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.
I remember the Camden album as well and once quizzed myself to try to remember the movie songs that were included - I got most of them. They did the same thing with the 'Separate Ways' and 'Always on My Mind' single.
It seems to me that the lack of inspiration in packaging Elvis' music in the 70s (I see it as beginning in 1971 with 'Love Letters from Elvis' and then snowballing with 'Elvis Now') was not all that much different than other artists in the country field (if Elvis' music could be categorized at that point, it would primarily country) whose albums seems equally generic. It does make it heard to appreciate the music when listening to the original albums.
What also hurt was the sheer amount of music that Elvis would record in just a few days which, as you point out, led to things being released that weren't up to standard. I think what Sony has done in recent years in repackaging Elvis' 70s music had been way that helps to better understand it - particularly, I'm thinking, the collection of the Jungle Room sessions from 1976 which are some of his best recordings from the decade (the best being 'Elvis Country' and "Elvis: That's the Way It Is'). The performances from '76 are fully formed and considered (a by-product probably that it took a lot to get Elvis to come down and record), and moving too. Collecting them together allowed me to better appreciate them - certainly more than 'Moody Blue' and 'From Elvis Presley Boulevard....'
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.
Thank you, Piers! Elvis' nervousness comes through loud and clear, especially when he addresses the crowd.
“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!
Thank you, Andrew. Always appreciate your kind words of support.
It was very nice and inspiring to work together again Robert, I already look forward to out next cooperation!
Me too!
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.
I remember the Camden album as well and once quizzed myself to try to remember the movie songs that were included - I got most of them. They did the same thing with the 'Separate Ways' and 'Always on My Mind' single.
It seems to me that the lack of inspiration in packaging Elvis' music in the 70s (I see it as beginning in 1971 with 'Love Letters from Elvis' and then snowballing with 'Elvis Now') was not all that much different than other artists in the country field (if Elvis' music could be categorized at that point, it would primarily country) whose albums seems equally generic. It does make it heard to appreciate the music when listening to the original albums.
What also hurt was the sheer amount of music that Elvis would record in just a few days which, as you point out, led to things being released that weren't up to standard. I think what Sony has done in recent years in repackaging Elvis' 70s music had been way that helps to better understand it - particularly, I'm thinking, the collection of the Jungle Room sessions from 1976 which are some of his best recordings from the decade (the best being 'Elvis Country' and "Elvis: That's the Way It Is'). The performances from '76 are fully formed and considered (a by-product probably that it took a lot to get Elvis to come down and record), and moving too. Collecting them together allowed me to better appreciate them - certainly more than 'Moody Blue' and 'From Elvis Presley Boulevard....'
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.