The King is Back on the Charts!

INTERNATIONAL MOMENTUM BUILDS AS VIVA ELVIS - THE ALBUM BREAKS INTO THE BILLBOARD 200 Legacy Recordings Celebrates Elvis' 75th Birthday Year with a Groundbreaking New Studio Work Inspired by Viva ELVIS by Cirque du Soleil in Las Vegas    -- Viva ELVIS - The Album, a 21st century celebration of Elvis and his music featuring the voice of the King in a whole new soundscape, is gathering worldwide momentum in the wake of its recent release through Legacy Recordings, in cooperation with Elvis Presley Enterprises, Inc. and Viva ELVIS by Cirque du Soleil at ARIA Resort & Casino in Las Vegas.  Released stateside on November 9, Viva ELVIS - The Album has debuted in the upper half of the Billboard 200. Conceptualized and realized by producer/arranger Erich Van Tourneau, Viva ELVIS - The Album is a multi-faceted audio extravaganza creating a larger-than-life musical portrait of Elvis through newly re-imagined versions of "Blue Suede Shoes," "That's All Right," "Heartbreak Hotel," "Love Me Tender," "King Creole," "Bossa Nova Baby," "Burning Love," "Can't Help Falling In Love" and "Suspicious Minds" as well as instrumental interludes based on "Memories" and "You'll Never Walk Alone" (piano interlude). Three of the tracks on Viva ELVIS - The Album including "Suspicious Minds," the album's first single, were mixed by Grammy Award winning producer Brendan O'Brien (Pearl Jam, Bruce Springsteen).  Four of the album's tracks were mixed by Serban Ghenea with the remaining five mixed by Robert Meunier & Erich Van Tourneau. "Suspicious Minds," the first single from Viva ELVIS - The Album, impacted radio in late October and is a bonus track on NOW 36, the latest installment in the best-selling chart-topping Now That's What I Call Music anthology series of contemporary Top 40 smash hits. USA Today selected "Suspicious Minds" as a Pick of The Week noting that the new version "...dispenses with its signature guitar pattern, starting like a cross between a gospel hymn and 'Everlasting Love' before transforming into something like a U2 anthem." Overwhelming international response to Viva ELVIS - The Album led to the creation of special regional editions of the album showcasing popular local artists "dueting" with Elvis on "Love Me Tender."  Regional artists participating on non-US editions of the album include Anna Puu (Finland), Lisa Lois (Netherlands), Amel Bent (France), Russian Red (Spain), Thalia (Latin America), Jessica Mauboy (Australia), Dani Klein (Belgium), Marie-Mai (Canada) and Aurea (Portugal). Viva ELVIS - The Album is already charting round-the-world, going Top 40 or better in Canada, Sweden, the Netherlands, the UK, Belgium, Norway, Switzerland, Denmark and France while climbing the charts in Spain, Australia and Germany. Music critics and other cognoscenti have rallied behind Viva ELVIS - The Album, basking in the record's celebratory delights: Billboard ""It's all inventive and invigorating, offering proof that Presley's music can handle being all shook up" FORBES.COM "'Viva Elvis – the Album' a multi-faceted audio extravaganza creating a larger-than-life musical portrait of Elvis" MSN MUSIC "You've never heard these tunes like this before… ear-popping collages" ASSOCIATED PRESS "A new take on the King"… "'Suspicious Minds' opens with Elvis' soulful, echoing voice and prominent piano notes, then shifts into a guitar introduction that evokes memories of U2's classic anthem 'Bad.' The song has a strong drum and guitar component without losing the sing-along quality of the original." BLOOMBERG NEWS "A radical mix of his hits" BLOGCRITICS "And we're off to the races as Viva ELVIS - The Album turns up the heat and the velocity as it dashes through a representative sampling of The King's mastery of genres from Delta blues, gospel and Southern folk to movie soundtracks and Vegas pop" "You won't be able to help falling in love (with The King) again. Some things were just meant to be!" RECORD COLLECTOR "I loved it. A great mash up of Elvis, early, middle and late in his career. Great fun!" VIRGINIAN- PILOT "Elvis for the iPod age." Musicians on Viva ELVIS include Elvis Presley (vocals); Erich Van Tourneau (bass, electric guitar, acoustic guitar, piano and keyboards); Dea Norberg, Jennlee Shallow, Sherry St-Germain, Stacie Tabb (guest singers); Patrick Lavergne and JS "The Flash" Chouinard (basses); Mike Plant, Steve Nadeau, Martin Bachand and Paul Deslauriers (electric guitars); Olivier Goulet (acoustic guitar); Guy Belanger (harmonica); DJ Pocket (scratch).  The album's horn section includes Jean-Francois Thibeault (trombone), Bruno Dumont (saxophone), David Perrico (trumpet), Jean-Francois Gagnon (flugel horn). When working on the music for the Cirque du Soleil production "Viva ELVIS," Van Tourneau spent more than 3,000 hours reviewing countless albums, films, concert recordings, interviews and home recordings of Elvis.  More than 17,000 samples of Elvis' songs – the raw material for the show – were made during the process. Working with tens of thousands of samples of Elvis' voice, Van Tourneau often wove several sequences and sounds into the same songs, sometimes changing details such as the key and tempo. In creating Viva ELVIS - The Album, Van Tourneau was looking to accentuate and boost the emotional charge of the songs with the incorporation of ragga, punk or hip-hop elements into classic recordings. In all cases, however, the goal was to respect and understand the essence of the original recordings. "I would like to acknowledge all of the incredible composers, musicians and technicians responsible for making this music with Elvis originally," said Erich Van Tourneau.  "The album Viva ELVIS would not be what it is today if not for their remarkable contributions." The postmodern studio masterwork invokes the spirit and essence of Elvis from a contemporary perspective while furthering the revolutionary impulses of Elvis' sound. Viva ELVIS - The Album re-imagines the king's own vocal performances in a broad variety of new musical settings. This new sound echoes Elvis' own versatility and ability to master all music genres, from Delta blues to rockabilly, from raw soul to gospel, from Southern folk to Vegas pop, while incorporating elements of garage rock, punk, urban and hip-hop. In celebration of all eras of Elvis' musical genius, Viva ELVIS - The Album includes songs from Elvis' rise to fame in the '50s, his movie soundtracks, his triumphant return to the stage in the "'68 Special," and his ground-breaking appearances in Las Vegas. Viva ELVIS by Cirque du Soleil, a harmonious fusion of dance, acrobatics and live music, opened earlier this year in a specially designed 1,800 seat theater at ARIA Resort & Casino in Las Vegas.  A tribute to the life and music of Elvis Presley, Viva ELVIS focuses on the essential humanity of the one superstar whose name will forever be linked with the history of Las Vegas: Elvis Presley.  Significant moments in his life – intimate, playful and grandiose – blend with timeless songs that remain as relevant today as when they first hit the top of the charts. Elvis lives on Viva ELVIS - The Album, a 21st century venue for rock's first and biggest superstar. Viva ELVIS - The Album - produced and arranged by Erich Van Tourneau 1. (Opening) (mixed by Robert Meunier & Erich Van Tourneau) 2. Blue Suede Shoes (mixed by Serban Ghenea) 3. That's All Right (mixed by Brendan O'Brien) 4. Heartbreak Hotel (mixed by Brendan O'Brien) 5. Love Me Tender (mixed by Robert Meunier & Erich Van Tourneau) 6. King Creole (mixed by Robert Meunier & Erich Van Tourneau) 7. Bossa Nova Baby (mixed by Serban Ghenea) 8. Burning Love (mixed by Serban Ghenea) 9. (Memories) (mixed by Robert Meunier & Erich Van Tourneau) 10. Can't Help Falling In Love (mixed by Serban Ghenea) 11. (You'll Never Walk Alone) (piano interlude) (mixed by Robert Meunier & Erich Van Tourneau) 12. Suspicious Minds (mixed by Brendan O'Brien)

Elvis 75th Birthday Collection

Love him tender? This collection has a few films that fit the bill. Twentieth Century Fox Home Entertainment and MGM Home Entertainment announced the "Elvis 75th Birthday Collection," arriving on DVD on June 1, "just in time for Father's Day."

Well, I'm not sure that Elvis ranks high on a lot of dads' lists, but this seven-movie set is bargain-priced and it gives newcomers to Elvis a good idea of The King's films and the way he was marketed.

Like historical/period films and the chip-on-his-shoulder Elvis? Included in this set is "Love Me Tender" (1956), set immediately after the Civil War; "Flaming Star" (1960), one of Elvis' better-acted films, in which he plays a half-breed torn between cultures; and "Frankie and Johnny" (1966), taken from the song and set on a Mississippi riverboat in the late 19th century.

Like the sensitive, naive Elvis? "Wild in the Country" (1961) features The King as an introverted country boy whose writing talent is encouraged, and "Follow That Dream" (1962) has him bashful around women in a film in which he plays the oldest son of a stubborn Florida homesteader who fights City Hall.

Prefer the cool Elvis? Then "Kid Galahad" (1962) and "Clambake" are more your style, with Elvis playing a boxer and the son of a Texas oilman who pretends to be a pauper to see if he can still get the girl.

All seven titles are included in the set. The collection also showcases some of Elvis´ most exuberant musicals, including the beach blanket romp "Clambake." Featuring appearances from stars such as Academy Award-nominated Tuesday Weld (Best Supporting Actress, "Looking For Mr. Goodbar"), Barbara Eden ("I Dream Of Jeannie"), Charles Bronson ("The Great Escape"), Shelley Fabares ("Coach"), and Donna Douglas ("The Beverly Hillbillies"), the seven films in the Elvis 75th Birthday Collection celebrate the consummate performer that was Elvis Presley. He was a better actor than many gave him credit for, and did his best despite being pigeon-holed in roles that took him farther from the serious drama he craved. This collection spans the years and gives a pretty good cross-section of The King's acting talents, which range from almost laughable to surprisingly good.

To Elvis fans, and fans of Elvis movies (I confess, I'm one of them), they're all worth watching. Most are light entertainment, and people who went to the movies knew that when they bought their tickets. But they were well-done light entertainment, however formula the movies became.

source:
Blu-ray and DVD news
By James Plath
First published May 16, 2010

Elvis' Birth is Timeline Winner for March

The winning Elvis timeline milestone for February that Elvis fans voted as their number one favorite Elvis moment is #1 - Elvis is born at 4:35 a.m. in a two-room house in Tupelo, MS. For this timeline event, we will take a look at Elvis' humble beginnings in Tupelo, which definitely helped shape the man and legend the world came to know as Elvis Presley. Elvis Presley was born in a two-room house in Tupelo, MS on January 8, 1935, to Gladys and Vernon Presley. Dr. William R. Hunt attended the birth, and helped deliver Elvis and his twin brother, Jesse Garon. Jesse arrived about a half-hour before Elvis, but sadly, was delivered stillborn.
Events in Elvis' childhood helped send him down the path towards music, paving the way for his rise to superstardom. In Tupelo, Elvis sang gospel in the Assembly of God church, creating his passion for Gospel music, which he carried with him throughout his life. On his 11th birthday, Elvis genuinely wanted a bicycle. However, his parents could not afford the bicycle, so he settled for a guitar. Elvis' talent was undeniable, but his hard work ethic and drive to succeed, no doubt, stemmed from his poverty-stricken background and his desire to make a better life for himself and his family.
Recently, Tupelo and Elvis historian Roy Turner participated in a question and answer session with Elvis Insiders about Elvis' childhood in Tupelo. Click here to view the Q&A.
Click here to see a full gallery of Tupelo-related photos.
Five new Elvis in Tupelo photos have been added to the Elvis Mobile app for iPhone and iPod Touch users. Download the free app to enjoy weekly Elvis photo updates, periodic video updates, the latest news on all things Elvis, the Graceland LiveCam, podcasts and more.
Each week in February, Elvis Insiders will have access to a new, rare Tupelo-related artifact from the Graceland archives in the members only exclusive image gallery on ElvisInsiders.com.

Elvis in January

January 13, 1969

Elvis starts a four day recording session in Memphis at American Studios. On this evening the recording session lasted six hours. Elvis recorded " Long Black Limousine and " This Is The Story"

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January 18, 1969

Elvis takes a break from recording at American Studios and rests at Graceland.. __________________

January 19, 1970

Elvis traveles to Las Vegas to rehearse for his approaching second engagement at the International Hotel.

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January 20, 1970

Elvis returns to American Studios for a recording session

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January 11, 1974

Elvis visits his Dentist and has dental work performed
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January 12, 1974

Elvis travels to Los Angeles.

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January 10, 1976
While finishing his vacation in Denver with Linda and his staff, Elvis has Dr. Nick join them in Aspen where he rented a house. The next day Elvis returned to Memphis. __________________

January 14, 1976

Elvis purchases three Cadillac's and two Lincolns for friends. He spends over $70,000.

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January 15, 1976

Elvis purchases furniture and equipment for his new Racquetball Court at Graceland.

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January 16, 1976

Construction is completed on the Racqutball Courts at Graceland. Elvis has his equipment and furniture delivered.

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January 17, 1976

Elvis and his staff play racquetball all afternoon at the new courts in Graceland.
__________________January 1, 1977
Elvis celebrated New Years Day quietly at Graceland with Ginger and Lisa Marie.

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January 2, 1977

Elvis returns Lisa Marie to Priscillia in Los Angeles.

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January 3, 1977

Elvis, Ginger and his staff fly to Harrison Arkansas to attend the Funeral of Ginger's grandfather. In The evening they returned to Graceland.

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January 4, 1977

Elvis is seen riding his motor cycle around Memphis.

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January 4, 1977

Elvis remains at Graceland and calls his flight crew to prepare the" Lisa Marie" for a flight to Palm Springs.
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January 5, 1977

Elvis flies to Palm Springs for a short vacation with Ginger and his staff.

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January 7, 1977

Elvis relaxes in his Palm Springs home with Ginger and his staff.

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January 8, 1977

Elvis celebrates his forty-second Birthday with Lisa Marie as his house guests at his Palm Springs Home.

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January 9, 1977

While still vacationing in Palm Springs, Elvis urges his dentist, Max Shapiro, to marry his Fiance. Elvis has Larry Geller perform the cermony on the spot. Elvis takes this opportunity to speak aloud about the possibility of him marrying Ginger in the future.

Roustabout

1. ROUSTABOUT
2. LITTLE EGYPT
3. POISON IVY LEAGUE
4. HARD KNOCKS
5. IT'S A WONDERFUL WORLD
6. BIG LOVE,BIG HEARTACHE
7. ONE TRACK HEART
8. IT'S CARNIVAL TIME
9. CARNY TOWN
10. THERE'S A BRAND NEW DAY ON THE HORIZON
11. WHEELS ON MY HEELS

Kissin Cousins

1. KISSIN' COUSINS VERSÃO 2
2. SMOKEY MOUNTAIN BOY
3. THERE'S GOLD IN THE MOUNTAINS
4. ONE BOY, TWO LITTLE GIRLS
5. CATCHIN' ON FAST
6. TENDER FEELING
7. ANYONE(COULD FALL IN LOVE WITH YOU)
8. BAREFOOT BALLAD
9. ONCE IS ENOUGH
10. KISSIN' COUSINS
11. ECHOES OF LOVE
12. (IT'S A) LONG LONELY HIGHWAY

Elvis Golden Records vol 3

1. IT'S NOW OR NEVER
2. STUCK ON YOU
3. FAME AND FORTUNE
4. I GOTTA KNOW
5. SURRENDER
6. I FEEL SO BAD
7. ARE YOU LONESOME TO-NIGHT?
8. (MARIE'S THE NAME) HIS LATEST FLAME
9. LITTLE SISTER
10. GOOD LUCK CHARM
11. ANYTHING THAT'S PART OF YOU
12. SHE'S NOT YOU

Fun In Acapulco

1. FUN IN ACAPULCO
2. VINO, DINERO Y AMOR
3. MEXICO
4. EL TORO
5. MARGUERITA
6. THE BULLFIGHTER WAS A LADY
7. (THERE'S) NO ROOM TO RHUMBA IN A SPORTS CAR
8. I THINK I'M GONNA LIKE IT HERE
9. BOSSA NOVA BABY
10. YOU CAN'T SAY NO IN ACAPULCO
11. GUADALAJARA
12. LOVE ME TONIGHT
13. SLOWLY BUT SURELY

It Happened At The World's Fair

1. BEYOND THE BEND
2. RELAX
3. TAKE ME TO THE FAIR
4. THEY REMIND ME TOO MUCH OF YOU
5. ONE BROKEN HEART FOR SALE
6. I'M FALLING IN LOVE TONIGHT
7. COTTON CANDY LAND
8. A WORLD OF OUR OWN
9. HOW WOULD YOU LIKE TO BE
10. HAPPY ENDING

Girls, Girls, Girls

1. GIRLS! GIRLS! GIRLS!
2. I DON'T WANNA BE TIED
3. WHERE DO YOU COME FROM
4. I DON'T WANT TO
5. WE'LL BE TOGETHER
6. A BOY LIKE ME, A GIRL LIKE YOU
7. EARTH BOY
8. RETURN TO SENDER
9. BECAUSE OF LOVE
10. THANKS TO THE ROLLING SEA
11. SONG OF THE SHRIMP
12. THE WALLS HAVE EARS
13. WE'RE COMING IN LOADED

Pot Luck

1. KISS ME QUICK
2. JUST FOR OLD TIMES SAKE
3. GONNA GET BACK HOME SOMEHOW
4. (SUCH AN) EASY QUESTION
5. STEPPIN' OUT OF LINE
6. I'M YOURS
7. SOMETHING BLUE
8. SUSPICION
9. I FEEL THAT I'VE KNOWN YOU FOREVER
10. NIGHT RIDER
11. FOUNTAIN OF LOVE
12. THAT'S SOMEONE YOU NEVER FORGET

Blue Hawaii

1. BLUE HAWAI
2. ALMOST ALWAYS TRUE
3. ALOHA OE
4. NO MORE
5. CAN'T HELP FALLING IN LOVE
6. ROCK-A-HULA BABY
7. MOONLIGHT SWIM
8. KU-U-I-PO
9. ITO EATS
10. SLICIN' SAND
11. HAWAIIAN SUNSET
12. BEACH BOY BLUES
13. ISLAND OF LOVE
14. HAWAIIAN WEDDING SONG

Something For Everybody

1. THERE'S ALWAYS ME
2. GIVE ME THE RIGHT
3. IT'S A SIN
4. SENTIMENTAL ME
5. STARTING TODAY
6. GENTLY
7. I'M COME HOME
8. IN YOUR ARMS
9. PUT BLAME ON ME
10. JUDY
11. I WANT YOU WITH ME
12. I SLEEPED, I STUMBLED, I FEEL

His Hand in Mine

His Hand in Mine

1. HIS HAND IN MINE
2. I'M GONNA WALK DEM GOLDEN STAIRS
3. IN MY FATHER'S HOUSE (ARE MANY MANSIONS)
4. MILKY WHITE WAY
5. KNOWN ONLY TO HIM
6. I BELIEVE IN THE MAN IN THE SKY
7. JOSHUA FIT THE BATTLE
8. HE KNOWS JUST WHAT I NEED
9. SWING DOWN, SWEET CHARIOT
10. MANSION OVER THE HILLTOP
11. IF WE NEVER MEET AGAIN
12. WORKING ON THE BUILDING

G.I.Blues

G.I.Blues

1. TONIGHT IS SO RIGHT FOR LOVE
2. WHAT'S SHE REALLY LIKE
3. FRANKFORT SPECIAL
4. WOODEN HEART
5. G.I.BLUES
6. POCKETFUL OF RAINBOWS
7. SHOPPIN' AROUND
8. BIG BOOTS
9. DIDJA' EVER
10. BLUE SUEDE SHOES
11. DOIN' THE BEST I CAN

Elvis Is Back!

Elvis Is Back!

1.

MAKE ME KNOW IT
2.

FEVER
3.

THE GIRL OF MY BEST FRIEND
4.

I WILL BE HOME AGAIN
5.

DIRTY, DIRTY FEELING
6.

TRHILL OF YOUR LOVE
7.

SOLDIER BOY
8.

SUCH A NIGHT
9.

THE GIRL NEXT DOOR WALKING
10.

RECONSIDER BABY
11.

LIKE A BABY

Interview with Elvis Presley: The February 1970 Press Conference

The Houston Astrodome was chosen by Colonel Parker to be the first venue for Elvis to perform outside Las Vegas. This was done for several reasons, but none of them was because the place was suitable for a show of the kind Elvis held. 'The Dome' was an enormous hall, built in 1965, the least of its functions being for concerts. Parker was possibly unsure of Elvis' status in the wider world - performing in Las Vegas was something quite different from performing in venues which could seat far larger audiences. The rodeo show at 'The Dome' always attracted thousands of people no matter what...

After the concluding show Elvis held a press conference for about 100 journalists at Astroworld.

He declared that he got a big thrill out of the appearance in 'The Dome'.

Elvis checked out of Astroworld wearing a blue Easy Rider-inspired suede jacket and black trousers, taking with him 20 suitcases and 3 guitars - $1.2 million richer than 3 days earlier.

Q: What made you decide to come to Texas?

Elvis: Well, to tell you the truth, I started out here in Texas. I think the first shows that I worked was down here, around Houston, and all over Texas.

Q: Do you remember what locations you worked here in Texas?

Elvis: Well, I worked Houston, worked Corpus Christi, every little town here… Long View, man, you name it, I've been there, really.

Q: What do you think of Texas?

Elvis: I like it, I like it… really enjoy it.

Q: Elvis, can you give us, I understand with all the big engagements, like Las Vegas, etc… the reason why you selected the Houston Live Stock Show and Rodeo this year?

Elvis: Well, uh… they asked me to do it and I was anxious to do some live appearances, you know. I haven't… it had been a long time since I'd been on stage in front of anybody live and I was anxious to do some live appearances and I thought it would be a good opportunity to get in front of the people.

Q: You ever seen the inside of the Dome before?

Elvis: Never have. It scares the (laughs)… it's a big place, man, you know.

Q: You've been known as the King of Rock'n'Roll. Do you think your style has changed now from the days when you were King or do you consider that's still your style?

Elvis: I think the overall thing has improved.

The overall sound has improved, I mean, I think it… it's according to the songs, you know.

It's just according to the songs.

Q: Is your stage presentation still the same way it was or have you improved on that?

Elvis: Well, I just do whatever I feel on stage, you know, I always did that.


Q: Are you going to keep making films?

Elvis: Hope to. (Laughter) Well, I'd like to make better films and…

Q: What do you mean by better?

Elvis: Better than the ones I made before.

Q: I mean, playing general types, westerns, or romances.

Elvis: (Coughs) Excuse me. I can't take this fresh air, man. I'm used to the garbage can at the International Hotel, man. (Laughter) If I can't smell some garbage, I don't feel at home, man, I tell you. (Coughs)

Q: Do you have any films in the making right now or any planned?

Elvis: No, there's nothing as far as I know, is there Colonel? Anything in the workings?

Colonel Parker: No I can't predict myself.

Elvis: An 8mm Walt Disney Special we're doing next year, I think… I don't know.

There's nothing as far as I know, no.

Q: When you look at your opportunity, what will you do to try to fill up the Astrodome?

Elvis: Well, it'll be the type of stuff that I do. It's a mixture of things, you know. It's a little rock and a little country and western stuff…

Q: Essentially the same stuff that you did at the International Hotel?

Elvis: Yeah, it the same type of thing.

A lot of different type of songs, so I just hope I can put on a good show, mainly.

Q: Whatever happened to the Jordanaires?

Elvis: Can't get them out of Nashville, man. They got stuck in Nashville and they make so much money and they do so well in Nashville, you can't get them out of there, you know.

Q: Do you have any thoughts about the rising interest in country music?

Elvis: I think it's fantastic. You see, country music was always a part of the influence on my type of music anyway. It's a combination of country music, gospel, and rhythm and blues. It's all combined, is what it really was. As a child, I was influenced by all of that.

Q: Do you consider yourself basically a country music singer then?

Elvis: I would hate to say strictly country because of the fact that I liked all different types of music when I was a child, you know. Of course, the Grand Ole Opry was the first thing I ever heard, probably, but I liked the blues and I liked the gospel music, gospel quartets, and all that.

Q: Do you ever pull out any of those old records on the Sun label and listen to them at all?

Elvis: They sound funny boy. (Laughing) They got a lot of echo on them, man, I'll tell you. But that's what I mean, I think the overall sound has improved today, you know.

Q: Well, do you think there's more gimmicks today than there were, say fifteen years ago?

Elvis: Well, there's probably more gimmicks, but I think that the engineers have improved and I think that the techniques have improved, of overall recording.

Q: Consideration… further revaluation of your career to get you back in front of live audiences again. In other words, you were available to the public only in your films for a long period of time.

Elvis: I think the most important thing is the inspiration that I got from a live audience. I was missing that.

I didn't…

Q: Was it rough at the International? Was it a little bit of a strain on you after not being on programs?

Elvis: It was always terrible. I enjoyed it. Like, I know I'm going to enjoy it here because it's a live audience and it makes a world of difference.

Q: Let me ask you one thing. What's your father up to these days?

Elvis: He's around here somewhere… Ask him, I don't know Daddy, what are you up to?

Colonel Parker: Mr Presley… Mr Presley? Want you to meet Elvis' father, Mr Vernon Presley.

Q: Could he come right up here and sit down?

Elvis: (Coughs) It's this fresh air, man.

Q: Elvis, there's quite an evidence of sartorial splendour. Does this indicate that the…

Elvis: What? What?

Q: The attire is not one that we're familiar seeing.

Elvis: It was taken from a karate suit, just a regular karate type outfit. (Siren in background) Are they coming to get me? Is that it? (Laughter).

Q: I mean, does this indicate that with your type dress and everything now that you're changing a little bit of style perhaps, in deference to what you did a few years ago?

Elvis: I don't know. I think that you'd have to see the show, you know. It's difficult to tell. I don't feel any different, you know. I don't think the dress has that much to do with it, I got the idea from a karate suit cause I studied karate for a long time and I had them make up a couple of suits like it.

Q: What do you do for relaxation? You said you studied…

Elvis: Karate! If you can relax doing this (Does a few karate chops in the air) I don't know, I read a lot and go horseback riding, and stuff like that.

Q: Do you still live principally in ah…

Elvis: Memphis! About half of the time, about half of the time there and half of the time in LA.

Q: In that show you have planned for the Dome, do you plan any of the old, old songs, some of the first ones?

Elvis: I'd like to, you know…

Q: Any special ones?

Elvis … Try a couple of them, just to see if they work. I hope I can give them a good show, that's the most important thing… if I can give them a good show then I'll feel like I've done something.

Q: What is the biggest live crowd you've ever performed for?

Elvis: If I am not mistaken, it was Vancouver in Canada, wasn't it Colonel?

Colonel Tom Parker: The Cotton Bowl

Elvis: The Cotton Bowl in Dallas. It was about 25,000 I guess, something like that. I think

Interviews By Scott Jenkins

Interview with Elvis Presley + Review of Elvis in concert July 31, 1969

This is the review of Elvis' first concert at the International Hotel on July 31, 1969.

It was written by Ray Connelly and originally published in the London Evening Standard August 2, 1969. Included with the review is an exciting interview with The King, again by Ray Connelly.

Review of Elvis In Concert - July 31, 1969

For a reputed fee of £225,000 the god of rock and roll returned to the stage in a blaze of advertising at the brand new International Hotel in this hot and lunatic town of Las Vegas. I've already seen the show three times and I can tell you he is sensational - better than any of us could ever have imagined.

Elvis Presley July 31, 1969 International Hotel, Las Vegas

Twice nightly for 28 days he will be appearing for the rich and their womenfolk. 'It is, 'he says, 'the most exciting thing I've done in years'. But it was the first appearance on the first night that had all the drama.

He was out of this world, better by far than I - always the greatest Presley fan in world - could possibly have hoped for, and a lesson in himself to the entertainment media of our generation.

For a full hour he worked and sweated, gyrated and shuddered, warbled and sang, and grunted and groaned his way through 20 songs. It was a sensational comeback.

Looking as slim as a ramrod, and not a day over 23 (he's actually 34 now), he ambled back on to the stage after a nine year absence like a sheepish young lad going to meet his girl friend's parents for the first time. Hardly daring to look or acknowledge the audience,which was composed mainly of over-30's, since young people could never normally afford the price, he went straight into Blue Suede Shoes, and had completed I Got A Women and That's All Right Mama before finding it necessary to begin any chatting.

For over an hour he flogged himself to near exhaustion moving wildly and sexily around the stage all the time, and now and again reaching for a handkerchief or a glove from the ecstatic and many-splendoured ladies in the front row. Although his early fans are grown up and mothers themselves now, Elvis has remained the boy from the South - awkward, shy, full of evil promise and a dynamic performer.

As backing, a group of girl singers, the Sweet Inspirations, joined with the Imperials to add strength to an outstanding six-man group on electric piano, drums, bass and three guitars.

Elvis Presley 1969 International Hotel, Las Vegas

The balancing of combo was perfect, and there was little need for the full 30-piece orchestra which helped out occasionally on some of the ballads like Love Me Tender and Can't Help Falling In Love (With You) and Yesterday.

It is difficult to describe the exact appeal of the man. True he is a great and rhythmic singer, but there's something more. His perfect looks and style add a charisma that is magnetic.

Having seen his show it is easier now to understand how became the legend that he is in pop music.

Surprisingly the biggest applause of the night, and it was generous always, came of a brand-new song called Suspicious Minds - his next record and almost certainly 51st million seller.

While his act is concentrated mainly on a selection of his own many hits he also found time to include some great versions of Ray Charles's I Can't Stop Loving You and Chuck Berry's Johnny B. Goode.

It was indeed a memorable night. The night when Elvis Presley, the founder of much of modern day pop music, discovered that he is still one of greatest performers and went back to doing what he always did best.

Interview with Elvis Presley - July 31, 1969

Getting to interview Elvis was a much more complex task than getting to see him - since the International Hotel anxious for lots of publicity during its first few weeks of business was being particularly generous to journalists who had flocked from all parts of world to see if Presley was as exciting as his memory.

Immediately after his first show he gave a Press conference, guarded carefully by the Colonel, and during which he was only once thrown when someone asked him why he always dyed his hair ('I guess it's something I've always done . . . I guess', he said). But after three days and nights of refusing to let me see his star, the Colonel finally changed his mind (as I'd been told he would) and gave me five minutes to get ready.

We were in between shows and suddenly I was ushered backstage past the guards and into his dressing room. I'd have to make it quick, said the Colonel. An hour later I was back in my room telephoning this article over for the first edition of my paper the following morning.

Elvis Presley 1969 - Backstage The International Hotel, Las Vegas

'Sometimes when I walk into a room at home and see all those gold records hanging around the walls I think they must belong to another person. Not me. I just can't believe it's me' - Elvis Presley.

This is the legend himself talking. The man who virtually started the rock and roll group as we know it today. The man who changed the course of pop music, and in so doing helped to change the course of social history.

Because that, and exactly that, has been the influence of Elvis Presley - the boy from Tupelo, Mississippi, who has probably had more hit records than anyone else in the world. (At the last count it was well over 70 - with 50 of those selling more than a million copies.)

Getting through to Presley is practically impossible. security guards with guns and walkie-talkie sets shadow him day and night, and it took an interminable amount dealing with his extremely canny manager, Colonel Tom Parker, to be given the VIP treatment and meet the man they created into a legend.

And when one gets through how does one speak to a legend?

Elvis Presley 1969 - Backstage The International Hotel, Las Vegas

He's sprawling on a red Spanish settee in the sitting room of his back-stage suite, sipping a soft drink from a bottle. The walls are plastered with telegrams (including one from the Beatles).

He's wearing the black karate-style suit designed for his season at the hotel, and his hair, dyed pitch-black as always, is swept back off his face in the style he created 14 years ago. His sideboards are now very long and spiked again, and are also jet-black.

He is incredibly handsome, with possibly the best film profile since Rudolph Valentino. Fittingly enough, he would pass for a stereotyped Las Vegas gambler in a movie. But, he says, he never gambles himself.

Still the Southern gentleman, he rises to greet me with an almost athletic enthusiasm, then rubs his great wide rings which are virtually clustered with diamonds against a silver wrist bracelet bearing his name. he looks ever so slightly nervous. The room is scattered with aides and friends. There are no women present. Priscilla Presley, the Memphis girl Elvis married two years ago, is up in the 30th floor penthouse suite. Baby Lisa, 18 months old, is at one of their homes in California.

The Colonel watches his creation like a benign mother, only interrupting when money arises. There is a story, it may be a myth, that says he takes 50 per cent of what Elvis earns. If that is true, he must be a multi-multi-millionaire by now and worth every penny of it to Presley.

'We didn't decide to come back here for the money, I'll tell you that', laughed Elvis, at such an absurd prospect, for after all, what's another £225,000 to him? 'I've always wanted to perform on the stage again for the last nine years, and it's been building up inside of me since 1965 until the strain became intolerable. I got all hyped up about it, and I don't think I could have left it much longer'. 'The time is just right. The money - I have no idea at all about that. I just don't want to know. You can stuff it'.

He laughs, and throws his head back, showing all those perfectly-kept teeth, and striking me with the smallness of his eyes and the exaggerated length of his eyelashes.

'Can we just say this', says the Colonel, all homespun, folksy humour. 'The Colonel has nothing to do with Mr. Presley's finances. That's all done for him by his father, Mr. Vernon Presley, and his accountant'.

Mr. Presley, Snr., a fatter and greyer version of his son, if ever saw one, nods at the formal third person way of speaking and takes another beer from the bar. 'He can flush all his money away if he wants to. I won't care', the Colonel adds. the humour easy, and good-natured - country style, if you like.

'We've now completed all the deals I made when I came out of the army in 1960', he says, almost apologetically. 'And from now on, I'm going to play more serious parts and make fewer films.

'I wouldn't be being honest with you if I said I wasn't ashamed of some of the movies, and the songs I've had to sing in them. I would like to say they were good, but I can't. I've been extremely unhappy with that side of my career for some time. But how can you find 12 good songs for every film when you're making three films a year? I knew a lot of them were bad songs and they used to bother the heck out of me.

But I had to do them. They fitted the situation'.

'I get more pleasure out of performing to an audience like tonight, than any of the film songs have given me. How can you enjoy it when you have to sing songs to the guy you've just punched up?'

And there's more laughter - the black calf-high cowboy boots he wears being swiveled up and around on to the table in front of him. 'How do you combine marriage and show business?' I asked. He pauses and smiles: 'Very carefully - just very carefully'. 'Did your wife object to you returning to being a sex symbol?'

'No. We plan a big family. When you're married you become aware of realities.

Becoming a father made me realise a great deal more about life'.

But marriage hadn't reduced the sexiness of his act. His left knee still trembles when he sings, his guitar still becomes a sort of phallic tommy-gun, while with the microphone he appears to simulate an act of rape.

And then there are his off-the-cuff on-stage comments which are full of ambiguities.

'Don't pull my cord, lady', he asks, as a fan reaches for the microphone lead.

On the first night of his performance a woman in the audience began stripping, overcome by the excitement.

Another took off her panties to mop the sweat from his brow.

He gratefully accepted them, his face in the frills and tossed them back. After the show young women climbed up on to stage to neck with their idol as the curtains fell.

It was this threat of sexuality which 14 years ago prompted clergymen to call for his banning and imprisonment, and won him title of Elvis the Pelvis. In those days his hip-jerking was considered total obscenity. His clothes were of gold, like his Cadillacs, and his image was one of unchained anti-respectful youth.

If you want to go any way at all towards understanding the music and corresponding sub-cultures of the under-30s, you have to know about Elvis Presley. He was the beginning of the rock generation. And after the startling impact he made in 1956, nothing could ever be the same again.

In England the fans have been particularly avid. 'I don't know why they've been so loyal', he says. 'They've really been fantastic to me. I still can't believe all the letters that come in after all this time'.

'I know I've been saying for years that I must visit Britain, and I will, I promise. But at the moment there are personal reasons why I can't. I shall be doing more shows in America now, though. I'm very satisfied with the reaction I've had here. It's been tremendously satisfying. That's what the business is all about for me. There will be films, too, but of a more serious nature. And I'll be making another television show for NBC'.

He's thinner now than he's been for years and the workout he does every night on stage is bringing his weight down even more. He looks like a man in his early twenties.

'I don't understand it', he said, in his slow deep drawl. 'People keep telling me I look young. I don't know how I do it, either. I got very heavy at one time when I was in all those movies, but I lose it quickly, you know'.

He is unbelievably friendly and unaffected. Once the barrier is broken down you won't find a legend, just an ordinary, helpful, warm and co-operative young man. He tries hard to answer the questions, but is floored when I asked him to name someone he'd rather be.

'I can't', he says.

He's also a shy man. He has few friends in show business - Tom Jones being the closest to him by a mile.

'I guess I'm just a boy from the South and I've never been connected with show people.

I have my own friends'.

But he remembers well the meeting he had with the Beatles during Beatle mania, and particularly their road manager, Mal Evans. 'I've recorded Hey Jude', he says. 'They're are so interesting and so experimental. But I liked them particularly when they used to sing She Was Just Seventeen. You Know What I Mean' - and he sings, and plays an imaginary guitar, Lennon-style.

'Did you see the telegram they sent me?' You can see Elvis Presley is very proud.

The pop world has changed overnight with the reappearance of the man they know the King. Mark my words - He's going to be immense all over again'.

By Ray Connelly and originally published in the London Evening Standard August the 2. 1969

A Brief History Of Jumpsuits
I suppose the Jumpsuit is now indelibly linked to Elvis! Perhaps the’ Aloha’ and ‘Mexican Sundial’ Jumpsuits are the most recognised by the general public. There is estimated to be over 100 jumpsuits and two piece suits used as stage costumes.1969 -1970. In the beginning the Jumpsuits/Costumes were simple in design and as the years passed by the simple became the spectacular. In the early days there would be duplicates of the simple in design Jumpsuits, for example there were multiple Cossack tops and Two Piece suits of different colours a similar case for the “Chain" Jumpsuits and two of the "Concha", of course this became untenable when the more elaborate costumes started in 1971 due to the cost factor, However there was an exception for the "Aloha" Jumpsuits, two were made for the telecast and one more made for the 1974 tours. 1971 saw simple nail designs of the ‘Cisco Kid’ Jumpsuits make way to what would become the established design mainly due to the talents of Gene Doucette, Gene had taken over from Bill Belew in the design stakes and it was his flair that saw the Jumpsuit morph from plain and simple Jumpsuit to the specticles they became from late 1971 onwards.1972 sees the Jumpsuit finally reach its splendid peak, the design seems to have settled on a recognisable format that Elvis seemed happy with. The patterns and themes changed after 1972 but the suits basic style would stay the same until 1976. There were of course variations with the puff sleeves in the 'Chicken Rib', 'Eskimo Totem Pole' and 'Egyptian Bird' designs of 1975 but the Jumpsuit essentially remained the same as the 1976 'Colouful Flame' Jumpsuit demonstrates.1973 probably saw the most elaborate Jumpsuits in the form of stones and nails e.g. the 'Arabian First Edition' aka the 'Memphis' Suit, 'Black Spanish Flowers' and of course the 'Aloha Eagle'. It could be argued that 1973 saw the jumpsuit become a work of art rather than a stage outfit. The designs had taken on beautiful detail and with many Jumpsuits taken on a theme.1974 Gene Doucette had changed styles and moved to embroidery designs very probably at Elvis' request due to the weight of previous Jumpsuits. There were subtle changes to the designs of 1974 for example the sleeves were free from patterns or design, again probably at Elvis's request due to stones or nails scratching guitars etc. The designs of 1974 are of two extremes.. The 'Chinese Dragon' and the 'Mad Tiger' are quite flashy, where as the three 'Phoenix' designs seem to be simpler and understated in comparison.1975 - There is debate as to whether Elvis should have switched over to two piece suits by 1975. Looking at the frequency of new suits by 1975 only 8 new Jumpsuits and 7 'Two Piece Suit' designs as opposed to 1973 with a peak of 17 new Jumpsuits (not including the aloha duplicates) it could be argued that Elvis tried the two piece and decided he didn't like them! 1975 followed the same design pattern of 1974 in that the designs were embroidery with fine detail, the ‘Chief’ aka the ‘Indian Feather being a fine example. 1976 – This was a particularly uninspired year, there was only one new Jumpsuit made in the form of the ‘Colourful Flame’ although the Jumpsuit was extremely flashy in design it was only worn twice which leaves you wondering why two of this design were made? Most of 1976 saw Elvis wear the ‘Egyptian Birds’ aka ‘Bicentennial Jumpsuits’1977 made 1976 look inspired, there was a suit designed for Elvis, however it wasn’t completed in time for Elvis to have worn it on stage. Elvis only switched between three Jumpsuits in 1977 namely the ‘Chief’ aka ‘Indian Feather’ from 1975, ‘Arabian second Edition’ aka ‘King of Spades’ from 1974 and of course the ‘Mexican Sundial’ also from 1974.

Elvis Golden Records vol.2

Click to hear

1. I NEED YOUR LOVE TONIGHT

2. DON'T

3. WEAR MY RING AROUND YOUR NECK

4. MY WISH CAME TRUE

5. I GOT STUNG

6. ONE NIGHT

7. A BIG HUNK O' LOVE

8. I BEG OF YOU

9. (NOW AND THEN THERE'S) A FOOL SUCH AS I

10. DONCHA' THINK IT'S TIME