenty from the rehearsal included as part of the 2009 FTD release From Sunset To Las Vegas.

In addition to participating retail stores, the 2014 Legacy Edition of Elvis Recorded Live On Stage In Memphis is also available from Amazon and other online outlets.

ELVIS RECORDED LIVE ON STAGE IN MEMPHIS (2014 Legacy Edition)

ELVIS RECORDED LIVE ON STAGE IN MEMPHIS (2014 Legacy Edition)

Tracks

Disc One

Elvis Recorded Live On Stage In Memphis, March 20, 1974
01. Also Sprach Zarathustra/
02. See See Rider
03. I Got A Woman/Amen
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 Lord
14. How Great Thou Art
15. Suspicious Minds
16. Introductions By Elvis
17. Blueberry Hill/I Can’t Stop Loving You
18. Help Me
19. An American Trilogy
20. Let Me Be There
21. My Baby Left Me
22. Lawdy, Miss Clawdy
23. Funny How Time Slips Away
24. Can’t Help Falling In Love/
25. Closing Vamp

Disc Two

Recorded Live At The Coliseum, Richmond, 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 Lord
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

The August 1974 RCA Rehearsals
23. Down In The Alley
24. Good Time Charlie’s Got The Blues
25. Softly, As I Leave You
26. The First Time Ever I Saw Your Face
27. The Twelfth Of Never

ELVIS RECORDED LIVE ON STAGE IN MEMPHIS Legacy Edition to include Richmond, Virginia concert (Conductor’s Reflections #15)

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ELVIS RECORDED LIVE ON STAGE IN MEMPHIS (2014 Legacy Edition)

ELVIS RECORDED LIVE ON STAGE IN MEMPHIS (2014 Legacy Edition)

One of my favorite CD releases on the Follow That Dream collectors label for Elvis Presley fans is 2011’s Forty-Eight Hours To Memphis, which captures a March 18, 1974, concert that Elvis performed at the Richmond Coliseum in Virginia.

The confusing album title reflects that Elvis closed out his tour two days after the Richmond concert with a show in Memphis at the Mid-South Coliseum, portions of which became the 1974 album Elvis Recorded Live On Stage In Memphis. Elvis earned his third and final Grammy Award for his stellar performance of “How Great Thou Art” in Memphis on the original 1974 album.

The link between the two shows continues, for Sony announced last week that it will reissue the Richmond concert on the second disc of a Legacy Edition of Elvis Recorded Live On Stage In Memphis. While the FTD collectors label has very limited distribution, this new 2-CD release on the main Sony label hits mainstream retail stores on March 18, the 40th anniversary of the Richmond concert. Amazon and other outlets are accepting pre-orders now.

The Elvis Presley Show crisscrossed back and forth from Virginia to Tennessee on that leg of his tour. Tickets for his March 12 appearance at the Richmond Coliseum sold out so quickly that the tour was re-routed to accommodate a second show there on March 18. Elvis performed four shows in Memphis on March 16 and 17, hit Richmond, Virginia, again on March 18, and then returned to Tennessee for concerts in Murfreesboro and Memphis on March 19 and 20, respectively.

Elvis Presley's March 1974 tour schedule (partial)

Elvis Presley’s March 1974 tour schedule (partial)

For space considerations on the original LP, RCA edited several songs out of the March 20 Memphis concert for the 1-record release in July 1974. The album also featured overdubbed audience reactions that detracted from the sound quality. FTD restored the missing tracks and removed the unnecessary overdubs in a 2004 Classic Albums CD release of the concert, including a new mix. The same label also issued the expanded show in vinyl format as a 2-record set last year.

It turned out that RCA chose well in 1974 which performances to use on the original record, though. The performance quality of many of the excised songs was underwhelming, with the exception of a fine rendition of “Steamroller Blues,” first released on Platinum: A Life In Music over two decades later. The energetic Memphis version was superior to his live recording of the song in Hawaii that served as a single in 1973.

This new Elvis Recorded Live On Stage In Memphis Legacy Edition will also include the previously omitted songs, but whether a new or an existing mix will be featured is unclear.

In fact, Sony’s press release for this album is riddled with errors, an issue far too common these days in the marketing of Elvis music releases, so it is difficult to trust any of its statements. For that reason, I am not even including Sony’s alleged track listing at this point. Suffice it for now to say that Disc 1 will contain the Memphis show, while Disc 2 will contain the Richmond show and some low-fidelity bonus tracks recorded on a personal cassette player of Elvis rehearsing a few months later for yet another Las Vegas stint.

RCA professionally recorded the March 20 Memphis concert for the album project. It is a 16-track recording (audio elements recorded on separate channels) that can be tweaked for optimum sound quality. Though I enjoyed the 2004 FTD mix over the original 1974 version, another new mix could be revealing. The Memphis show is presented in stereo.

Though the background story remains mysterious, the March 18 Richmond concert was supposedly captured as a 16-track recording, too. If so, it remains missing from the Sony vaults – lost, stolen, or erased.

The Richmond concert audio source on both the 2011 and 2014 releases is a tape copy of a mono mix-down of the 16-track recording, with artificial reverb applied. In other words, no further changes can be made to the Richmond mix or reverb since the 16-track original is unavailable. The Richmond concert is not likely to sound very different from Forty-Eight Hours To Memphis on this reissue, if at all.

While Elvis’s sound engineers often made informal reference tapes of his shows from the soundboard mixing console, the Forty-Eight Hours To Memphis liner notes in 2011 only speculated about why RCA apparently recorded the Richmond concert in multitrack.

However, the 2014 Sony press release refers to the Richmond show as a “test run concert” for the subsequent Memphis recording. Some have theorized that the test copy is in mono due to Elvis’s preference for that format over stereo, though his previous live albums had been stereo releases. Perhaps the accompanying Legacy Edition booklet will reveal new information.

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

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

In the years leading up to 1974, many of Elvis’s concerts were superior to this particular show in Richmond. However, as with the Memphis show, the fun concert features Elvis in a fantastic mood interacting with fans. Music highlights in Richmond include “Steamroller Blues,” “Polk Salad Annie,” and “Suspicious Minds.”

Over the course of 21 years, Elvis performed 15 concerts in Richmond. The 14th of these shows was captured on Forty-Eight Hours To Memphis and, from what I have read, this was Elvis’s last great concert in Richmond. He performed in Richmond one final time in 1976, but, by that point, his rising prescription drug addiction and abuse had diminished the power of his shows. Therefore, I consider the March 18, 1974, appearance to be Elvis’s true “last hurrah” in Richmond.

Legacy Questions

I am looking forward to the reissues of both the Richmond and Memphis concerts. Despite my personal enthusiasm as an Elvis fan, I find myself wondering whether these two concerts are appropriate choices for mainstream release in 2014.

I fear that the repetitive nature of these shows compared to other recent Sony releases will use up some of the goodwill shown by music critics in reviews of Elvis At Stax, Prince From Another Planet, and certain other titles released in the last few years.

Will mainstream critics and listeners understand Elvis’s sense of humor? For instance, will some misinterpret his joke in Richmond about it being a pleasure to be back in Hampton Roads as an out-of-it singer not knowing which town he was playing?

By following up 2012’s As Recorded At Madison Square Garden reissue with 2013’s Aloha From Hawaii via Satellite reissue and now 2014’s Elvis Recorded Live On Stage In Memphis reissue, is Sony simply committing the same release blunders in the 2010s that RCA made in the 1970s? Has locking into an “anniversary” theme for release choices doomed them to repeat history’s mistakes going forward?

Keep in mind that the 40th anniversary of Having Fun With Elvis On Stage is later this year as well.

From 1956 to 2012: Follow Elvis’ journey through Richmond

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Despite his enduring popularity, Elvis Presley is rarely given his due as an artist. Though this has improved considerably over the last ten to twenty years, the general public still tends to latch on to things like wacky souvenirs, bad impersonators, and “alive” hoaxes.

My favorite Elvis writer of late has been Sheila O’Malley of the Sheila Variations blog. With a fresh voice, she presents new perspectives on Elvis the artist. Rarely fluff pieces like you might see on other blogs (including this one), Sheila’s posts tend to be demanding reads. Invest the time and there are always insightful payoffs.

I discovered the Sheila Variations not through Elvis but through baseball. A few years ago, I was writing a post about baseball movies for my now-extinct pop culture blog. One of my favorites is Field Of Dreams, adapted from W.P. Kinsella’s Shoeless Joe. While researching the film, I came across Sheila’s blog and a number of extremely helpful posts.

When I find a new blog I love, I tend to search it for other topics of interest. Though it was only one post, I was delighted to find a reference to Elvis there as well. The 2005 post promised of more to come, eventually. “I’ll know when I’m ready,” she said at the time.

I bookmarked the blog and checked it every now and then. Always finding something to enjoy while patiently waiting for the topic of Elvis to return. It took over six years for Sheila to know she was ready to write about Elvis, but when she was, the resulting series of Elvis Essays that began last August 16 and continue to this day have been nothing short of astounding. I’m hoping that she will eventually compile her observations into a book, a documentary, a multi-media experience, or all of the above.

I was quite happy, therefore, when Sheila last month posted a short preview of a future Elvis post centered around Richmond, Virginia. Inspired by the excellent “In Search Of Elvis In Richmond, VA” posts on the Smithsonian’s Elvis At Twenty One blog, Sheila took a road trip from New Jersey to visit some of Richmond’s Elvis sites in person – as well as take in the Elvis At 21 exhibition at the Virginia Museum of Fine Arts. This turned out not to result in just one post, but four.

The Sheila Variations: The Richmond Saga

Part I June 30, 1956: Elvis Presley in Richmond, Virginia – Moment By Moment

Part II The Jefferson Hotel

Part III The Mosque and The Monuments

Part IV The Train Station, the Water Tower, and “Elvis at 21″ at VMFA

Sometimes, I’ll read something and think, “I wish I had written that.” This is definitely one of those times.
The Sheila Variations
My favorite random moments:

  • “I showed the really nice guy at the front desk the things I wanted to see. […] I asked him if it was ‘walkable’. He said, ‘Oh, no. It’s about two miles.’ Just one of the many cultural differences between living in NYC and living somewhere else which is more of a car culture.” (from Richmond Snapshots)
  • “Peter Guralnick, in his introduction to his second volume of Elvis’ biography, says that the years from 1958 until 1977 were all about ‘the disappearance’ of Elvis Presley, a sentiment I disagree with entirely. He did not disappear. He was always there. It’s just we didn’t get to see him anymore, unless we went to the movies, or, in the 70s, saw him in concert. […] I know Guralnick means “disappeared” on another level, but I disagree with THAT level as well. How you can say that someone who put out the two gospel albums he did in the 60s […] disappeared is a mystery to me. How you can feel he disappeared when you consider his record-breaking appearances in Vegas [and] at Madison Square Garden, the albums from the 70s, especially Promised Land […] the continued innovation in his music, the continued personal aspect of it […] The nerve of that Elvis guy to follow his own path.” (from Part I) [This segment, which should be read in context in its entirety in the original post for full effect, literally left me wanting to cheer. –Ty]
  • “The Jefferson Hotel certainly isn’t hurting for customers, but they do say on their website: ‘Stay where Elvis stayed!'” (from Part II)
  • “New York often doesn’t honor its history, architecturally anyway. I never even saw the original Penn Station, but it is like a wound in my soul to think of what was torn down. […] But there the Mosque stands, now called The Landmark, with a giant Lion King banner, and the ghosts of Duke Ellington and Ethel Barrymore and Frank Sinatra and Elvis Presley literally shimmering in the foreground.” (from Part III)
  • “What would Elvis at 21, strolling down that hallway, have thought if he knew that one day an entire exhibit devoted to his time in Richmond would be on display at the Museum there? It’s all so strange. And beautiful. And perfect. Elvis couldn’t know, he couldn’t predict. He could just believe in himself, and keep launching himself out there into the spotlight. That is what he did.” (from Part IV)

* * *

Today was the final day of the Elvis At 21 exhibition here in Richmond. Though I regret not being able to make it out to see photographer Alfred Wertheimer when he visited the museum for an Elvis panel discussion in January, I did at least have the opportunity to take in the exhibition one more time a couple weekends back.

For my return visit, I brought along my Mom, who became an Elvis fan in 1956. It was nice to walk through the exhibit without having to worry about writing a review this time. We followed the museum visit up by watching Elvis ’56 and my Mom’s all-time favorite, Aloha From Hawaii. It was a perfect day.

Elvis At 21 is not over, though. The tour continues at the Dwight D. Eisenhower Presidential Library and Museum in Abilene, Kansas, starting April 7 (more info here).

From an art museum to a Presidential library . . . maybe Elvis really is starting to get his due.

Presley wins clash of cultures in Elvis At 21

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There are over 23,000 works of art in the Virginia Museum of Fine Arts, spanning some 5,000 years. There is so much to see there, in fact, that it cannot be adequately covered in a single day.

Yesterday, though, my mission was to explore only 56 of those works, all created just over 55 years ago. In VMFA time, 55 years is but a second.

The traveling Elvis At 21: Photographs by Alfred Wertheimer exhibition covers March 17, 1956, and June 30 through July 4, 1956, in the life of Elvis Presley. The images capture the young singer on the brink of fame, in the midst of a nation on the brink of change.

By March 17, “Heartbreak Hotel” is at number 15 and still rising on Billboard‘s sales chart. That evening, Elvis is to make his fifth of six appearances on Jackie Gleason’s Stage Show – a CBS variety program hosted by Tommy and Jimmy Dorsey. Initially hired by RCA to take publicity photos, Alfred Wertheimer is along with Elvis in New York City.

Entering The Warwick shows Elvis in a moment of freedom between rehearsals and the actual show. On the sidewalk, he is alone, unrecognized, unbothered – making it one of the exhibition’s most striking photographs.

Later, in his hotel room, Elvis reads fan mail and then rips it to shreds, according to one of the exhibition notes accompanying the photos. Wertheimer asks him why. “I’m not going to carry them with me. I’ve read them and seen what’s in them. It’s nobody else’s business,” Elvis tells him.

With Scotty Moore, Bill Black, and DJ Fontana behind him, he performs “Blue Suede Shoes” and “Heartbreak Hotel” on television that night. Though Wertheimer’s images are stills, there is no doubt that Elvis is very much in motion. In Jump, his feet are not even touching the ground.

When Elvis arrives in Richmond, Virginia, 15 weeks later for two concerts at the Mosque Theater (now the Landmark Theater) on June 30, his life is already changing.

He has made a final appearance on Stage Show and appeared twice on The Milton Berle Show. The second Berle appearance has proven controversial, due to his exaggerated hip movements on “Hound Dog” – a song only recently added to his stage act. In that brief time, he has also given over 85 concerts in tours criss-crossing the country (including two other shows at the Mosque on March 22). He has even cut a new record, “I Want You, I Need You, I Love You.” “Heartbreak Hotel” has now sold a million copies and hit number one. After a series of screen tests in Hollywood, he has been signed to a multi-movie deal. Production has not yet begun on his first film. Elvis does not plan to sing in his movies.

Most Elvis fans have seen Wertheimer’s images at least a dozen times over. It is striking, though, to see them within the context of an art museum. Who in 1956 would have ever believed Elvis would end up here? The prints vary in size, are framed in black, and fill two small halls. The exhibition is crowded with people, but there is plenty of time to examine each picture. Visitors talk softly to each other. In the background, though, I can hear that unmistakable voice:

“Welll, since my baby left me…well, I found a new place to dwell…well, it’s down at the end of Lonely Street…”

It’s true that I have seen these pictures before, but there is always something new. For instance, until this exhibition pointed it out, I never noticed in the image Elvis Leaving Richmond Train Station (AKA Elvis Did Have A Pelvis) that he is actually carrying and playing a portable radio as he walks out of Richmond’s Broad Street Station (now the Science Museum of Virginia).

Elvis Leaving Richmond Train Station (Detail)

Elvis Leaving Richmond Train Station (Detail): Elvis went to Richmond for two shows at the Mosque Theater. Getting off the train, he turned on his RCA portable radio. Richmond, Virginia, June 30, 1956 © Alfred Wertheimer. All rights reserved. Original image courtesy of the Virginia Museum of Fine Arts. Used with permission.

Several other Richmond images are included, including two at the Jefferson Hotel and six backstage at the Mosque. Of the Richmond images presented, one stands out among the rest. It is Elvis on stage in the magnificent Kneeling At The Mosque – used as the (unfortunately colorized) cover for the Close Up boxed set, among other projects.

After the welcome detour to Richmond, it is back to New York, this time for the Steve Allen Show. Wertheimer captures rehearsals for Elvis’ July 1 appearance.

“I went to the Steve Allen Show,” Elvis recalled in 1969. “They were going to tame me down, so they told me to stand still. They had me dressed in a tuxedo and singing to a dog on a stool.”

Much worse than singing to a dog, though, Elvis is also forced to perform with Allen in a “Range Round-up” skit. Andy Griffith and Imogene Coco also appear during the nearly unwatchable Western parody. “Allen signified his own importance by wearing the biggest white hat,” states Wertheimer in a note accompanying one of the rehearsal photos.

Allen’s attempts to embarrass Elvis and put the singer in his place, of course, have the opposite effects. The legend of Elvis only grows.

The next day, July 2, he records 31 grueling takes of “Hound Dog” and 28 more of “Don’t Be Cruel” at RCA’s New York studio. The single would prove to be one of his most popular. Included in the exhibition is RCA Victor Studio I, a shot of Elvis rehearsing “Hound Dog” with his band and the Jordanaires. It is literally history in the making.

Elvis Screams is a Wertheimer photo that has always jumped out at me. I’m pretty sure the first time I saw it was back in the 1980s on the old Cinemax documentary Elvis ’56. The shot goes by quickly, as part of a montage. At the time, I thought the documentary producers had made a glaring error.

To me, the photo looks for all the world like an image of Elvis singing in the 1970-1973 era. It is not often that a 1956 image of Elvis can be confused with one from 1973, yet the only mistake was, of course, mine. According to Wertheimer, the image captures the moment that Elvis accepted take 31 of “Hound Dog.” I still find it fascinating, because my eyes still see the “Aloha” Elvis in this image, despite what my brain tells me.

Another series of images are striking. Elvis returns to Memphis after the “Hound Dog” recording session and departs the train on July 4. He walks alone through a field and then down a sidewalk. No bodyguards, no hanger-ons, no fans. Just Elvis.

The impression is not completely “normal,” however, He has just left the train from a multiple-day trip. He holds only his acetates of “Hound Dog,” “Don’t Be Cruel,” and “Any Way You Want Me” from the recording session. No bags or other luggage in sight.

Next, we see Elvis with his father (Vernon looks positively annoyed with Wertheimer, with a “back off” look) and then with his mother. He has just moved them into a new home. Not Graceland, which is still a year away.

One of the largest images in the exhibition, Elvis plays the rebel on his Harley in No Gas In The Tank – an image which inspired one of my favorite album covers, Return of the Rocker. Surely, there is a best-selling poster to be made here.

Finally, the photo exhibition concludes with images of Elvis on stage that same night at Russwood Park in Memphis. The image that stands out most to me from the entire exhibition, perhaps because it is one I do not recall seeing before, is Elvis Onstage: Russwood. As far as the eye can see are fans. Scotty Moore is picking away on guitar, and Elvis is turning around with a look of intense joy back at the crowd behind them. You can hear the screams. You can hear the music.

“He would listen respectfully backstage to criticism from agents that wanted him to contain his movements on stage. But once Elvis got on stage, he always did it his way. He really did it his way,” states Wertheimer. His text narrative throughout the exhibition is interesting, for it reveals what the photographer thought of his subject and those around him.

It could be argued that Wertheimer spent more time with and was allowed greater access to Elvis than any other “outsider.” For all of their spectacular moments, for instance, the 1970s documentaries That’s The Way It Is and Elvis On Tour are but illusions in terms of revelations about Elvis beyond his music.

Here, in 1956, Wertheimer is able to capture everything with his lens. No one would ever get this close to the real man again. That is what makes the Elvis At 21 collection and Wertheimer’s many other Elvis photographs significant.

* * *

Feeling almost like an afterthought, though at least providing an appropriate soundtrack that can be heard throughout the experience, there is a little television and bench in the exit alcove at the end of the exhibition. The short video, licensed by Jackie Gleason Enterprises for Elvis At 21, features three complete performances of Elvis on Stage Show:

  • “I Got A Woman” (January 28, 1956)
  • “Blue Suede Shoes” (February 11, 1956)
  • “Heartbreak Hotel” (February 11, 1956)

The audio and video of the performances breathe additional life into the Wertheimer photos just witnessed.

Elvis At 21 is a simple exhibition, and that is all that is required. The works and the subject stand alone. The short video, though, leads me to wonder about the possibilities of future Elvis exhibitions benefitting from complete audio-visual integration.

* * *

I am an American, so I must admit that I looked forward to seeing what Elvis items would be available in VMFA’s gift shop almost as much as I did seeing the exhibition itself.

As we all know, Elvis merchandise can range from the sublime to the chintzy. Fortunately, most of what VMFA had to offer was closer to the former category. No Elvis potato heads, thankfully. I picked up Elvis 1956: Photographs by Alfred Wertheimer (2009), a terrific hardcover that presents all of the photos and information from the exhibition.

I also splurged on Elvis At 21: New York To Memphis by Alfred Wertheimer (2006), a massive, coffee-table sized volume that explores even more of his photographs.

Jerry Hopkins’ consolidated Elvis biography and Sonny West’s Still Taking Care Of Business were available there as well, as were some lesser titles. Anachronistic considering the theme of the exhibition, the omnipresent aviator-style Elvis sunglasses that he wore in the 1970s were also available – in both gold and silver plastic, of course. There was even a stuffed “Steve Allen” style hound dog. For this occasion, I stuck with the Wertheimer books.

* * *

For anyone who is ever near Richmond, Virginia, I can always recommend the Virginia Museum of Fine Arts. If you are an Elvis fan, though, then you really should try to make it out while this exhibition is still there. Elvis At 21 will be available through March 18, 2012. Museum admission is always free, while tickets for the exhibition are $8 for adults and $6 for seniors, students, and youths. There is no charge for museum members.