Elvis Documentary 'The Searcher' Coming From HBO

Thats a fair point and you could be right, but I tend to still think that will eventually run its course. I think that the image makers at Graceland, and to a greater degree at Sony Legacy, have made a huge effort to emphasize Elvis in his prime as far as the visual marketing is concerned and put a great deal of might behind his musicality and talent as a musician and singer. It has not always been a perfect process to say the least, but I think that this documentary was a huge step in the right direction.

 

When the hell did I say his gospel output was overrated? WHEN??? I am a huge fan of his gospel records and I cherish them completely, but I also understand that Elvis was a lot more than that. The point I was making (which I know people will cherry pick) is that Cilla who should have known him completely speaks with an absolute ignorance to what is very rudimentary knowledge of his career. I truly believe that people need to READ what I wrote instead of just nitpicking and only seeing what they want to see.

But getting back, you see here is where we really differ. I explained it clearly in the very next quote after my post. Reconsider Baby, Baby What You Want Me to Do, Never Been to Spain, even Trilogy all fall under the public perception of "what is cool" because it is part of the Madison Square Garden concert, the Blues compilation, the Elvis is Back, Aloha....yada yada. They are "hits" because they are the same tired ass pushed songs over and over again to fit an agenda. It is cool to crap all over Elvis movie career just like it is cool to harp on his drug problems. I can think of a thousand things that are far more interesting. The drug analysis is just plain overdone. Most know the story, and telling it 1000 more times doesn't give anything more to his legacy. Like Oliver Stone once said about filming racism. The best thing to do is film it, show it for what it is, and let the audience decide. Preaching to the audience dumbs it down and only lessens the impact.

Like I said before, the documentary needs to cut all their spoken word entirely and get to what is real, which is the words that Elvis spoke, and what he said to others, not what they think it means. I could care less (not couldn't...I dare someone to jump on that, I have seen enough ignorant corrections around the internet. lol).

Yes, as you say, it is part of a soundtrack. When did I ever dispute this fact? And yes, it does go without saying. Of course what is dismissed is pretty much the entirety of his output in those confines. While Cilla seems to lay a flippant hand as if to say, yeah there are good songs...but he should have done so much better. Who the hell is she or anyone else for that matter when they don't have the talent or say so in the matter? It is really easy to sit back and wag a finger when you do not have the talent to begin with. Cilla has made a mint off of this kind of criticism, and it is plain sad.

It is like the Pacific Ocean Blue comment about parts of Elvis career being on "life support". So Elvis is supposed to be guaranteed a million a picture the rest of his life??? So if say Mark Wahlberg takes a cut in his illustrious career he must be done. Yeah ok. Meanwhile back in reality, wasn't Elvis seriously considered for Midnight Cowboy and a Star is Born? Gee I guess no one ever thought of using Elvis in something else.

If Elvis was on life support, then all the other artists were dead.

Actually you spell it out best. I ravage the documentary because it glosses over his work for the Lost album, pretty much all his Country sounds, it even takes away his fantastic My Way which was truly destroys any notion that he went out on a low note (it was #2 on the frickin' country charts and #22 on the hot 100 when Sinatra floundered at 27! It treats his entire movie career as if he didn't have anything to offer.

Instead of wagging their finger adding to the problems of how Elvis has been misrepresented, they could have just let the audience decide...but then again, we wouldn't have the constant analysis from either the musicians that weren't there, or the ex-wife that wasn't the artist in the studio.

A real documentary would involve the many many key players that are still living and would happily throw in their part. But then again, it wouldn't be the Cilla show and that wouldn't do.

 

One idea I want to enunciate. Elvis for good or for bad was in control of his career a lot more than he is given credit for. Cilla, Tom Petty, Bruce, whoever can dream all they want that he was some kind of puppet on Parker's strings, but in the end, I and others that have followed his work knows he very much made decisions. The problem is that Elvis was quite simply a workaholic, and a for the most part a nice decent man (14 year old wrestling rumors, pool sticks in girls chests, and drug episodes aside). In the end he paid because as my grandmother said...he didn't stay a delivery boy or whatever other simple job that while it would make him much poorer, perhaps he would have been much happier and still alive in the end. Success to me is being able to be happy. Elvis wasn't as happy as he could be, but selfish as I am, I appreciate all he did, and all the criticism from these spectators just make them look worse for it. The man's legacy for the people that truly know his work will see this documentary for the opportunistic bull that it is.

 

Except for "How Great Thou Art," not between 1962-1968 and 1971-1977. During those periods, Elvis' "control" was limited and inconsistent. The historical record is clear on that point, no matter how much you try to spin it otherwise.

 

His music career, maybe, but not his film career. Even Jerry Schilling said that the Colonel claiming Elvis could decline any script he wants was BS. Jerry has said he was there when Elvis threw scripts against the wall in anger that he ended up doing anyway.

 

I enjoy and agree with some of your contrarian views on Elvis's later day career, especially his great country-pop-rock albums of the seventies. Elvis's career for too long was viewed by critics and the greater music public in a very narrow and limited arc. The popular perception was that after 1969 it was all down hill, something I don't agree with at all. Of course I recognize the fact that his health and emotional well being really started to tumble in those last couple of years, but some of those soundboard recordings like the famous New Years Eve show indicate an artist with a still very powerful and magnetic voice. I am also a huge fan of Elvis's live single version of My Way and the fact is that it was the album From Elvis Presley Boulevard that made me a totally committed Elvis Presley fan, which may surprise some people on this thread as well as the fact that the Moody Blue album really sealed the deal. How about that for being a totally unhip Elvis aficionado?

Of course I learned that those albums were not critically acclaimed albums and could not match the greatest of some of his best albums like From Elvis In Memphis, Elvis Is Back or even Elvis Thats The Way It Is, but I would soon discover those great gems and of course they are my favorite albums now, along with the great Elvis Country album and some of his great live albums. I still do enjoy those albums though along with Promised Land and the Today album as well.

The problem with us Elvis fans is that the man was so versatile and his music tastes so eclectic that it makes it hard for us to find common ground sometimes. I mean some of us just dig his early rebel period at Sun and RCA and some of us just want his memory to stop at 1968 with the Comeback Special and Elvis looking so handsome and grabbing that electric guitar from Scotty Moore and playing lead guitar raucously. Some of us love Elvis the crooner with a velvet voice like Dean Martin and singing It's Impossible better and smoother than Perry Como. Some like the opera voiced Elvis belting Hurt, Its Now Or Never and Unchained Melody like he was Caruso. Some of us Elvis fans hate this later image and think it takes away from his rebel rock image and snarling James Dean persona.

I have come to terms with all the different Elvis's and I do not think that one really takes away from the other, and in fact I have decided it is this vocal versatility and dexterity that is really what separates Elvis's greatness from every other great singer that has come before him or come after him. I still believe, after listening to music intently for more than 50 years and every great voice from Sinatra to Orbison, Charlie Rich to Ray Charles, Aretha Franklin to Sam Cooke and too many more to even mention, that Elvis Presley was in possession of the single greatest and most versatile vocal instrument that has ever walked the face of the earth!

 

This is very true, and it's unfortunate that a good many Elvis threads get derailed because of it. Sometimes it's hard not to get embroiled in a heated discussion, but I think in many of these scenarios it would be worth thinking of some words of wisdom from one of my favorite film critics, Tag Gallagher. When someone asked him why he seemed to write only about artists he liked, he said that as a reader "I would rather have someone try to convince me that I should like something that I don't (yet), than tell me why I should not like what I do."

It's a simple philosophy. Add your insights about things that inspire you, and don't waste time on the rest. An added benefit is that people don't tune you out for ****ting on things that they love.

 

Agreed. And the last thing I want is to see anybody leave or feel unwelcome because we have at times strong opinions on Elvis. All opinions, even if we personally might disagree with them, are welcome so long as they don't devolve into personal attacks. That of course is a rule that must be followed throughout all parts of life.

In many ways, the fact that we have such varied opinions at all is a testament to the powerful legacy of Elvis' life and career that was tragically cut short.

 

Amazing post. Nothing to add here....except, I never underestimated or dismissed Elvis gospel work.

I take Jerry with a grain of salt. If he saw Elvis throw one script against a wall, it would turn into 10. Elvis signed several contracts knowing what the films were. I have never said they were the end of his rainbow, but he still had control of his future. It was a job to him that paid the bills. In his own words he stated that when they cease to be fun, he stops doing them. Of course the memphis mafia were also in those films
..Jerry too. Jerry like Cilla has been there criticizing and sponging on every release I can imagine (producing this too).
The point is, if he hated the movies...truly hated, he would't have done them. There is proably some truth to what Parker said. He got the work and Evis complied because he saw continued succcess. I for one have always stated that the Comeback wouldn't have been as sweet without a break. King's retire...his movies were fun...and he did the best he could for a man that would have likely never led a normal life.

And how do you measure this? With all respect, do you hear how silly this sounds?

Inconsistent quality is not out of control. If anything it demonstrates flexibility. Would anybody say the same for Sinatra or Crosby for taking chances?

 

that looks pretty extensive,thanks for the tip I'll definitely check that out . I'm also a fan of original 80's cds because of the imo better mastering and the collectability and packaging so i'll be also keeping the blue ring rca cd .too.

 

A Boy from Tupelo sounds much better than the Sun Sessions CD. Disc 3 with all the live recordings don't sound great but the first two discs with all the studio takes sound very good.

 

i thought it was an excellent film! I am not a huge Elvis fan, and generally prefer his earlier material (but some of the film songs are great) but my wife had a comment that i agree with: it helped the film move along WITHOUT having to see each commentator comment.....you didn't NEED to see Springsteen, Petty, Red West, etc, on screen, which kept the story narrative move along very nicely.....just the supers on screen was all that was needed!!!

 

My apologies, genesim, I believe that I miss read your post on that point.

 

Elvis was not "taking chances" in 1971 and 1972 with "We Can Make The Morning," "Love Me, Love The Life I Lead," "Sylvia," "Fool," "It's A Matter of Time," and "Padre." His publishing companies and producer failed him, and he was resigned to record such second-rate material. Elvis was not in control at Stax during the summer of 1973 when he was impaired and had difficulty executing his vocals. Elvis was not flexible when he refused to record, forcing RCA to drive a mobile recording truck to his house for sessions in 1976, nor was he inspired under the circumstances, resulting in an incomplete session that required RCA to send out the truck later in the year, where Elvis again was uninspired and unable to complete the mandated number of master recordings.

 

When a company sends an RCA truck to your house while completely idiotic, it shows that Elvis had complete control over that place. What boss comes to your house to set up shop? lol

So let me get this straight, if you record music that YOU don't like, then it ceases to be taking chances? Something tells me that if any of the material would have been hits you would be saying something completely different. The collective decides that Suspicious Minds is taking more of a chance and venturing out so it must be so! If it is a hit, then it is control!

Fool was absolutely taking a chance because it is singing about something that was very very close to what he was going through. Padre is another one that not only stretched his vocal ability, but was a stark contrast for a lot of material he recorded in the previous decades. Hell I even like It's a Matter of Time too. Of course I notice how you conveniently drop great songs like his remake of Promised Land, Got a Thing About You Baby, It's Midnight, Loving Arms (oh yeah gee such terrible vocals there), Girl of Mine (I love this song!)...etc...

Elvis allowing RCA to come to his house is very flexible. The moment my boss shows ups and screw up my living room I would probably shoot him. Let me get this straight, you refuse to work so we bring the equipment to your living room??? Yeah that makes a lot of sense. I am sure if they dragged the equipment into his bedroom or bathroom that would inspire him so much better. How inspired are you when you have your privacy invaded? Despite this crap, Elvis put out stellar material and the Jungle Room sessions remains the best selling FTD release (at least last I heard). Again, not following your statement at all.

Your idea of "second rate" material is an OPINION and it hold nothing more than everyone else's, The difference between you and me is that I don't pass it off as some golden undisputable fact.

As for his difficulty executing vocals. Perhaps he was tired, perhaps on drugs, perhaps didn't care, perhaps it was his ability, perhaps he laid down so much gold that he had a bad day. Not the definition of "out of control", it is called being human and all the judgmental people in the world would likely have been dead meat a lot sooner. Easier to criticize when you ain't been in that man's shoes. It reminds me of inexcusable Beatles comparisons when they were 4 lesser personalities that didn't do half the quantity of years while having a Elvis blueprint to follow.

But so you don't take this as vicious (because I am speaking the truth), with almost every song example you give, within a very short time Elvis was back to form and scoring hits. One session of many successful ones does not make a bad entertainer nor one "out of control". Elvis spun gold time and time again and 1973 is seriously underrated. When one listens in chronological order (as opposed to the silly watered down good material first, and then lesser material thrown on at the end via hodgepodge albums), there is such great reward. Nope, not following your mindset at all, but thanks for trying to quantify it.

 

Anyone think this might be aired in the UK soon , Sky Arts maybe or Netflix?

 

This is exactly the demarcation point that I was talking about in the world of Elvis fandom. Each member's esthetics is just never going to convince the other about the righteousness of their position. I totally understand, PacificOceanBlue, where you are coming from, but some of those songs you mentioned I really love. Now, where I think that you are absolutely correct in many of your past great posts is that Elvis later career could have been way better served by a re-visit with Chips Norman or even finding some other new producer that would challenge Elvis and send him in a new direction. I mean, so many artists find that sticking with one producer for too long leads to stagnation and redundancy.

What artist in the world would possibly record some of the greatest music of his career as Elvis did at American Studios in Memphis and not give it at least one more crack later? Of course we know that there were two separate recording periods for those sessions, but they were really tied together so to speak. Elvis made some amazing music at Stax in my opinion and although there are obvious times throughout his later career where he seems uninspired, there are even more times where he seems to bring out the old Elvis we all know and love so well. His passion for music never completely left him, but it was getting weaker by the moment during that last year or two.

 

You should start writing liner notes for Elvis' Sony Legacy releases. The spin and historical rewriting is astounding.

 

Eh just messing with ya. I actually feel ashamed looking at my caps back to you, because your writing was really good and level headed. I need to take notes on that, but then I wouldn't be "mean gene" as I was once called.

Yeah real constructive. There is nothing I am spinning. If anyone is "spinning" it is this tomfoolery of saying Elvis is uninspired while having his house ripped to pieces. When I think of the Jungle Room not looking anything like what once was because of that and Elvis never seeing it that way again, well that just sucks. Elvis bought that display because he wanted his home to look that way. In all your talk of Elvis not being in control, the one thing you actually seem to applaud is RCA being "forced" to come and work out of this man's home. This shows how little RCA execs respected the man. They knew what kind of shape he was in, but gotta keep that cash cow flow going!!

Just like with Chips Moman, yes great work, but ultimately Elvis didn't like him (with the comments he made in the studio, I didn't either). Elvis made music the way he wanted and who knows what he would have come up with without all the criticism from every direction. Again, no wonder he checked out. Most would....but again, you got a cash cow approach. It is good work, but Elvis isn't happy...but who cares. Must follow-up! And do you keep working with people you don't like? You don't take criticism from me very well, and you expect Elvis to do it? This is why I hated the documentary...contradictory finger wagging.

Of course you could have answered my post with just a little bit of discussion instead of your tired "spinning" comment, but that is you through and through. You can never say that I don't show my respect by at least tackling what you say and giving it some kind of notice even if it isn't what you like.

 

I enjoy listening to some of those songs as well, and very much enjoy quite a bit of Elvis' performances from the embattled 1970's era. That is not the point. One should be able to objectively evaluate the quality of the material, the vocal work, and the circumstances behind why the material was recorded. There is a difference between recording top-shelf material such as "Kentucky Rain" with a first-rate house band and highly skilled producer, and recording and mailing-in an inferior piece of material like "Fool" in a mostly somber recording session. But, we do not need to get into a philosophical debate over how art, literature and music is evaluated.

 

No offense taken. I get a kick out of the fact that you challenge so many of the conventional critical views of Elvis career and particularly the later stages of it. I had to live through so many decades of Elvis seventies material being mocked and put down by hipper than thou music critics who thought that the only great music Elvis ever did was while at Sun Records. Its funny, but it took me a long while to warm up to the greatest of those early records and of course now I love them, and I hope some of those folks that originally dismissed his seventies output can appreciate some of those better songs and albums. I know I use to pretty much stay away from the soundtrack songs, particularly the non hits, but some people on this great forum have steered me towards some of those underrated tracks as well. Now don't misunderstand me, thats still probably my least favorite period of his career, but there are many hidden gems among the dross as well.

 

I get it, but if we can't trust the people who were there, who can we trust?

 

I have always found Jerry Schilling to be one of the most honest and decent human beings that ever associated with Elvis. Elvis must have pretty much felt the same way too as Elvis actually bought him a house as I recall that he still owns. One of the few members of the Memphis Mafia that went out and achieved success on his own and did not try to leach of Elvis endlessly.

 

There was a distinct lack of George Klein, for sure. He's getting on up there though.

 

I'd really like to just watch the documentary but it's not showing in the UK yet.
I realise there may be 'certain ways and means' but I don't get involved with such tomfoolery, so I'll just have to wait...