Sold Out Shows On Super 8

Sold Out! The Ultimate 8 mm Collection Vol.10 features fan footage from 1976–1977.

The tenth volume in the Sold Out! The Ultimate 8 mm Collection series, featuring 8 mm footage filmed by fans who attended some of his concerts in 1976 and 1977, confirms Elvis deteriorating condition during the last face of his career. But it also shows that Elvis, in periods, could get back in shape, and move around the stage like his old self, delivering solid performances.  

His first tour in 1976 is represented by fan-shot footage from Johnson City, March 17 and Charlotte three days later. I especially enjoyed the evening performance in Charlotte, featuring footage in good quality. Granted, Elvis looks a bit heavy in his bicentennial suit, but he sings well and seems to be having a good time. 

Maybe he put in a little extra effort due to the fact that he had a new pianist (Shane Keister) and drummer (Larry Londin) with him. Larry Londin can be seen behind his drums, belting away with a smile on his face, clearly enjoying himself. "Good job, man," Elvis tells him after his drum solo during the introductions. And at the end of "Polk Salad Annie," Larry Londin really lets loose on the drums while Elvis throws the mike and does some karate moves. Really cool.

It is also enjoyable to watch Elvis interact with a couple of kids that are lifted up on stage, especially a boy dressed in a home made jumpsuit. "Can he do imitations? Can he sing 'Hound Dog' honey?" Elvis asks the boys mother, then launches himself into the song, urging the boy to sing along, the boy looking up at him, then looking down again, shaking his head at his mother. He was probably shy or scared stiff. But he must have gained courage, as he is back on stage a while later, receiving a scarf and a kiss from Elvis. 

Each volume in the series includes two DVD discs.

Three months later, Elvis takes the stage in Charleston (July 24), and one week after that, New Haven is on the tour schedule (July 30). Not only does the footage reveal that Elvis has gained more weight, he also moves slower and with less energy. And he sounds tired, exhausted and out of breath, especially on the New Haven concert. 

Still, there is no mistaking the excitement flooding through the arena as Elvis enters the stage, with all those flash bulbs going off and a lot of people in the audience screaming at the top of their lungs. And there are some enjoyable moments, like when Elvis hands soprano singer Kathy Westmoreland a scarf at the end of "The Hawaiian Wedding Song." But as a whole, this is one of the weakest concerts with Elvis that I know of. 

On October 22, Elvis was captured on super 8 film while performing in Champaign, and the transformation is almost unbelievable. Positive things had obviously started to happen, as he is much leaner and radiates more energy. Also, he moves around a lot more, right from the start during "See See Rider," and his singing reveals a more powerful voice. A great example of this is "You Gave Me A Mountain," a song that is so much stronger than the version from New Haven three months before. 

Another great moment is seeing him throw his guitar to Charlie Hodge after the ending of the "I Got A Woman"/"Amen" routine. The footage from Champaign actually reminded me of how Elvis moved and looked during his Pittsburgh concert on New Years Eve two months later. And it certainly helps that he is wearing a new jumpsuit as well, the Inca Gold Leaf suit. 

Therefore, it is a bit sad to watch the footage from Tempe (March 23, 1977) and Norman, filmed two days later, revealing that things have gone to worse again. The volume ends on a more positive note, with Elvis' Chicago performance on May 2, 1977, an above average show that year with Elvis in a good mood and voice. 

Content and running time of the tenth volume.

Releases such as the Sold Out! The Ultimate 8 mm Collection series don't change history. But they do paint a more varied picture of what it was like seeing Elvis on stage during the 1970's, and the tenth volume is no exception. Like I wrote at the beginning of this post, 1976 and 1977 was a downhill slide for Elvis, but watching the super 8 footage it is evident that for short periods of time, he got his act together, looking and performing better.

In Memory Of Hard-Working Ronnie Tutt

One of my favorite shots of Ronnie Tutt and Elvis together. "I emulated and accented everything that he did just instinctively," Ronnie later said in an interview.

Just like other fans all around the world, I was saddened to learn about the death of Elvis' drummer Ronnie Tutt on October 16. At the same time, I found comfort in the fact that I saw him perform during five "live on screen" concerts; in 1999, 2000 (twice), 2010 and 2012, respectively. 

And perhaps even better, I also had a chance to say hello to him in 2016 after a show called Aloha from Copenhagen that celebrated Elvis' 81st birthday and the 44th anniversary of the historical Aloha From Hawaii Via Satellite concert. On stage were, besides Ronnie Tutt, two other members of the TCB Band (James Burton and Glen D. Hardin) as well as Terry Blackwood from the Imperials and Austrian singer Dennis Jale.

As Ronnie signed my copy of the double LP Aloha From Hawaii Via Satellite, I remember my brother asking him if the TCB necklace he wore was the original one given to him by Elvis. Turned out it wasn't.

When we sat on the train taking us home to Sweden, we told each other that we would probably never have the opportunity to see the TCB Band play live again. Unfortunately, that proved to be true.

But as I look at Ronnie Tutt's autograph right now, I am reminded of how much he, like the rest of the TCB Band, meant not only to Elvis, but to me as well. And I'd like to end where it all began for Elvis and Ronnie, back in 1970, during the auditions for the 1969 Las Vegas engagement. In an interview that Arjan Deelen conducted in 1999, Ronnie Tutt had, among other things, this to say when he was asked why Elvis picked him as his drummer:

It wasn't just a matter of expertise, but a matter of rapport. It was a matter of sensing, and watching his eyes, and watching everything he did. I emulated and accented everything that he did just instinctively. Every move, almost like a glorified stripper! And he loved that.

Additional reading:

• Interview with Ronnie Tutt by Arjan Deelen
• Aloha From Copenhagen

"It Was A Helluva Show"

I have a confession to make. The last couple of years my pile of unopened FTD concert releases has gotten higher and higher. Therefore, two days ago, on July 4, I thought the timing just right to remove the shrink-wrap from the Elvis: The Bicentennial Show 2 CD set released in 2017 and listen to CD 1 and Elvis' performance in Tulsa on Independence Day, 1976.

Before pressing the play button I checked out the review of this release on the Elvis Information Network, where it had this to say about the sound quality:

Tulsa was recorded on reel-to-reel and so would sound fabulous, as did the July 3rd Fort Worth soundboard, were it not for some awful distortion. While it can be interesting to hear alternate mixes with various instruments high in the mix, the Tulsa show sounds terrible for having James Burton’s guitar wound up ridiculously high and so distorted. Obviously his guitar level was way over-driven on the original recording and it sounds terrible. 

Surely it can't be that bad, I thought, but it was. Which is a shame, as the show is a pretty good one, including highlights such as "America," "An American Trilogy," "Hurt" (sung twice) and "How Great Thou Art." And judging by the screaming fans it must have been an exciting way to spend the Fourth of July that particular year. This is what Bill Donaldsson of the Tulsa Tribune had to say about Elvis' performance:

He gave his fans about the best concert any pop singer can. He sang songs ranging back to the beginning of his career, several new ones, and he didn't shortchange the faithful. Remarking that he had only one show to do Sunday, and therefore could extend his performance, the star held the stage for more than an hour. [...] If Presley repeats with the same voltage he displayed this time around, his devoted fans will be fully repaid for their efforts to get those tickets. It was a helluva show.

Elvis concluded this particular tour in Memphis the very next day, on July 5, with a great show. Maybe it was the fact that it was an evening show and not an afternoon show like the one in Tulsa, maybe is was because it was Elvis' home town. Probably it was a combination of both. Elvis is focused, is clearly having fun on stage and delivers such gems as "Softly As I Leave You," "One Night," "Blue Christmas" and "That's All Right."

The Memphis show has been bootlegged twice on CD, and the sound quality is very good (with James Burton's guitar exactly where it should be in the mix). Had I been at the helm of the FDT label,  I would have included this concert as CD 2 on the Elvis: The Bicentennial Show instead of the one from Duluth, October 16, 1976, that was RCA's Joan Deary's initial choice for the 1980 box set, according to the before mentioned review on the Elvis Information Network. 

Or come to think about it, the best thing would probably have been to swap the order of the CD's and rename it Elvis: Mid-South Magic or King Of Rock 'N' Roll Day (as proclaimed by then Memphis Mayor Wythe Chandler). Including the Tulsa show as kind of a bonus CD due to the terrible mix would have been a more logical move, at least in my book.

That said, the shrink-wrap has been removed and I have finally listened to Elvis: The Bicentennial Show. I wonder what concert will be next?

Additional reading:

• Elvis: The Bicentennial Show - in depth review (Elvis Information Network)

What If: Celebrating My Birthday In Memphis, June 10, 1975

Elvis on stage in Memphis on June 10, 1975. I turned eight that day.

Last week, on June 10, I listened to the second CD on the FTD release Elvis Hometown Shows, featuring Elvis' 1975 concert in Memphis. It seemed appropriate. Not only was it my birthday, but the show was performed on that date as well, although 46 years ago. I was in Sweden celebrating my eighth birthday at the time, but imagine if I had been in the Mid South Coliseum instead. To borrow a phrase from fellow blogger Tyggrius who runs the Mystery Train Blog: You've just crossed over into ... the edge of reality.

My parents had been Elvis fans for as long as I could remember. I grew up listening to them talking about how great he was and there wasn't a day when one of this records wasn't on the turntable. And they must have told the story of how they met a hundred times. Would you believe it was outside the cinema after watching the Swedish premiere of Blue Hawaii on March 31, 1962, with their respective friends?

Five years later, on June 10, 1967, I was born. To celebrate, my dad gave my mom a copy of the Double Trouble album that had been released just a couple of days earlier. So "Old MacDonald" was probably one of the first Elvis songs I heard, together with the rest of the tracks on that LP. My mom later confided in me that she wasn't overly impressed with it at the time, but that it has remained special to her all the same. Like me.

A couple of days after my fifth birthday, in 1972, my parents bought me my first Elvis album ("A late present" they called it). It was a brand new copy of the Elvis As Recorded At Madison Square Garden recorded on my birthday, June 10, and rush released just eight days later. It was love at first sight. One of my earliest memories is holding the cover in my hands and thinking Elvis looked like a superhero. I don't remember the first time I listened to it, but my parents do. Apparently I was moving around a lot to the music with a big smile on my face, enjoying every second of it. I still do.

Three years later I guess you could call med a full-fledged Elvis fan. I listened to all the new releases my parents bought, read the fan club magazines they subscribed to and dreamed of seeing Elvis in concert. My two-year younger brother couldn't understand what all the fuzz was about, and neither could my three-year younger sister. My youngest brother, just three years old, showed some promise, though, clapping his hands every time I played an Elvis record.

With my eighth birthday just a couple of days away, my parents told me they had a surprise. As Elvis' latest single "T-R-O-U-B-L-E" was blasting through the speakers, they asked me to turn the volume down. "We are flying to Memphis in two days, and you are coming with us. You are going to see Elvis perform on your birthday in Memphis."

Mid South Coliseum, June 10, 1975.

When I think back on my journey to Memphis, some memories are crystal clear while others are faded or a bit sketchy. I don't remember much of the actual flight or the hotel where we stayed but thankfully a lot from the actual concert is still vivid in my mind: all the cars and people outside the Mid South Coliseum as we arrived, the excitement in my parents' eyes as the first notes of "Also Sprach Zarathustra" sounded through the building, Elvis entering the stage in his Indian feather suit and so many flashbulbs going off it looked like daylight. 

Another thing I will never forget was the screaming fans, my mom among them. "We love you, Elvis!" she shouted at the top of her lungs more than once. I think my dad was close to screaming, too.

As for the show, I remember bits and pieces, like Elvis throwing his guitar at a guy on stage (Charlie Hodge) who dropped it. I also recall Elvis kissing a lot of girls during "Love Me," and handing out plenty of scarves as well. My parents later told me he ripped his suit during this song, and joked about it throughout the concert, something I didn't notice. I guess my English wasn't as good as I thought it was.

Two songs I clearly remember that he sang was the rockers "Burning Love" and "T-R-O-U-B-L-E" as those were among my favorites at the time (they still are). Before the show I told my parents I hoped he would perform them and he did. The extended endings of both songs were so exciting!

If I close my eyes I can also see most of the people in the audience clapping their hands during the chorus of "How Great Thou Art" and maybe half the audience standing. When he finished the song everyone was at their feet and they would not stop applauding. That I will never forget. 

A funny thing is I don't remember the final part of the concert or Elvis leaving the stage. But that's OK. My parents and me shared an incredible experience together with the other 12,364 people in the audience that night. It remains the best birthday I have ever had.

Back in this universe, my parents met under completely different circumstances. I became a fan after one of my brothers bought an Elvis album in the late 1970's, and I first laid eyes on the Mid South Coliseum during a trip to Memphis and Graceland in 2005. But that's another story.  

Additional reading

• Elvis Hometown Shows - Elvis Information Network review
• What did Elvis do on my birthday?

On Stage On Super 8

Because so few of Elvis' live concerts were professionally filmed, fans have to turn to amateur super 8 footage to get an idea of what it was like to see him on stage during a certain tour or engagement. I was reminded of this a couple of weeks ago when my brother sent me the link to a clip on Youtube from Elvis' January/February 1970 Las Vegas "On Stage" session. 

One of the first times I came in contact with fan footage was when I ordered the VHS Return To Splendour from the British fan club back in 1994 (it was released on DVD 10 years later). It was fascinating to follow Elvin live on stage from 1969 up to 1975, but unfortunately it was silent concert footage. The narrator Anne Nixon did a great job describing the different jumpsuits but I missed the sound of Elvis.

Things have improved since then. Thanks to the availability of soundboards and modern technology, it's possible to sync footage and sound with the help of video editing software. Although I guess it takes a lot of patience to do a really good job.

Elvis launching himself into "That's All Right" at Madison Square Garden.
Notice the man passing, oblivious of this historical moment.

One example that works really well is the 20 minutes of fan-shot footage from the June 10, 1972 afternoon show at Madison Square Garden. Synched with audio, it was released on the 2 CD+DVD set Like A Prince From Another Planet in 2012, including a complete performance of "That's All Right."

Another release worth mentioning is the bootleg Final Countdown To Midnight box set from 2014, featuring the nearly complete Pittsburgh New Year's Eve concert  from December 31, 1976. Apparently quite a few fans in the audience that night brought along a super 8 camera, as the DVD includes a lot of multi-camera angles, with perfect sound synchronization. My brother and I actually watched it together one New Year's Eve, I think for the 50th anniversary of the show. We had a great time.

No less than three super 8 cameras captured Elvis during his "I Got A Woman"/"Amen"
routine on New Year's Eve in Pittsburgh, 1976.

I really wish FTD would to something along the same lines. That is, release a DVD with super 8 footage in great quality synched with sound. 

The 2018 documentary Elvis Presley: The Searcher features super 8 film of Elvis performing "An American Trilogy" from what I guess must be the June/July tour in 1973, and the quality is amazing. So how about releasing more of where that came from, together with a book and a CD? What a great FTD project that could be.

Exceptional quality on this super 8 footage having Elvis singing "An American Trilogy" in 1973, used in the documentary Elvis Presley: The Searcher.

A recent example of fan footage complete with sound (I'm guessing both original and dubbed) is the SOLD OUT! volumes, 2 DVD sets containing rare 8 mm footage from the collector Rex Martin. Apparently there was some controversy surrounding the release of this material, as a lot of the footage has been made available on YouTube as well. 

But back to the clip from Elvis' second Las Vegas engagement, in January/February 1970. "Fun to watch," my brother wrote in the email that included the link to Youtube, and it was. During the 3 minutes and 42 seconds that it played, I got to watch and listen to snippets of no less than 11 songs:

• All Shook Up
• I Got A Woman
• Long Tall Sally
• Don't Cry Daddy
• Let It Be Me
• I Can't Stop Loving You
• Walk A Mile In My Shoes
• Sweet Caroline
• Polk Salad Annie
• Suspicious Minds
• Can't Help Falling In Love

Once again, this time with the help of 8mm footage with synched sound, I was reminded of why the On Stage album is one of my favorites, and how incredible it must have been to to see Elvis in person. 

The only thing I can't figure out is what sound source has been used. "All Shook Up" has, to my knowledge, only been officially released on the FTD album The On Stage Session: The Opening And Closing Shows - February, 1970, but "Walk A Mile In My Shoes" is only featured on CD 1 (Opening Show) and "I Got A Woman" on CD 2 (Closing Show), so maybe both were used? Or a bootleg?

A final note: Obviously some of the super 8 fan footage was shot with sound, but the one from February 1970 is not. When the screen goes black between the snippets of footage the sound continues. My theory is that the person behind the camera didn't bring along any spare cassettes of film, just the one in the camera which was enough for 3 minutes and 20 seconds of filming (that explains the short sequences). As the clip clocks at 3 minutes and 42 seconds with sound running all the time, it can't be shot together with the film. And besides, the first super 8 sound on film cassette was not released until 1973. Before that, it was a silent system only.

Elvis Las Vegas 1975: April Fool's Dinner

Today I punched the date April 1, 1975 into my time machine and attended Elvis' dinner show at the Las Vegas Hilton showroom. Actually, I went there twice.

THE AUDIENCE RECORDING

The first time around I found myself seated at the end of one of the tables located perpendicular to the stage. In front of me was an Elvis souvenir menu. I absentmindedly ordered a "Seafood Cocktail Supreme" that was promptly delivered before the lights dimmed to the sound of "Also Sprach Zarathustra" blasting through the room.

Glancing at the guy sitting opposite me, I saw him fiddling with something under the table. Leaning over and taking a closer look, I realized he was pressing the play and recording buttons on a portable cassette recorder. Looking up at me, he smiled and made a "shusing" gesture, holding his index finger in front of his mouth. I smiled back and handed him the menu. Gratefully, he placed it over the cassette recorder so only the part featuring the microphone was visible.

When Elvis entered the stage he looked a little heavy, but the voice was stronger than ever. As for the show, it was a no nonsense, contemporary affair, with highlights like "And I Love You So," "Big Boss Man," "My Boy" and "Fairytale." Almost all of the quick renditions of songs from the 50's were gone, except "Hound Dog." Obviously, he took his singing seriously.  

At the same time, Elvis was in good spirit, joking and interacting with the audience, clearly enjoying himself. ("Oh yeah, the second part of the show has been cancelled, so ... April fool!") As for me, I sat so close to the stage that I could clearly make out the pattern of the light blue and silver ornaments on the shoulders of his two-piece suit.

All too soon, though, it was over. "It's been a pleasure working for you, so 'til we see you again, take care, God bless you," Elvis told the audience, before launching himself into "Can't Help Falling In Love." I could be mistaken, but before the curtains came down, I am pretty sure he smiled right at me. 

The last thing I saw before travelling back to 2021 was the guy with the cassette recorder hiding it from security. It would eventually find its way to a bootleg LP released in 1980 with the title Rockin' With Elvis April Fool's Day, and later on with upgraded audio on the bootleg CD April Fool's Dinner from 2009.

THE SOUNDBOARD

The second time I punched the date April 1, 1975, I was aiming for the midnight, closing show that took place a couple of hours later. But somehow I must have messed up the time control, as I was transported to the afternoon show once more. Only, this time, I found myself standing in the back of the showroom, next to sound engineer Bill Porter and his mixing console. 

Wearing a checkered jacket and with a TCB necklace around his neck he was clearly frustrated over something, turning knobs and pressing buttons. But as the lights dimmed and I once more heard the the iconic opening of "Also Sprach Zarathustra," I turned my attention to what was happening on stage instead.

This time, the details of Elvis' two-piece suit weren't as recognizable as before, nor was his face. That didn't stop me from feeling that he sang for me and no one else. By the look of the mesmerized faces around me, I was pretty sure everyone in the audience felt the same way.

At the end of "See See Rider" Elvis said quickly in his microphone, "I can't hear on stage, Bill." As I casted a glance to the side, I noticed Bill Porter adjusting a couple of fader controls. That seemed to satisfy Elvis, who soon found himself busy responding to someone on the balcony shouting several times, "Look up here!" 

But clearly something else was wrong, as Bill Porter muttered to himself, "The soundboard recording has stopped." He continued to press buttons and turning knobs, and just as Elvis ended "I Got A Woman/Amen," I saw relief in his face. Clearly, the recording of the soundboard was back on track.

"Love Me" and "If You Love Me (Let Me Know)" followed, and a couple of songs later it was time for a nice surprise. Dropped two years ago from the set list, "Burning Love" was back again, and Elvis delivered a great, funky version. "I'll Remember You" and "How Great Thou Art" at the end of the show were strong performances, too. 

Before returning to 2021 a second time, I saw Bill Porter pressing down a button on the mixing console as the closing vamp came to an end, stopping the recording of the soundboard. It would take 41 years before it surfaced courtesy of the FTD label in 2016, on the second disc of the double 5" release titled Elvis Las Vegas 1975 (featuring the March 22 midnight show on the first disc). 

You could to worse than pick it up and travel back in time, like I did today. But if you want to experience the balcony dialogue as well as "I Got A Woman/Amen," you will have to find the bootleg version instead.

SET LIST, APRIL 1, DINNER SHOW

01. Also Sprach Zarathustra (missing on the audience recording)
02. See See Rider
03. I Got A Woman/Amen (missing on the soundboard)
04. Love Me
05. If You Love Me (Let Me Know)
06. And I Love You So
07. Big Boss Man
08. The Wonder Of You
09. Burning Love
10. Introductions
11. My Boy
12. I'll Remember You
13. Let Me Be There
14. How Great Thou Art
15. Hound Dog
16. Fairytale
17. Can't Help Falling In Love
18. Closing Vamp

Additional reading:

• Rockin' With Elvis April Fool's Dinner
• "Get On With The Next Song!"  

Aloha From Copenhagen

Terry Blackwood of The Imperials signing my copy of Aloha From Hawaii Via Satellite.

On this date, 44 years ago, Elvis performed his historical Aloha From Hawaii Via Satellite concert. Last year, on nearly the same date, January 7, three musicians who shared the stage with Elvis when he made his global telecast played another show, this time in Denmark.

Some 1 700 fans then celebrated Elvis´ 81st birthday with James Burton, Glen D. Hardin and Ronnie Tutt. Also present on stage during this Aloha From Copenhagen show was Terry Blackwood from the Imperials and Austrian singer Dennis Jale.

Poster for the Aloha From Copenhagen concert.

Living in Sweden means Denmark isn't that far away, especially when you are traveling from the southern part of the country. So when me and my brother, who is also a huge Elvis fan, heard about the upcoming event in Copenhagen, we decided it was something we couldn't afford to miss.

I remember it was raining pretty hard when we left the train station and headed towards the Falconer Centre where the show was to take place. I also recall we had trouble finding the place and practically stumbled across the back of the building, from where we could hear the band rehearsing inside.

Quickly locating the entrance and walking inside we found ourselves in the company of hundreds of fellow Elvis fans. And there was excitement in the air, maybe a bit like the real thing in the 70's, when people who shared the love for Elvis and his music went to see him in concert.

As for the show itself, it was an enjoyable evening. Having had the privilege to see the TCB Band on stage during a couple of "live on screen" concerts from 1999 to 2012, it's obvious the band members are getting older, but there was no mistaking the fun they had playing for the fans. This was especially evident watching Glen D. Hardin, who was hammering away on his keyboard with a smile on his face during the whole show. And James Burton got to play a lot of solos in songs such as "See See Rider," "That's All Right," and Johnny B. Goode," to the delight of the audience.

Terry Blackwood of the Imperials also brought a lot to the show together with the other two members of The Imperials. Looking back, some of the highlights included "An American Trilogy," "Suspicious Minds" and "Polk Salad Annie". A nice surprise was "Change Of Habit" which sounded great.

Tha autographs of James Burton, Glen D. Hardin, Ronnie Tutt and Terry Blackwood.

But the best part of the evening was after the show, when the musicians and singers signed autographs. A lot of fans had brought with them records for this occasion, and I was no exception. I thought my choice was perfect, an original copy of the double LP Aloha From Hawaii Via Satelllite with a separate insert listening the songs of the concert. James Burton, Glen D. Hardin, Ronnie Tutt and Terry Blackwood signed the back of the cover as well as the insert, and I also had the chance to change a few words with each of them.

Carefully protecting the album against the rain, me and my brother headed for the station and the train home to Sweden. Granted, Aloha From Copenhagen wasn't as historical a moment as Aloha From Hawaii, but in a way it was for us. It was probably to be the last time we attended a concert with the TCB Band.

“On Stage” drummer Bob Lanning To Europe

Elvis introducing drummer Bob Lanning at the Houston Astrodome, February 1970.

Yesterday, on August 16 no less, the website elvisnews.com announced that drummer Bob Lanning will be a part of the 2015 edition of ‘An Evening with Elvis’ Friends and Original Musicians’ tour (which also includes among others bass player Duke Bardwell). As you might know, Bob Lanning replaced Ronnie Tutt during Elvis´ second Las Vegas engagement in January-February 1970. The then 22-year old drummer also played with Elvis at the Houston Astrodome during six concerts following the shows in Vegas.

It’s Bob Lanning that you can hear on classic Presley recordings like ‘The Wonder of You’, ‘Polk Salad Annie’ and ‘Walk A Mile In My Shoes’, and on albums like ‘On Stage – February 1970’, FTD releases like ‘Polk Salad Annie’ and ‘The On Stage Season’, as well as imports like the ‘Rebooked At The International’ box-set.

After reading this exciting news, I decided to ask the producer of the tour, Arjan Deelen, some questions about Bob Lannings participation in the show, and I didn’t have to wait long before he answered my mail.

How did you come up with the idea to get Bob Lanning on the show? 

Arjan Deelen: I have always been fascinated by Bob Lanning. I mean, he did these 63 shows with Elvis, played the hell out of those drums, and then he completely vanished, almost Houdini-like! There was no information about Bob or his whereabouts at all… just bizarre. Various researchers have tried to locate him over the years, but none succeeded. I like a good challenge, so a few years ago I started my quest to find him. I believe that the discovery of Bob Lanning and him agreeing to do the tour in May 2015 is one of the coolest news stories in the Elvis scene at present. Remember, he played the drums during a very important Las Vegas engagement, where Elvis successfully made the transformation from an oldies act to a contemporary artist with many cool new songs, both his own fresh hits and interesting covers. And of course Lanning also played on those six amazing shows at the Houston Astrodome. Those shows are also important from a historical perspective.

How did you find him? 

Arjan Deelen: I don’t want to toot my own horn, but I’m a persistent guy. Just ask my wife! When doing research, or in this case you could call it a plain manhunt, it’s important that you stay focused, also when you run into obstacles. Over the years I have found and brought over various people who played an interesting part in the Elvis story: Duke Bardwell, Mary and Ginger Holladay, Carol Montgomery, Michael Jarrett, etc. Without me, European audiences would have never seen these people on a stage or heard their stories. Sad but true. Most fan clubs play it safe and bring the same people over, year in, year out. Personally I find it interesting to track these people down that also contributed to Elvis’ music in a significant way, and it gives me a great deal of satisfaction to let them have their moment in the sun, so to speak. They deserve it.

How did he react when you asked him to join the tour? 

Arjan Deelen: I think that initially he was a bit cautious. Like me, he is not too impressed with the impersonators, or the European singers that are often used for shows of this nature. But when we discussed the show in detail, and my philosophy about the show, it seems that he got really excited. Then I sent him some clips from this year’s show, and that sort of sealed the deal. He loved the fact that we did songs like ‘Long Black Limousine’ and ‘Anyway You Want Me’. I mean, what other Elvis show is doing songs like this? I think he sensed that this was done with integrity and great respect for Elvis, so he gave me a very firm YES when I asked him.

What has he been doing since playing for Elvis in 1970? 

Arjan Deelen: In recent years, he has lived a quiet life. He lives in a beautiful area, loves nature and enjoys bicycling every day for two hours. He also drums for about two hours every day, for the fun of it mostly. He says he has never been tempted to participate in an Elvis tribute show, in fact, he has never even done an interview about him. But you can read his story in the December issue of “Elvis – The Man And His Music”, the best Elvis magazine around. You can order it here.

What are his recollections of playing with Elvis? 

Arjan Deelen: He has nothing but fond memories of his time with Elvis. He remembers Elvis as a kind, fun loving guy who was also a tremendous singer and a great showman. Of course, Bob played with him during that brief period where Elvis was on top of the world. He was excited about his comeback, thrilled to be performing again in front of live audiences, he was just feeling good about life. You can hear it in the recordings that were made. ‘On Stage – February 1970’ is definitely one of his best live albums, perhaps his best. These recordings just ooze excitement and joy… ‘Polk Salad Annie’, ‘The Wonder Of You’, ‘Long Tall Sally’, ‘Walk A Mile In My Shoes’… It doesn’t get better than that. Some people still think that it’s Ronnie on those recordings, but no, it’s Bob Lanning. If you listen closely, it’s quite obvious. Ronnie is perhaps a more elaborate and nuanced drummer, while Bob is a no-nonsense rock drummer with a harder and groovier sound. Just compare ‘Polk Salad Annie’ from February and August of that year… BIG difference.

What do you think his contribution will mean to ‘An Evening with Elvis’ Friends and Original Musicians’ when it tours Europe next year? 

Arjan Deelen: Oh, the whole show will be rejuvenated. Bob is in great shape, and he is really excited about this. I think his excitement and great playing will inspire the band, and I think we are going to see some great shows. Plus, for audiences it’s going to be a real thrill to finally see and hear the drummer who originally played on songs like ‘The Wonder Of You’ and ‘Polk Salad Annie’ perform these songs for the first time since 1970! If that’s not a real scoop, then I don’t know what is. This is going to be a LOT of fun!

I really appreciate you taking the time to answer these questions Arjan! 

Arjan Deelen: Thank you, Thomas, I enjoyed it!

I'll Remember You

40 years ago today, Elvis was in Los Angeles, quietly celebrating his birthday prior to flying to Honolulu the next day. With the support of Sonny West he had lost about 20 pounds on a stringent diet in preparation for his upcoming Aloha From Hawaii Via Satellite TV special on January 14, 1973.

Elvis arrived in Honolulu looking great and eager to go. This is how Sonny West remembers it in his book Elvis: Still Taking Care Of Business (2007):

When we landed at the airport, so many leis were placed around Elvis’ neck that you could hardly see his face. We went by helicopter to the Hilton Hawaiian Village Hotel, where hundreds of fans welcomed Elvis. It was a thrill just to be part of it. He loved it, of course, but he was also a little tense. He would be performing live before an estimated billion and a half people around the world, and he wanted everything just right.

40 years later, I will celebrate the 78th anniversary of the birth of Elvis Presley by watching this historic event on DVD. 

Happy birthday, Elvis! 

“Lots of standing and screaming”

One of the benefits from running an Elvis blog is that you get to hear from people who have their very own Elvis experiences. And sometimes those experiences can blow you away. Just the other week Mrs. Barbara Schoenburg e-mailed me about the FTD book A Moment In Time–4 Days in ’56, telling me she was at the Detroit concert on May 25, 1956, in the second row, middle.

The book includes some fantastic shots of Elvis driving the crowd wild at the Fox Theater in Detroit on that date (one of which was used on the cover of the Young Man With The Big Beat box set). So, firing away an e-mail in return, I asked Barbara if she would like to answer a couple of questions about her experiences that day. Imagine my excitement when I found her answers waiting for me in the mail the very next day. She began by telling me that she was in the picture on page 15 (the one from Young Man With The Big Beat). 

Barbara: I was 12 at the time. If you look at Elvis' right knee cap there is a girl and I am directly behind her, in front of the girl with the black shirt. Sorry to say I started losing interest in Elvis when he went into the army. I still have the early albums though. After that I never really was into his music.

Elvis Today: How come you went to the show?

Barbara: I loved Elvis' sound and thought he was so good looking, I collected magazines and stuff. All of which I threw out along the way to adulthood. Stupid me.

Elvis Today: What do you remember the most about Elvis’ performance?

Barbara: Just that I loved it. I was the only one of my friends that liked him so I went to the show alone. He was so good looking and moved in a way that I had never seen before. I remember screaming and wishing everyone would sit down so we could all see. I was short and it bothered me that people stood so I had trouble seeing some of the show. I do not remember any other acts. I do remember seeing him on the Ed Sullivan show and screaming as I watched and my grandmother demanding that I stop and arguing with her about turning off the TV. I won. I do not remember anything else about it.

Elvis Today: How did the crowd (yourself included) react when Elvis sang and moved?

Barbara: Lots of standing and screaming.

Elvis Today: Do you remember any particular song he sang?

Barbara: I do remember he sang “Heartbreak Hotel” which had been released just a few months previously. My husband and all his friends are impressed that I got to see him with his original band, Scotty Moore, Bill Black and DJ Fontana. I only had eyes for Elvis.

Elvis Today: Did you ever see Elvis live again?

Barbara: I saw him in April 1973 or November 1976 at the Anaheim CA Convention Center. He was into what I called the Liberace phase with the jump suits, and scarves. He had put on a lot of weight. He sounded good but it was not the same as seeing him for the first time. 

Thank you so much for your answers, Barbara, and for letting me share them with my readers!

From Hawaii To The Rest Of The World

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. To borrow a phrase from fellow blogger Troy Y: You've just crossed over into ... the edge of reality. 

Fortunately Elvis didn't return for another routine engagement in Las Vegas after his triumphal Aloha From Hawaii Via Satellite show. As you all know, he went on a highly successful world tour instead, starting in Europe. The recent From Hawaii To The Rest Of The World release from Follow That Dream Records provides an unique “fly-on-the-wall” experience of Elvis rehearsing for his opening show in London. Captured on a personal tape recorder, the sonic quality is below normal standards, but historical significance more than compensates for its audio limitations.

The first two songs on the cassette recording are “Something” and “You Gave Me A Mountain,” both sounding very much like their counterparts from the satellite show. As Aloha From Hawaii served more or less as a blueprint for the song list included on the world tour, Elvis probably rehearsed “See See Rider” and “Burning Love” as well, before someone pressed the “record” button.

The third song, “Steamroller Blues,” is the extended version we know so well from the first world tour. Elvis sings the “I'm a napalm bomb” verse two times, first time low and bluesy right after the guitar solo, the second time in the same exploding style as the last “I'm a steamroller baby” verse. No wonder this became a firm fan favorite during the tour. 

“My Way” is again very similar to the version from Hawaii, except for some clowning around with Charlie Hodge during the first verse. Then it's time for “Love Me” and “It's Over.” “Love me till it's over,” Elvis jokingly says before delivering a straight forward “Love Me” that ends with the orchestra playing a few bars of “The Star-Sprangled Banner,” evoking laughter from the band and musicians. “It's Over” is a nice version, every bit as beautiful as the one from the Aloha concert. 

“Blue Suede Shoes” is a one minute throw away version, involving some uninspired singing from Elvis part. Thankfully, it always sounded much more full of energy when performed during the shows abroad. A far better rehearsal is “I'm So Lonesome I Could Cry” featuring the additional verse heard on the world tour as well. One of the highlights on the CD.

Listening to the rehearsal of “Welcome To My World” took me back to the time I saw Elvis perform in Paris for the first time (the soundboard from that concert was made available by FTD on the album Paris '77 a few years ago), the giant pictures of Graceland projected behind Elvis as he was singing the song. I remember it sent shivers up my spine.

Elvis then discusses the order of some of the songs to be performed on the opening show, among them “Hound Dog,” “What Now My Love,” “Fever” and “Suspicious Minds,” neither of which are rehearsed. (But listening to them on the Elvis Recorded Live On Stage In London album, it's obvious they turned out all right all the same.)

The ending of “I'll Remember You” causes the orchestra some problems. “I thought that was bad enough,” Elvis mutters after an abandoned attempt. After they finally get it right, Elvis launches himself into a driven and rockin' medley of “Long Tall Sally”/Whole Lotta Shakin' Goin' On.” Not only is this version one minute longer than the one from Hawaii, it's also much better, sounding very much like the one found on the Live On Stage In London album (although that one of course lasts for about five minutes). 

“An American Trilogy” always evoked great response, not only in the southern states, but also when performed all throughout Europe and then the rest of the world during 1973. Listening to the powerhouse version on From Hawaii To The Rest Of The World it's easy to understand why. Similarly, the rehearsal of “A Big Hunk O' Love” gives you an idea of why everyone stood up and clapped their hands when this rock 'n' roll oldie was belted out by Elvis in arenas all around the world.

The catchy “I'm Leavin It Up To You” was always a highlight during the first world tour, but the rehearsal reveals that the song almost didn't make it to the set list. Lasting only for about 43 seconds, Elvis cuts it short with the words “That's all. Let's do 'Faded Love'.” Someone then asks him why he stopped, receiving the answer, “It was written with a pen. I couldn't read it.” Thankfully, someone must have produced typed written lyrics and convinced Elvis to rehears it again (after the cassette tape ended).

Just like “I'm Leavin' It Up Top You,” “Faded Love” wasn't performed on the Aloha From Hawaii show. But luckily Elvis choose to retrieve this number from his 1971 Elvis Country album. It was then regularly performed during the following world tour, the rehearsal reminding me of the version recently released on the FTD treatment of Live In Australia.

The rehearsal of “I Can't Stop Loving You” is a near copy of the version found on Aloha From Hawaii Via Satellite. Not bad, but far more interesting are the two versions of “Separate Ways,” one with just the band and the other with band and orchestra. Always an emotional moment when performed during the first world tour, one can hardly dare to think about what a loss it would have been if Elvis had chosen not to try the song in front of an audience. Just listen to the heartbroken version included on the Elvis Recorded Live On Stage In London album and you'll understand what I'm talking about.

Another highlight during Elvis' first world tour was of course “Bridge Over Troubled Water,” and it's nice to listen to a rehearsal of it, even if the live versions available all sound much more exciting. “Let's do 'Can't Help Falling In Love' and we can call it off,” Elvis then tells the band before the From Hawaii To The Rest Of The World release ends with an (incomplete) version of the show closer we all know so well. To think that Elvis didn't change that one until 1977!

To sum it up – From Hawaii To The Rest Of The World is an essential release. Granted, the sound quality leaves a lot to be desired, but as a historical document it's priceless. This is how Elvis worked with his repertoire up to the last moment before leaving for his opening show in London.

Back in this universe, I'd like to recommend From Hawaii To Las Vegas as well. It's certainly not everyday a rehearsal turns up like this. But what a strange experience it must have been for Elvis to return to doing routine shows in Las Vegas after the Aloha From Hawaii success just a few weeks earlier. What if the satellite show had been followed by a world tour instead. One can only dream.

This post is dedicated to Troy Y. who runs The Mystery Train Blog.

Temple Riser Is Alive And Well

One of my greatest Elvis moments so far this year was attending 'The Original Elvis Tribute 2012' opening show in Vara, Sweden, on April 7. Therefore I was excited to receive the following press release from tour manager Arjan Deelen: 
 

TEMPLE RISER FOUND!
“The moment he came into the studio, I was in awe” 

For many years, the name Temple Riser was a bit of a mystery in the Elvis world. Not much was known about the dark-haired beauty with the deep, strong voice other than the fact that she had sung backup for Elvis at his early 70s Nashville sessions, and that she got to record a duet with Elvis live in the studio on ‘The First Time Ever I Saw Your Face’. Her whereabouts were unknown, and it seemed like she had simply vanished off this planet. Nobody seemed to know where she was located or whether she was still amongst us. Earlier this year, Elvis expert Arjan Deelen decided to try and locate her, and just a few weeks ago, his research paid off when he found her alive and well and even looking pretty much the way she did 40 years ago! 
 
Temple Riser, who is now 63, feels that she has been blessed in life, and cites working with Elvis and singing at President Nixon’s inauguration as her (singing) career highlights. About meeting Elvis for the first time, she says: “I was a little stuck up… I didn’t want to give him the impression that I was starstruck. But the moment he came into the studio, I was in awe… He had such a charisma about him, and he was so handsome. And he was very flirtatious!”, she says with a smile.

When asked about her nicest memories of him, she answers: “There’s several… I remember that he invited me and Ginger & Mary (Holladay) to come to his hotel room in Nashville - and we did. He was just so nice to us. Very easy to talk to, very talkative. He grabbed his guitar and we sang Gospels together. He didn’t sing any of his hits, just Gospel music… he loved that”.

About the duet, she says: “He asked me to do the duet with him. He was really having a good time while we recorded it. I just tried to do the best I could. You know, I used to be embarrassed about it. I didn’t think I sounded so good. These days with the internet it’s turning up everywhere, and people ask me about it. I’m proud of the fact that I got to sing with Elvis Presley. It doesn’t get any better than that!”.
 
The really exciting news is that Temple Riser will be joining the ’Original Elvis Tribute’ show together with a.o. Mary and Ginger Holladay for a Euro tour in May 2013! 
 
“People have told me that the Elvis fans in Europe know about me, and I have always said: ‘You’ve got to be kidding!’. I’m really excited about coming to Europe for the very first time, and meeting the fans and performing for them. We may even do that duet, ‘The First Time Ever I Saw Your Face’. Hopefully, I will do a better job on it this time around!”, Temple laughingly says. “It’s a priviledge to be able to pay tribute to the greatest performer ever and I will do my best to make this tour memorable for the fans. See you all in May 2013!”.

After reading the above e-mail I wanted to know more. So, after pressing the “reply” button, I wrote a couple of questions that Arjan Deelen was kind enough to answer right away. 

Elvis Today: How did you get the idea to search for Temple Riser?

Arjan Deelen: The name Temple Riser has always fascinated me, combined with the few photos that we have of her. Plus, there was virtually no information available anywhere, and that’s where things usually get really interesting for me! Somehow searches like this become more interesting when you know that they are virtually impossible – for me at least! Temple is one of the few people who actually recorded a duet with Elvis live in the studio. For me, it was also the logical next step after finding Mary and Ginger Holladay (who will also be on the next tour).

Elvis Today: How did you find her?

Arjan Deelen: Through a contact – and more or less by coincidence, believe it or not.

Elvis Today: What has she been doing all these years?

Arjan Deelen: Temple raised a family and now has children and grandchildren. She left the music business in the early 70s. She has lived a quiet life, but has been very active in church. Her second husband died a few years ago, and I think my timing was right when I contacted her. She says that she wants to show her grandchildren that there is more to her than just being a grandma, and she is really looking forward to the tour. She says that this will mark her first trip outside the U.S.

Elvis Today: What do you think her contribution will mean to 'The Original Elvis Tribute' when it tours Europe next year?

Arjan Deelen: Temple still has a very strong voice – and it’s well trained due to her singing in church. I think she is going to add a whole lot to the show. She has lots of nice stories to tell and I think the combination of her voice together with Mary and Ginger is going to sound tremendous. Just like they did together back in the early 70s. Temple says that she is really looking forward to being reunited with the Holladays. Like them, she is a vibrant and charming woman, and I think the audiences are going to enjoy her. It’s going to add a whole new energy to the show.

Elvis Today: Finally, when will the show return to Europe and will you play Sweden again?

Arjan Deelen: We will be touring in mid-May and yes, I definitely hope so!

So do I, as the opening show in Vara without question was the best Elvis tribute show I've ever attended. And I'm sure Temple Riser will add icing to the cake when 'The Original Elvis Tribute' returns, just as Mary and Ginger Holladay did when then joined the tour last year.

The King And The Boss

“Is Bruce Springsteen the one they call 'The King'?” said the guy sitting behind us while waiting for Bruce to start the show in Gothenburg a few days ago.

“No, that's Michael Jackson, isn't it?” answered his girlfriend.

“No way, Elvis Presley is the King,” the somewhat older man sitting next to them said firmly. “Michael Jackson is called The King of Pop.”

“By the way, do you know that a colleague at my office told me a great Elvis story?” the man continued. “He told me that his father had visited the States on business sometime in the seventies. He came to a town, I don't remember which one, and to his great pleasure saw that Elvis was going to perform there. But then he started thinking that maybe it would be better to bring his whole family to a show with Elvis. Seeing as they were planning a trip to the States the year after, he decided to wait. Boy, was that a mistake. Before the trip with the family Elvis died, so he really missed his chance to see the king.”

“Ah! Now I remember, Bruce is called The Boss!” exclaimed the younger guy who started the whole conversation.

The above conversation was overheard by me and my wife right before the Bruce Springsteen concert in Gothenburg on July 28. There being over 66,000 people in the audience, what were the chances of an Elvis fan like me getting seats just in front of a guy telling an Elvis story? Still, that's what happened.

Unfortunately, another Elvis connection that I sat hoping for during the actual show, never materialized. The Boss didn't salute the King with a cover of “Burning Love” this time, like he did in Firenze, Italy, earlier this year on the same tour. My wife shouted “Burning Love” valiantly a couple of times, but with thousands and thousands of screaming Bruce Springsteen fans between her and the stage, it was a hopeless effort.

Still, the show was a fantastic one, and the day after I watched the “Burning Love” performance on YouTube, noticing that it was sung on my birthday, no less. Kind of an Elvis connection as well, I guess.

Technical advisor for this post was my wife.

Additional reading:

• The Night Bruce Springsteen Jumped the Fence at Graceland (Elvis Australia)

Following That Dream (Part 3)

Now follows the third part of the article “Following That Dream,” that I wrote for the Elvis International magazine. This part deals with the live concerts released by FTD.

From the beginning live concerts have also played an important part of the FTD label, and the policy is to issue at least one show from each and every engagement that Elvis did in Las Vegas and Lake Tahoe, as well as from every tour during the 1970’s. So far some 40 concert recordings have been released; the majority in the form of so called soundboard recordings (recorded from the mixing desk in mono).

These soundboards make it possible for fans to experience how Elvis sounded on stage throughout the 1970’s. For example, a release such as Elvis As Recorded At Boston Garden ’71 offers you the chance to experience a fantastic concert that shows that Elvis was still at the top of the game during his third tour, in November 1971. And thanks to releases such as Dixieland Rocks and A Dixieland Delight I’ve learned that it must have been an incredible experience to see Elvis live on tour in the spring and summer of 1975. Not only was Elvis himself often in a great mood and looking well, but the audiences also created atmospheres in the auditoriums that were incredible.

The Follow That Dream label also offers you the possibility to get a ticket to one of the weirdest concerts of Elvis’ career, available on the album Closing Night. The closing show in Las Vegas on September 3, 1973, was an unusual, and at times, crazy show. One moment Elvis in a good joking mood, for example while performing “What Now My Love” lying on a bed that had been pushed out on stage. Another moment he is showing his frustration with the Las Vegas routine, by changing the lyrics in “Love Me Tender” to “Adios, you mother, bye bye, papa, too. To hell with the Hilton Hotel … the showroom, too.” (Colonel Tom Parker was in the audience, and Elvis blowing off steam didn’t go down to well with him, as it resulted in a heated argument after the show where Elvis fired his manager, although he changed his mind a bit later).

At times FTD has released a taped rehearsal as well. The one titled From Sunset To Las Vegas makes it possible to visit Elvis’ rehearsals at RCA’s Hollywood studio on August 16, 1974 for his upcoming Las Vegas season, and then, with the help of the CD Nevada Nights get a seat in the Las Vegas Hilton showroom and listen to the opening show, where Elvis performs an entirely different repertoire than his standard show. Dropping the “2001” introduction, he opens with “Big Boss Man,” introduces new material like “Promised Land” and “It’s Midnight” and throws in songs he never done live before, including, surprisingly, “Down In The Alley” recorded back in May 1966. Unfortunately the second CD, featuring the August 21 Midnight Show, reveals that he is back in the old “2001”-“See See Rider”-“I Got A Woman”/”Amen” routine only two nights later.

For better or worse, a show from each and every tour and engagement means that not every release can be a great one content wise. Playing New Haven ’76, recorded live on July 30, 1976, is downright distressing. Not only does “And I Love You So” sound off-key, there is also no mistaking the tiredness in Elvis’ voice. That Elvis is exhausted and out of breath is painfully evident during the next song as well. Usually “America” was one of the highlights during his concerts in 1976, but this time it’s another story altogether. Elvis voice is weak and fragile. In fact, pretty much the whole show is a sad affair.

When you think about it, it’s hard to understand that this is the same guy that five months later performs some of his best shows that year, during his December tour. The 2 CD release Showtime! Birmingham/Dallas ’76 features two of those shows, recorded on December 28 and 29. Both makes for pure listening pleasure. Take the concert in Dallas, for example. From the first notes of “See See Rider” where he practically throws himself into the song, to the falsetto ending of “Unchained Melody,” it’s Elvis at full blast. “No Teddy Bear, forget that,” he says at one point and delivers an emotional rendition of “My Way” instead. Then it’s right into high gear and “Polk Salad Annie.” It’s that kind of show.

Some professionally recorded concerts have been issued by FTD as well. Nearly all of them are live recordings that RCA did in Las Vegas during 1969 and 1970, featuring Elvis at his peak. One Night In Vegas (August 10, 1970 Opening Show) and Elvis At The International (August 23, 1969 Midnight Show) are two examples of this.

From the day I heard the Elvis In Person album for the first time when I was a kid I have always enjoyed the live recordings with Elvis from 1969. He’s so full of energy, sings fantastic with much of that raw 68-voice still present and clowns around quite a bit (maybe too much at times). Even the old songs sound great, like “Blue Suede Shoes” and “Hound Dog.” And the monologue is always funny to listen to (“I did Loving You, loving her and loving everybody I could get my hands on at the time,” for example). That’s why I’m happy that four complete shows from August 1969 have been released from FTD so far, and I’m looking forward to more of the same. And of course the rest of the professionally August recorded 1970 shows are on my wish list too.

In one case professional recordings were done by RCA between March and May, 1977 at various concert halls (released under the title Spring Tours ’77). FTD has also issued the Recorded Live On Stage In Memphis album (taped March 20, 1974), including the eight songs that were cut from the original release in 1974.

With one of the latest concert offerings FTD managed to surprise us all. Last year, out of the blue, a professionally recorded Elvis concert suddenly made an appearance. Titled Forty Eight Hours To Memphis, it features a show recorded in Richmond, Virginia, on March 18, 1974, two days before the show in Memphis that was released as the Recorded Live On Stage In Memphis album I just mentioned. Elvis sounds engaged, like he is having a great time. It’s really incredible that a concert in this sound quality has surfaced so many years after it was recorded. The release shows that there is still more out there, waiting to be discovered. Things not even rumored to exist. In some ways, it was almost as exciting waiting for it as listening to it.

The last of the professionally recorded live material done by RCA that has been released by FTD on an album so far (I’m still waiting for Elvis In Concert) comes from Elvis’ January-February 1972 Las Vegas engagement. Titled An American Trilogy it includes songs from different shows done on February 14-17, recorded for the abandoned Standing Room Only album. Which brings me to the three “what if” albums that FTD has put together, one of which is, yeah, you guessed it, Standing Room Only. 

To be concluded on July 29 (Part 4) …

• Following That Dream (Part 1)
• Following That Dream (Part 2)

They Wrote Upon It Too!

Some four months ago I wrote about the records that I value the most – those signed by musicians I've talked to who once played or sang with Elvis. Since then I've added another two singles to that category.

In fact, they were both signed at the same night, when The Original Elvis Tribute 2012 played the Swedish town of Vara, on April 7. This show features some of Elvis' original musicians, among them bass player Duke Bardwell.

The first single happens to be one of my favorite Elvis songs, the 1975 rocker “T-R-O-U-B-L-E.” As it's also the only recording from the March sessions in Hollywood where Duke Bardwell's bass parts weren't removed, I thought it the perfect record for him to sign.

“It's a great song,” I told him during the intermission. “Yeah, it is, isn't it,” he answered while writing his name on the cover as well as the label on the record itself.

A couple of minutes later I managed to get a few moments with backing vocalists Mary and Ginger Holladay, who turned out to be two very nice and charming ladies. As the first time they sang backup for Elvis was during the famous 1969 American Sound sessions in Memphis, I thought it appropriate to bring along one of the resulting singles.

Handing over “Don't Cry Daddy”/”Rubberneckin” I asked them, “You did sing on 'Rubberneckin''?” fully well knowing that no female voices were present on “Don't Cry Daddy.” Mary assured me that they did, and then they both signed the cover.

Attending the show and meeting these musicians was an incredible experience, and the autographed singles will always remind me of that. Now, the only thing that could have made that night even more special would have been the presence of musician and songwriter Michael Jarrett. He was part of The Original Elvis Tribute in 2009 and 2010, but unfortunately I was never able to attend any of the shows back then.

I am, however, honored to have Michael Jarrett among my readers, so recently I sent him an e-mail, asking if I could send my copy of the single “I'm Leavin'” for him to sign. “I'm Leavin'” is one of the best songs Elvis ever recorded, so this would really mean a lot to me.

When Michael Jarrett answered that he would be honored to sign it, adding “we'll have to send Elvis across the ocean a couple of times to do this, but I think it will work,” it really made my day.

So, right at this moment, next to my computer, lies a package marked “fragile, handle with care,” the single resting securely inside. Tomorrow it will begin its journey across the ocean, and I can't wait for it to return.