Guest Blog: Elvis Back In Nashville – A Review

The natural follow-up to last year's From Elvis In Nashville 4-CD set is out, and although I haven't yet received the physical product, I've listened quite a lot to it on Spotify. Containing masters and outtakes from Elvis’ 1971 Nashville session, Elvis: Back In Nashville presents the 43 masters on the first two CD’s and the outtakes on the final two discs.

The sound is great, no doubt about it. Instruments that previously have been buried in the mix now sound crystal clear. The drums in ”It's Only Love” for example, without the horns to drown them out, are really moving the song forward.

I've always had a soft spot for these 1971 recordings. Elvis' voice is not as good as in 1970, actually it is sometimes quite weak, but it morbidly fits well with so many of these lost love/broken man songs. Like on ”I'm Leavin’,” one of my favorite Elvis recordings. So I was so much looking forward to this box set.

The idea of presenting the tracks without overdubs, as they were recorded in the studio, is a great one. Many of these songs were really suffering from overuse of horns and strings (although one could argue that they were recorded with overdubs in mind). And I have no problems either with new mixes, making some instruments more prominent than before, and some less so.

But on the first CD the producers have made a strange decision: About half of the masters are presented with the background singers removed. Yes, the singers that were in the studio with Elvis! This was one of the big differences compared to the 1970 Nashville sessions where no other singers than Elvis and Charlie Hodge were present. And now, The Nashville Edition, The Imperials, Mille Kirkham and the Holladays, are gone.

If this had been properly made, maybe I could have accepted it. But often the background singing is bleeding through, and with earphones you sometimes can hear it quite clear. It's like it's there, but far, far away. And even without the bleeding-through, this makes for some strange listening. On ”The First Time Ever I Saw Your Face,” Ginger Holladay is very much audible during the false start. Then during the master, she is not there anymore.

The first CD actually reminded me of the two Our Memories of Elvis albums from 1979 where the same kind of removal mixes were made. It didn't make sense then, and it doesn't make sense now.

It's a greater delight to listen to the second disc, with songs that would form the albums Elvis Sings The Wonderful World Of Christmas and He Touched Me. The background voices are luckily intact on the gospel material and a lot of the instruments that you couldn't hear before are really up front. "I've Got Confidence" really rocks! The background singers were not present during the recording of the Christmas songs (I guess the Christmas tree that was put up in the studio took up too much space!) and without overdubs, the songs form a softer and gentler version of the 1971 seasonal album. Unlike some of the folk and pop tracks from CD 1, the Christmas recordings often work without additional singers.

The outtakes discs (where the producers thankfully have not removed the background singers) work well, although there are too many false starts and too much studio banter to really make it a great listening experience. But there are some gems here, including a previously unreleased take on one of the best Christmas songs, Michael Jarrett's ”I'll Be Home On Christmas Day.”

In all fairness, the big problem with this release is the first CD. Unfortunately, that was the disc I looked forward to the most, as it collects all the pop and folk masters from these sessions for the first time. The undubbed Christmas masters are, a bit surprising, the big win for me, and I will play that portion of CD 2 a lot come Christmas time.

Despite my objections, it's terrific that box sets like this are still produced. However, I hope the producers get it together for the next volume in this series, containing Elvis' 1972 and 1975 masters. I have a great title for that release: Back In Hollywood (Well, he was there a lot in the 60's, right?). And an advice: Do not remove instruments and vocals recorded in the studio. Please.

/Mårtenbrother

Additional reading:

• Amazing Grace: Elvis Back In Nashville
• Until It's Time For You To Go: Elvis Back In Nashville
• I'm Leavin': Elvis Back In Nashville
• Guest Blog: From Elvis In Nashville – A Review

Guest Blog: From Elvis In Nashville – A Review

Ever since I got Rough Cut Diamonds in 1985, I’ve longed for this release. Not that I didn’t enjoy the 1985 bootleg album, I thought it was great to hear the 1970 studio masters without all the strings, horns and vocal overdubs that were present on – and in some cases more or less ruined – the songs. But the sound quality was pretty rough (!), there were still fade-outs and there were so many more songs from the Nashville marathon sessions. I wanted it all.

I was eleven years old when I got Rough Cut Diamonds. Now I’m 48. Has it been worth the wait? Well, I would say it has. The sound quality is top notch. And the new mixes sometimes almost transform the songs. I’ve always found "Got My Mojo Working" a bit dull, or as Elvis himself says just after recording the song: "We grew up on this mediocre shit." But through Matt Ross-Spangs’ mixing, with the organ much more prominent, it almost sounds like a new song. It definitely kicks more ass.

Another fine track in which the organ takes a more dominant part is "Funny How Time Slips Away." It just soars, and makes this recording even more haunting. And to think they nailed it in only one take! That is actually the case with several of the songs presented here.

There are some great moments on this album that weren’t on the original releases: Elvis’ fantastic vocalising in "I Washed My Hands In Muddy Water," the end of "When I'm Over You" where he (almost) starts from the beginning again, and the over and over ending of "The Sound of Your Cry," where Elvis sings like he just has to get the chorus out of his system. And for the first time on an offical mainstream release, we get to hear some of The King’s creative swearing. He was a human being, after all.

Sometimes I miss the overdubs, like the backing vocals in "Twenty Days and Twenty Nights," but that is not very often. This is how these songs should sound, and should have sounded when released back in 1970–1971.

One thing that does annoy me is that the songs in many cases still fade out in the end. Especially on disc three and four which contain outtakes, that could have been avoided. In the mini documentary The Making of From Elvis In Nashville (see below), producer Ernst Jorgensen says that the idea of this release is to hear what it would have been like sitting in the studio with Elvis and the band. Well, the fades were made afterwards and kinda contradict Jorgensen’s claim. And when, which is also the case on disc one and two (which contain the masters), you get some dialogue before the songs, the idea to fade them out doesn’t make any sense.

But that is really the only thing I don’t like about this release. From Elvis in Nashville contains great music, with Elvis and the band in great form. Pure Elvis country soul! I would have loved it back in 1985. And I love it now.

/Mårtenbrother

Guest Blog: Bringing It Back (Elvis Today FTD)

In early 1975, despite Elvis' clearly fading desire to record new material (he hadn't recorded a new studio album since 1973), Elvis managed to step up to the challenge one more time. Little did anyone within the Elvis Presley circle know that when Elvis stepped into the RCA recording studios in Hollywood, CA. on March 10, 1975, it would be the last time “The King of Rock N' Roll” would record music in a proper studio setting. However, the results of this 3-day recording session produced arguably the most diverse album of Elvis' career – Elvis Today.

Elvis Today, released in 2005 by the Follow That Dream (FTD) Collector's Label provides fans with 2-CD's packed with all of the known material recorded between March 10-12, 1975 for the Today album. Disc one kicks off with the 10-songs included on the Today album, as it was originally released in 1975. As mentioned, the original 1975 album provides fans with a diverse listening experience into the effortless way Elvis could switch from a beautiful ballad to a classic cover to a rock n' roll original!

Following the original 1975 album on disc one, fans are treated to some outtakes from the recording sessions including the previously released (but still fun to listen to) “Tiger Man” jam, which gives the band a chance to let loose in between songs. Clearly the band and Elvis are having fun, which is a nice treat to hear considering the aforementioned hesitation Elvis had to returning to the recording studio once again.

Listening to Elvis work out the lyrics and timing of “Pieces Of My Life” (takes 2 & 3) is a real fly on the wall experience on disc one, along with Elvis announcing “you don't believe that s**t, do you?” prior to take 3 of “Susan When She Tried.” Beautiful outtakes of “And I Love You So” (takes 2 & 3) also highlight the outtakes of disc one.

Disc two of the Elvis Today FTD release starts with the 10 original songs from the album, but this time, we are able to hear the songs as they were originally recorded...without the post-recording session overdubbing that producer Felton Jarvis is so famous (infamous?) for. This section of the 2-disc set may very well be the true high point of this package! Fans get to hear the songs the way Elvis truly recorded them. Songs like “I Can Help,” “Woman Without Love” and “T-R-O-U-B-L-E” almost sound like different versions without the overdubs and it is a real treat to hear these “original session mixes”.

Rounding out disc two are more outtakes from the Today sessions, which were originally released on the 6363 Sunset FTD release in 2001. Although previously heard by fans, it is nice to finally have all of the Today session material gathered all in one place.

One could argue that the material on the Elvis Today album may not be his strongest, and of course that is left up to the judgement of each individual listener. Personally, while “Woman Without Love” and “Bringing It Back” are for me the two weakest songs on the album, I use the term “weakest” lightly. Certainly, Elvis' deliverance of the songs and the passion in his voice lift the material up from what may otherwise be considered as album filler. Other songs like Elvis' covers of the Statler Brothers “Susan When She Tried” and Tom Jones hauntingly beautiful “Green Green Grass Of Home” are proof that when given the right material, Elvis can make any song his own.

Then we come to the two highlights of Elvis Today in the opinion of this reviewer. The original rocker “T-R-O-U-B-L-E” provides clear-cut proof that, even in the last couple years of Elvis' life, he could still rock n' roll with the best of the best! Simply a fantastic song and a true Elvis rock classic! On the opposite side of the spectrum comes the simply stunning “Pieces Of My Life.” Some fans argue that “Pieces Of My Life” may very well be a musically autobiography of sorts for Elvis, but regardless, Elvis delivers an outstanding performance.

The music contained in the Elvis Today FTD release was mastered by Lene Reidel and she does a fine job with the material, giving the sound quality a much needed modern sound. Even the original album on disc one sounds much better than when it was first issued on CD in 1992.

The packaging of Elvis Today is fairly basic, with an up close concert photo of Elvis and the original back album cover art featured on the inside of the customary tri-fold cover and a plain black back cover with the album tracklisting. One complaint I have is the poor quality of the front cover photo. The picture of Elvis is very dark, almost as if the photo used is a copy of a copy. Also, if you look closely at the Today title, you can see where it appears that the artwork was cut out from another source and pasted onto the cover...very sloppy in my opinion.

The 12-page booklet included with the Today FTD is nicely assembled and fun to flip through while listening to the album. Inside the booklet, fans are treated to some photos of RCA documents and memos associated with the making of the album, along with some period concert photos and the usual In And Outtakes and Behind The Scenes sections which provide the listener with more details surrounding the recording of the material and the original release of the album.

In the history of music, has there been any other artist that could make singing a blues song, a country song and a rock n' roll song sound so easy? Perhaps yes, perhaps no...but listeners of the Elvis Today album are able to take that journey with Elvis. All in all, the double CD release of Elvis Today by the good folks at the Follow That Dream Collector's Label is a welcomed addition to the Elvis catalog and until recently, was my all-time favorite Elvis album...but that is a whole other story.

I would like to take a moment to thank Thomas for allowing me the opportunity to be a guest contributor for the Elvis Today Blog. As a fan of Elvis' music and of Thomas' blog, I am deeply honored to have been asked to do this. Many thanks Thomas and to the readers for taking the time to visit this fantastic site!!

/Mike Hermenet, Co-Moderator – TCB-World

Guest Blog: At Your Service

It is inevitable to compare Memphis Recording Service's releases with the ones from Follow That Dream, and what comes to mind regarding their latest album, The Complete Louisiana Hayride Archives 1954-1956 is half the price – twice as good.

It's a simple, yet real classy package, with the format being just a little bigger than a usual digipack, but with a hardback binding including a 92 page book. And what a book! Most of the pictures I have never seen, and with additional stuff like Elvis' first Hayride contract and ads, and a real informative text, it's worth the admission alone. And the layout is nice, too.

My favorite pictures are those from March 1956 with Elvis in a sleeveless shirt. Boy, does he look mean! There are also a lot of photos from December 1956, his last Louisiana Hayride visit. And that brings us to the music, a full CD of all the surviving Louisiana Hayride material.

You can have your doubts about the December 1956 material being included, since it was on Sony's Young Man With The Big Beat just a few months ago, but it runs longer here and it sounds as if everything is from the same source. I can't imagine why Sony left out the classic ”Elvis has left the building” comment, but here it is.

Since the first part of “Heartbreak Hotel” is missing, MRS used the start of the song from the Tupelo concert, recorded half a year earlier. It works fine. The back cover boasts that the show has been speed corrected, and comparing it to Sony's release, I think they are right.

Even without the December 1956 material, this CD would have been great, since it collects all the Hayride material on one disc. Why Sony hasn't done that is way beyond me. (The only previously released live material from 1954-1955 which is not here is the Houston concert from March 1955 and could have been included as a bonus if it hadn't been for the December 1956 songs.)

My favorite part is the August 1955 segment, with Elvis – and Bill Black – all geared up! Their treatment of “Maybelline” is fantastic and it was nice to hear it again. And everything is unedited, like it should be. This was not the case when parts of this material was officially released in 1999 on Sony's Sunrise.

I'll return to this album over and over again. It's Elvis live in the fifties, dammit! Not much can beat that. Or this release.

/Mårtenbrother

Elvis 67 - Clambake!

When Troy announced that The Mystery Train Elvis Blog would honor the 44th anniversary of 1967 with special features on that Elvis year all throughout 2011, I couldn’t keep my fingers away from the keyboard. Not only does 1967 mark the year I was born, it also saw the release of the soundtrack album Clambake. So I wrote a guest blog where I talk a little bit about the latter.

Check it out over at The Mystery Train Elvis Blog

Guest Blog: Elvis Is Not Just For Christmas Anymore

Outside of Oldies stations and incidental music, I never hear Elvis on the radio here in the United States anymore - except at Christmas time. This phenomenon is not unique to Elvis, though. The same applies to Frank Sinatra, Nat King Cole, Dean Martin, and many other legends who seemingly turn up in the collective consciousness only during this season. There is something universal about Christmas music that spans across generations and genres.

Non-fans in the general public often seem to enjoy Christmas music by Elvis, even if they listen to little else by him the rest of the year. As an Elvis fan, it's actually hard for me to relate to that point of view. It seems to me, if they enjoy his Christmas music, they could just as easily enjoy his other music all year long, just like we do. The next time one of your friends asks you to recommend some Elvis Christmas music, consider giving her or him both some Christmas and year-round music selections. They might be surprised to learn that Elvis is not just for Christmas anymore.

With that in mind, I started thinking of non-seasonal songs with similar vibes as his Christmas music.

• Trade "Blue Christmas" (1957) for "One Night" (1957)
• Trade "White Christmas" (1957) for "Such A Night" (1960)
• Trade "Here Comes Santa Claus" (1957) for "Treat Me Nice" (1957)
• Trade "Silent Night" (1957) for "Love Me" (1956)
• Trade "O Little Town of Bethlehem" (1957) for "Young And Beautiful" (1957)
• Trade "Santa Bring My Baby Back" (1957) for "Got A Lot O' Livin' To Do" (1957)
• Trade "Santa Claus Is Back In Town" (1957) for "Reconsider Baby" (1960)
• Trade "I'll Be Home For Christmas" (1957) for "Don't" (1957)
• Trade "Santa Lucia" (1963) for "It's Now Or Never" (1960)
• Trade "If Every Day Was Like Christmas" (1966) for "I'll Remember You" (1966)
• Trade "Blue Christmas" (Live-1968) for "One Night" (Live-1968)
• Trade "It Won't Seem Like Christmas" (1971) for "Where Did They Go, Lord" (1970)
• Trade "If I Get Home On Christmas Day" (1971) for "It's A Matter Of Time" (1972)
• Trade "Holly Leaves And Christmas Trees" (1971) for "Separate Ways" (1972)
• Trade "Merry Christmas Baby" (1971) for "Don't Think Twice, It's All Right" (1971)
• Trade "Silver Bells" (1971) for "Stranger In The Crowd" (1970)
• Trade "I'll Be Home On Christmas Day" (1971) for "I'm Leavin''" (1971)
• Trade "On A Snowy Christmas Night" (1971) for "How The Web Was Woven" (1970)
• Trade "Winter Wonderland" (1971) for "Jailhouse Rock" (Live-1968)
• Trade "O Come All Ye Faithful" (1971) for "Always On My Mind" (1972)
• Trade "The First Noel" (1971) for "We Can Make The Morning" (1971)
• Trade "The Wonderful World Of Christmas" (1971) for "Help Me Make It Through The Night" (1971)

So, there you have it, a non-seasonal playlist designed to feel like Elvis' Christmas music. Maybe next year, Sony can release a double CD Christmas gift set with this kind of theme. It would give them a chance to put a slightly different twist on their annual Elvis Christmas music re-release.

My thanks to Thomas for letting me ramble on here on Elvis Today. Have a wonderful Christmas and a merry New Year, everyone!

/Troy Y., The Mystery Train Elvis Blog

Guest Blog: "They Couldn't Put Diapers On Me"

In honor of Thomas and his wife having their first child, I've compiled a ranking of baby Elvis songs. Admittedly, not all of these songs refer to an infant baby. Many of them refer to a baby of the grown woman variety. I decided to leave those in because, after all, you can't have an infant baby without the other kind.

Before I get myself in any further trouble with the grown women of the world, on with the ranking . . . .

#1: Reconsider Baby
#2: Baby, Let's Play House
#3: Baby, What You Want Me To Do
#4: Baby, I Don't Care
#5: Like A Baby
#6: I've Got A Thing About You, Baby
#7: My Baby Left Me
#8: Merry Christmas Baby
#9: Bossa Nova Baby
#10: Rock-A-Hula Baby
#11: Santa Bring My Baby Back
#12: It's Your Baby, You Rock It
#13: Ain't That Loving You, Baby
#14: Baby, If You'll Give Me All Of Your Love
#15: I've Got To Find My Baby
#16: Your Time Hasn't Come Yet, Baby

Of course, if we expand this list to songs that include "baby" in the lyrics rather than the title, we'd have a lot more from which to choose. One fantastic song that comes to mind is "Your Love's Been A Long Time Coming" from the Promised Land album. Songwriter Rory Bourke talks about this one in Ken Sharp's Writing For The King (FTD):

"That song was written about my daughter, Allyson. I wrote it days after she was born. I think Elvis thought he was singing about a big grown up girl but in reality he was singing a song about my baby. His version was absolutely awesome. He caught the complete emotion of what I was trying to say about myself in relationship with this small bundle of love."

Elvis cut this song in 1973. By then, he had been a father for over five years. I personally think he knew exactly what kind of baby he was singing about, as he undoubtedly had similar thoughts while holding his own "bundle of love" for the first time. I've not joined the fatherhood club as of yet, but I imagine Thomas can suddenly relate to this song in a whole new way. Congratulations, buddy! All the best!

/Troy Y, The Mystery Train Elvis Blog

Guest blog: I Can't Stop Loving ... Per!?

One of the first records I ever bought, ladies and gentlemen was ... still, still! Was ... terrible! Nah, it wasn't even a record, but a tape. I guess it wasn't long after I got the Loving You cassette from Thomas that I found a music cassette on sale somewhere, I Can't Stop Loving You, with ... Per 'Elvis' Granberg?!

I guess I wasn't too picky in those years, but instead very curious. What's this going to sound like? The cassette contained a range of well known Elvis songs, from "Mystery Train" to "Steamroller Blues," and I remember playing Per Elvis quite a lot on my little tape recorder. "I'm Yours" was the one song I hadn't heard before, by the way.

Going through a box of old tapes last week I found Per Elvis again and put it in the machine. It was ... not too bad. Of course he tries to sound like Elvis ("Take it!"), but he does it pretty well and the arrangements of some of the songs are quite nice, especially the ballads which are often done with just a piano.

It turns out that Per Elvis (he was from Norway) was already around in the fifties, made some records and then fell into obscurity, returning in the early seventies with live appearances and recording a few albums for the not so small Philips label. And, he even met Elvis, before his matinee show (Elvis's show, that is!) at the Nassau Coliseum on June 24, 1973. Check out the photographs here (Per Elvis is the guy in the blue clothes).

Per Elvis sadly died in 1980, at the early age of 38. But his music lives on. I guess. Take it!

/Mårtenbrother

Guest blog: I forgot all the words

First up, I want to thank Thomas for offering me this guest blog spot on Elvis Today. I'm a frequent visitor, but it'll certainly be strange to see my thoughts above the comments line this time.

When I was trying to think of ideas for my post here, I ran across a rather critical review of the 1970 concert recently released as The Wonder of You by FTD. Referring to the song "Stranger In The Crowd," the reviewer writes: "The rest of the lyrics are a jumble of right and wrong renditions. A lazy performer who again could not be bothered to learn the words to his own songs?"

So, I started wondering, does Elvis forgetting the words to a song in a concert ruin the performance? The odds are you've heard more than a couple of Elvis concerts, so you already know that he forgot the words to songs all the time. I don't think it was due to a lack of caring on his part, though.

In That's The Way It Is, we see him stressing about forgetting the words to "I Just Can't Help Believing." He rehearses it over and over, yet continues to worry about it so much that literally seconds before hitting the stage for the opening night show, he asks that the lyric sheet be placed on a nearby stool. The performance of the song shown in the movie is actually from the next day, but he's still reading the words.

That's The Way It Is, of course, also captures the rehearsals for these shows, and "Stranger In The Crowd" is from that same concert series. Did the presence of the camera crew distract Elvis too much during the rehearsals? It's possible, for he hams it up quite a bit – but he does get down to business at times, too.

Perhaps the real issue is that Elvis never took himself as seriously as a lot of fans seem to today. I find a fun show like The Wonder of You, messed up lyrics and all, to be much better than, say, Aloha From Hawaii – where he is serious most of the time and sings most of the lyrics correctly. He had some help during the technically flawless Aloha, though. Watch carefully during "Burning Love" and you'll see someone holding up cue cards with the words to the song printed out for Elvis to read.

During the rehearsal show a couple days before, as heard on The Alternate Aloha, Elvis flubbed the words to "Burning Love," among others. He covered it well, though, as I suspect most of those present had no idea until he shyly admitted, "I forgot all the words," after the song.

Supposedly, Elvis had to be pressured into recording "Burning Love" the previous year, so could that be why he didn't learn the words? Perhaps, but Elvis was also known to forget the words to songs he liked.

During the second sit-down show for the '68 Comeback Special, released on Tiger Man, Elvis introduces "Santa Claus Is Back In Town" as his favorite Christmas song of those he had recorded (not "Blue Christmas" as an edit back in 1968 made everyone believe for years).

He then proceeds to mess up most of the words to his favorite Christmas tune. His bluesy rendition, wrong words and all, was one of the best songs of that show. Indeed, Elvis' performance transcended the lyrics. The words no longer mattered. No one else could have pulled that off.

If you insist on perfect songs, then stick to the studio versions. Otherwise, just relax and have fun. That's what being an Elvis fan is all about.

By the way, this post was originally going to be a lot better than this. Unfortunately, I forgot all the words that I planned to write. I hope you liked it anyway.

/Tygrrius, The Film Frontier

Guest blog: Here, there and everywhere

For a while my brother has pestered me about making a guest appearance on his blog. So if you don't like it, blame Thomas! No, actually I'm very proud to participate like this. Thank you, bro!

There are some Elvis fans who have other interests than Elvis, believe it or not. I have several. But it doesn't matter what it is – you can't get away from the king!

One of my heroes in music besides Elvis is Hank Williams. And of course Elvis recorded some of Hanks songs: "I'm So Lonesome I Could Cry" (fantastic Elvis version) and "Your Cheatin' Heart"(not so fantastic).

November last year saw the release of a new Hank Williams three CD set, with previously unreleased radio material in excellent sound quality, all dated 1951. And guess what? There are some Elvis songs on it! (A song Elvis recorded = an Elvis song, right?)

The set kicks off with a splendid version of "Blue Eyes Crying In The Rain." This was written, not by Willie Nelson, but by Fred Rose who was Hanks producer and mentor. Other Elvis songs on the CD set is "Precious Lord, Take My Hand," "Have I Told You Lately That I Love You" and "When The Saints Go Marchin' In."

And even "On Top Of Old Smokey," sung by Elvis in Follow That Dream for about ten seconds! (Funnily, known Elvis CD set writer Colin Escott claims in this set that Elvis recorded a song called "Softly And Tenderly." (If he did, I never heard it!) And yes, "I'm So Lonesome I Could Cry" is included, as well as "I Can't Help It (If I'm Still In Love With You)."

Another interest of mine is collecting (and when I get the time, watching) old movies from the 30's. And wouldn't you know: there almost always turns up an Elvis co-star in them! For example: the yoga teacher in Easy Come, Easy Go was played by Elsa Lanchester. She was the female monster (as well as Mary Shelley) in Bride of Frankenstein from 1935.

Glenda Farrell, Joan Blondell and Barbara Stanwyck seem to be in every other Warner Brothers film of the 1930's. Of course, they all appeared in Elvis movies. (Farrell in Kissin' Cousins, Blondell in Stay Away, Joe and Stanwyck in Roustabout.)

Elvis is truly everywhere! I even married a gal whose two first names are – yes, you guessed it – Swedish versions of names in Elvis song titles! And two good songs they are too: "Susan When She Tried" and "Marguerita!"

Yes, Elvis is everywhere, but I'm off. Thomas will soon be with you again...

/Mårtenbrother