Lovely essay, capturing the significance of the moment.
Elvis' performances were always a spontaneous interaction with his fans. I'm sure his nervousness at Aloha was because it was the first and only time Elvis had to perform a complete concert live for the cameras with no option for any later edits.
Your phrase, "And yet, like much of the art that centres around the American Dream, the cost extracted from Elvis was exorbitant." says it all.
“Ross-Spang’s remix of Aloha From Hawaii is, in a word, stunning. The gauze and fuzziness of the music is gone. He places the listener in the middle of all the action.”
Excellent essay, as always. And as always, I learned a lot. The songs you’ve linked to are terrific examples of the points you make. Wonderful work, Robert!
I really have enjoyed your writing on Elvis, and this is no exception. I remember sitting around the TV watching this special with my parents (I was 8) and hearing my dad talk about Presley on those Sullivan shows when he was 16-17.
Your analysis of this show is spot on, as well as the mismanagement of Elvis’ catalogue in the 1970s. (I will cave, given my age at the time, to enjoying and continuing to have a soft spot for the Camden “Burning Love” album.)
What I think is interesting about the albums released in the 1970s was the push-pull between the live vs. studio demands. Presley enjoyed the studio less and less, Parker was insistent on the publishing (which limited the selections he could cover), and Felton Jarvis (not the best producer) was forced to provide product to RCA. That meant anything recorded was used even if it wasn’t even halfway up to standards (“Padre” is a perfect example of that; it’s just dreck). I would be curious to get your take on Presley’s 70s output in this context.
This show was an opportunity for Elvis to change things around a little, and give the audience a real dynamic kind of show similar to his shows in 1969, but instead, he went through his Vegas routine 2.5k miles from Vegas almost on autopilot. Not sure where the viewing numbers come from but there is no way 1.5 billion people watched that show on the night of the broadcast or even if the days later numbers are added. There were just too many big countries that never saw it at all. From memory, that was the kind of ridiculous number that his manager came up with and it is a shame that this number is still used to sell the show.
Some people like Elvis 1970 voice versatile no not compared to his best voice of the 50,s 60,s my prefer years with Elvis voice and musicians
Lovely essay, capturing the significance of the moment.
Elvis' performances were always a spontaneous interaction with his fans. I'm sure his nervousness at Aloha was because it was the first and only time Elvis had to perform a complete concert live for the cameras with no option for any later edits.
Your phrase, "And yet, like much of the art that centres around the American Dream, the cost extracted from Elvis was exorbitant." says it all.
THANKS.
“Ross-Spang’s remix of Aloha From Hawaii is, in a word, stunning. The gauze and fuzziness of the music is gone. He places the listener in the middle of all the action.”
Excellent essay, as always. And as always, I learned a lot. The songs you’ve linked to are terrific examples of the points you make. Wonderful work, Robert!
It was very nice and inspiring to work together again Robert, I already look forward to out next cooperation!
I really have enjoyed your writing on Elvis, and this is no exception. I remember sitting around the TV watching this special with my parents (I was 8) and hearing my dad talk about Presley on those Sullivan shows when he was 16-17.
Your analysis of this show is spot on, as well as the mismanagement of Elvis’ catalogue in the 1970s. (I will cave, given my age at the time, to enjoying and continuing to have a soft spot for the Camden “Burning Love” album.)
What I think is interesting about the albums released in the 1970s was the push-pull between the live vs. studio demands. Presley enjoyed the studio less and less, Parker was insistent on the publishing (which limited the selections he could cover), and Felton Jarvis (not the best producer) was forced to provide product to RCA. That meant anything recorded was used even if it wasn’t even halfway up to standards (“Padre” is a perfect example of that; it’s just dreck). I would be curious to get your take on Presley’s 70s output in this context.
Again, great read.
This show was an opportunity for Elvis to change things around a little, and give the audience a real dynamic kind of show similar to his shows in 1969, but instead, he went through his Vegas routine 2.5k miles from Vegas almost on autopilot. Not sure where the viewing numbers come from but there is no way 1.5 billion people watched that show on the night of the broadcast or even if the days later numbers are added. There were just too many big countries that never saw it at all. From memory, that was the kind of ridiculous number that his manager came up with and it is a shame that this number is still used to sell the show.