I have always loved the great guitar work of James Burton and that stellar piano solo by Glen Hardin on this great record. It is amazing how many fantastic players ended up passing through Emmylou's various Hot Bands over the years, everyone from Albert Lee to piano wiz and later TCB member Tony Brown. Brown of course ended up becoming one of the most successful music producers in Nashville during the 1980's and 1990's as I recall.
I have a different opinion about”Dixieland Delight,” and noted that it was interesting how we view things differently. Am I not allowed to present my view on a FTD release on a FTD thread? My position on “Dixieland Delight” in no way defines my entire view on the 1970’s period, an era that contained a wide range of results.
To be fair to @PacificOceanBlue, I think he's pretty consistent in his criticisms of Elvis' '70's work. It's just his opinion after all (which I happen to agree with from what I've listened to), so I wouldn't take it personally. If you - or anyone else - like it, then great.
It just seems a bit harsh when someone comes in, posts it’s a nice spring-like day and he throws on an Elvis disc that he likes, and you feel the need to chime in and say it’s terrible. I’ll be the first to say that this era isn’t without its challenges but sometimes we just feel like putting on one of these ‘terrible’ releases and get some joy out of listening to it. A little goes a long way with such harsh criticism, and I feel it’s a bit unwarranted in response to someone saying they were listening as it was a nice day out and they liked the disc.
Hello all, I am not trying to gang up on you here @PacificOceanBlue as that is not my style, and I know we had a harsh exchange on @mark winstanley's great Elvis album thread a few days back. I find your posts to be some of the most interesting posts on Elvis that I have read, and you certainly have every right to express your contrarian opinion on Elvis when you have it. My only issue with you has been when you seem to imply that those of us who like or enjoy some of Elvis's alter 70's material or concerts are somehow less informed or have less merit for our reasoning than you have for yours. I respect everyone's different viewpoints and I do not think one is superior to any other. My hope is that you feel the same way about it as well.
Sorry for going off-track here, but I just imported the FTD CD Elvis at the International into my iTunes library. I noticed the times for all the tracks were way off what’s printed on the packaging, and the overall number of tracks is different too. Is this normal? Did they change the track indexing (?) at some point, or has there always been a discrepancy between the track lengths and the packaging?
I think they screwed that one up. One track is listed as "Welcome" but it includes Love Me Tender, which is listed as a separate track. It screws the whole tracklist up.
Coincidentally, I recently picked up a used copy of Elvis At The International and listened to it this afternoon. I love Elvis’s 70s live act and repertoire, but there is something special about the stripped-down, harder rocking sound and repertoire of his 1969 Vegas shows. James Burton was given a little more leeway to cut loose in 1969. Interesting to hear Suspicious Minds live when it was brand new and Elvis was fully engaged with it. On the flip side, Memories most definitely does not rock, but the Sweet Inspirations really elevate this song above the ‘68 Comeback version.
69 was unbelievable for Elvis in Vegas. I feel the same way about 70 but in 70 he was trying a lot of new things. 69 is full of the excitement of a live audience again and packed with hits sung with passion.
One big difference between ‘69 and ‘70, besides the expanded repertoire in ‘70, is that in ‘69 the orchestra hadn’t been fully integrated into the band yet. The 1969 band was more of a straight up rock band.
The funk and soul of Larry Muhoberac’s playing in 1969 was also a considerable difference-maker in Elvis’ Sound.
I don't think Elvis has ever been given enough credit for the way he integrated that great rock 'n' roll band with that great orchestra as well. I call it Elvis's own updated version of Phil Spector's Wall Of Sound, with a little country and gospel thrown in for good measure. International Hotel conductor Bobby Morris begin his career as a drummer, so his arrangements well suited that "straight up rock band" sound that you refered to in your post. Later, conductor Joe Guercio and pianist Glen Hardin would expand the fullness and richness of those arrangements, giving them a sort of Nash/Vegas sound. It was a big and glorious sound and one that singer Tom Petty seemed to appreciate and admire as well, when he was interviewed for The Searcher documentary for HBO.
It's funny, because I often assume I'm pulling a '76 board off the shelf. Then while playing it, I think "no way is this '76 -- it sounds too fresh." That's happened several times. I think I like the relaxed, leisurely pace -- and how both shows start on Love You. You're right, they're definitely not barn-storming -- but it's just a pleasant time. Nice weekend happy hour background music.
Agree with the previous posts, the ‘69 concerts were incredible and the best of Elvis’ later career. ‘70 although excellent wasn’t as good to me personally. Although the ballad songs are fantastic. ‘69 was pure Rock’n’Roll and Elvis didn’t rush through his ‘50s hits like a throwaway in the later years. It’s a shame a tour didn’t happen in ‘61/‘62. The Pearl Harbour concert was brilliant.
How is the Live in Vegas FTD (August 26, 1969 Dinner Show)? I think a few tracks are on the In Person album and the midnight show was released as All Shook Up on FTD. Was it released anywhere else?
A tour in the early 60s would have been great, but, like the Beatles, Elvis (and Scotty and the rest of the band) wouldn’t have had the amplification necessary to make themselves heard over the screams of the crowd. That was certainly the case for their tours in the 50s. Besides catching Elvis at an artistic peak, the 1969 concerts took place at a time when amps and PA systems finally had caught up to the standard that a live rock band needed.
Here’s a great piece that talks about the show and where a few other tracks had been released previously: Review : Live In Vegas : August 26, 1969 Dinner Show FTD CD | Elvis Reviews
Thanks! I’ve been listening to a ton of 1969-1970 Elvis lately, and the 1969 live shows are some of my favorite material.
"Live In Vegas" was arguably the finest mixed and mastered 1969 concert until "Hot August Night" was subsequently released. Vic Anesini did a fantastic job with "Live In Vegas." IIRC, only "My Babe" (from the "Elvis Aron Presley" box set) and Inherit The Wind (from "Collectors Gold") were previously released at the time (in addition to the few tracks from "In Person"). Vic was in the zone having worked on "The Wonder of You" and "Live In Vegas" back to back.
Aww, what the heck, another FTD (Live in Vegas) ordered from Shop Elvis! There's been lots of great discussion on the CD and LP releases. Are there many collectors of the FTD books (with accompanying CDs)? The prices seem steep but the quality seems commensurate. What are the recommended FTD books (in or out of print)?
I’m curious about this as well. The price and scarcity have kept me from ordering any of the FTD books.
You will probably regret asking that question, because a number of the book projects are indispensable. "Flashback" is a wonderful book, mostly photo content from Elvis' 1950's period, with an absolutely fantastic audio companion disc. A number of audio selections were subsequently reissued on other FTD titles, but it remains an incredible, alternate audio set of 1950's era recordings. "Rock Around The Bloch!" is an in-depth look into period surrounding Elvis' 1961 Hawaii benefit concert, and the CD contains a sonically upgraded version of the concert. "Writing For The King" is a superb book containing interviews from many of the songwriters of the songs Elvis recorded throughout his career, with two discs of audio content, one of live recordings, the other songwriters' demos. It is out of print and pricey on secondary markets, but it is a great book. The 1960/1961 books, "Welcome Home Elvis 1960," "From Memphis To Hollywood 1960," and "Memphis To Nashville 1961" are fantastic reads, with entertaining and sometimes enlightening content. Highly recommended. The audio components are less essential, mostly with mono fold downs of early 1960's albums. The "Taking Care of Business - In A Flash" book is a neat glimpse into Elvis' 1970/1971 period, with some interesting content and photos. The bonus disc contains some TTWII undubbed masters and mono mixes, and is highlighted by Elvis' November 11, 1970 concert from Portland, OR. An audience recording, but a very solid show from the era. Many of the other books have great qualities, but these are a few that I consider to be highlights.
