16 of 17 people found the following review helpful
on 14 November 2012
The quality of the package is excellant. The informative booklet is complete with great pictures. The re-mastered sound has produced a genuine improvement in clarity that is definately noticable even to the untrained ear. The Madison Square Garden experience was an event, a peak in a carear of a solo star that has no equal.
There are those would suggest there some that could challenge The King, but in the end there was only one genuine King. The, one that that took the Rock 'n' Roll to mass market, the one that forged the path for popular music (and culture) to be what it became, and the one after all these years is still the one that the fans love and miss above any other. When considering Elvis, everyone should remember he had no "template" to follow, he had to discover the peaks and the troughs and all the difficulties associated with being the ultimate public figure.
This package captures the occaision, the understated warmth of the man and the dynamic and versatile nature of his performance. Who else, could have mix blues, rock, and "For the good times" without it seeming anything other than a natural part of the journey Elvis takes you on. It would seem odd, even bizarre, for example, someone like Meat Loaf after singing "Bat Out Hell" to sing something like "I just called to say I love you". Yet Elvis could switch the between genres of music so effortlessy it is all too easy to not to notice how poles apart some of the material actually is. Is this one of the secrets why this material still sells? As an Elvis fan since 3 years old and now being 42 myself, I know I appreciate the old ballads, much more than I did as 6 year old playing "Blue Suede Shoes" over and over because I loved the energy.
I can't envisage many people remembering the words to any of the current chart entries in 40 years time. But I bet "Heartbeak Hotel", "Suspicous Minds", and all those other familiar classics will still be widely known.
This package is great testiment to the unique achievement what was and is simply "Elvis", the genuine legend so much more powerful than today's short term "celebrities".
If there is a weakness, the gaps in the 8mm fan footage could have been better filled in, but we are really lucky to have the footage considering the concerts were not professionally filmed. A complete visual of "That's All Right" is a treasure, as is the concluding footage of "Suspicious Minds".
I have had these CD's of these concerts dating back to 1989 / 1997, so I know the material, but I think you can tell, I am so pleased I bought this package.
11 of 12 people found the following review helpful
on 14 November 2012
THIS IS ELVIS - What more can you say?
This is a reminder of why Elvis is still the most important thing to happen to music, probably ever! You can compare him to whoever you like, but there is no way this guy is going to be beaten!
This DVD/CD package is so perfect! It is what fans have been waiting for, year after year. Not only for the footage (which is amazing) but for the whole release. We all know and love the hits, but Sony release more of this, please! Combination of the book, the remastered audio and the footage makes it well worth the price tag.
The excitement of the concerts literally pores out of all aspects of the package. That's no exaggeration! Even the book, full of photos and press clippings makes the hairs on your neck stand up.
The concerts themselves are full of so much energy even on Super 8 quality footage! In fact the few minutes captured this way rivals a lot of what was filmed for Elvis on Tour, on pro equipment, for the pure excitement factor.
After watching/listening to the complete package, I felt unbelievable excitement, but also sadness. The press conference especially really highlights the innocence and modesty of Elvis, the real Elvis that by '72 had reached a level of no other performer had achieved, and up to this day, still hasn't.
And I find it such a shame, that here is a man, giving his all on stage, for other people, not seeing himself as anything other than an entertainer that in the end was picked apart by others. Whether you like his music or not, wherever you rate him in music history, you can not argue that this man was a phenomenon.
I recommend this package to anyone; I would be surprised if there is a better product released in the next 18 months.
This is Elvis!
2 of 2 people found the following review helpful
on 11 January 2013
I think this set is likely to be aimed at and bought by the established fan already familiar with these concerts rather than someone discovering Elvis for the first time, and I doubt very much that there are many established fans who don't already own both the original Madison Square Garden release and the Afternoon in the Garden release on CD, and so really, if we're honest, we're all just buying this for the 20 minutes or so of film footage on the DVD.
The cds are worth having though. The first disc is indistinguishable to my ears from the 1997 release of Afternoon in the Garden, although it's apparently been remixed on "modern equipment". Have there really been that many advances in remixing since 1997? If there have, they don't seem to have made much difference.
The second disc is a gem however, and sounds a million times better than the original CD, which always sounded a bit flat to me. This is worth buying on its own and my original MSG CD has "left the building" for the charity shop! Ernst is right in the liner notes - must be played loud!
The third disc is the hook, though, and the first thing most of us will be reachingfor after opening. The documentary is good, and sets the context really well, and is probably a preferable way to see "The Footage" than watching the actual footage, which would involve you staring at a blank screen for most of the concert. I haven't completely checked this, but it seems to me that all or most of the footage is shown in full during the documentary. The interview shows Elvis lucid and engaged, if giving very safe, stock answers that are no doubt designed to be universally acceptable and uncontroversial.
The footage bit itself is a bit bizarrely presented. The audio of the whole show is here but the video footage comes and goes. Its easy to forget you are supposedly "watching" a DVD and you find yourself reading, looking away or doing something else. Its very difficult to watch a blank screen in case a picture comes on and doesn't really make for that enjoyable a viewing experience. I would probably watcb the documentary more than the footage itself.
Overall this is Elvis at the end of what in my view were his peak years of 1968 to 72, and one of the best Elvis concerts available. To my mind the rot had already started to set in by Aloha.
This is a good package worth the money at this price, even if you do have both CDs already, particularly as its only very slightly more than the double disc version. Although I would probably be buying it at a similar price from somewhere else that pays a proper amount of tax!
23 of 26 people found the following review helpful
on 12 November 2012
At this stage in his reborn career, you could forgive Elvis Presley for starting to coast, which is what he did six months' later on the Aloha From Hawaii televised concert.
However, there is a power and intensity in these concerts which is even far removed from Elvis On Tour, filmed in April 1972: it is as if the vibe from his cover of Arthur Alexander's Burning Love had spilled over into this, and that Elvis still had plenty to prove.
Madison Square Garden certainly brought the best out of Elvis, after all it was where the Concert For Bangladesh took place, and also where, in 1969, the live recordings for the Rolling Stones' Get Yer Ya Yas Out took place. Even one of his contemporaries, at the height of his powers, and in his Annus Mirabilis, 1969, Johnny Cash performed an amazing concert in the Garden, which was only issued in 2002.
However, like Vegas in 1956, and New York in 56 too, Elvis didn't exactly go down a storm: he needed to redeem himself. In 1969, he came back with a vengeance in Vegas, performing with a unparalleled intensity, and with a new band. In 1972, he also needed to redeem himself in New York, and he was equally intense, equally on the ball. He opened, not with Ma Rainey's CC Rider, but rather with 1954's That's All Right, Mama, channeling the intensity of that apparently bygone era. He continued both sets with his versions of contemporary rock, i.e John Fogerty's Proud Mary, Hoyt Axton's Never Been To Spain, Dusty Springfield's You Don't Have to Say You Love Me, and You've Lost That Lovin' Feeling. He then truncated Polk Salad Annie, but the bass by Jerry Scheff, was on a par with Duck Dunn's bass on Tony Joe White's live version on That On The Road Look, and Elvis knew, in 1972, that his band could rock just as hard as any other band. However, the pure swampiness of both Annie, and Never Been to Spain, suggest that, as opposed to the maudlin ballads that Elvis preoccupied himself with from 1973 onwards, Elvis would have been better singing material from the pen of Tony Joe White and Bobbie Gentry. The swampy southern rock side really suited Elvis, and he should have done a lot more, having had the perfect opportunity recording in Stax.
After Polk Salad Annie, Elvis decided to do some of his oldies. Unlike the 1974 performances, where he medleyed them, he really went for them with a great intensity. Blue Suede Shoes may have lasted only a minute, but it was a minute of pure intensity. Likewise, Reconsider Baby highlights that James Burton could really play the blues: a fact that Elvis Costello picked up on, when he recorded Eisenhower Blues for King Of America in 1986. You also get Heartbreak Hotel, and a really quick, intense tear through All Shook Up. The only time, however, that Elvis is in any way perfunctory is when he bounces into Teddy Bear / Don't Be Cruel, and you can hardly blame him. After all, the success of Teddy Bear led to Rock A Hula Baby, No Room to Rhumba, and countless other movie songs. It really does show the ensuing emasculation of the great artist, yet Don't be Cruel retains its excellence.
The home stretch shows that Elvis was even turning his hand to show tunes, i.e. Man From La Mancha's Impossible Dream, but that there was an edge to them. He wasn't, yet, the bloated balladeer crooning Softly As I Leave You, Hurt, or The Last Farewell. He still had the quality control on his music, and he had the intensity to turn Impossible Dream into a work that suggested he was still looking for a musical something, a musical hidden gem, and personal quest allied to the hidden wonder of music.
Elvis continued with An American Trilogy, a Romneyesque flag-waver, far-removed from Mickey Newbury's original from the Mabel Joy album. Newbury wrote it from the prospective of Vietnam, street fighting, and as a protest. Elvis saw it as him uniting the states; it was his state of the union, medleying the southern Dixie with the Battle Hymn of The Republic, and the Negro spiritual All My Trials. It became what Elvis envisaged himself to be, without any comments on Vietnam, Mayor Daley, etc. It was Sinatra's House Where I Live In for the 1970s, and the air of the apolitical entertainer. It was also a side-step from If I Can Dream and In The Ghetto to An American Trilogy. One does wonder what would happen if Elvis performed it stripped down a la Newbury, but Elvis probably saw himself as losing income if he criticised the union. I also wonder how, in this instance, Elvis would have approached Robbie Robertson's Night They Drove Old Dixie Down, but it would, probably, just have been a form of entertainment for him,a nd not a protest.
The country-esque approach continues with Funny How Time Slips Away and I Can't Stop Loving You. Elvis would have heard Willie Nelson, pre outlaw, pre marijuana, performing this bluesy country ballad. He may have been familiar with Bobby Hinton's version, and with Jerry Lee Lewis on Country Songs for City Folks, Again, the intensity remains undimmed, yet Elvis is also good-humoured. His work on I Can't Stop Loving You is radically different to Ray Charles's country meets blues version, with a neat false ending. Bob Dylan borrowed the Presley false-ending on Peggy Day on Nashville Skyline, but here Elvis takes it back wonderfully.
Both concerts close with Can't Help Falling In Love, which was the usual concluding track. You may ask which concert was my favourite. I would state the Afternoon concert, as it is intense yet looser. However, where did it all go wrong ? In six months, Elvis's perceived peak was Aloha From Hawaii, yet Aloha was an unstructured ballad heavy mess in my opinion. Elvis knew, at this concert, how to structure his shows, and wasn't going through the motions.
The drugs certainly took a hold from 1973 onwards, and concerts became extremely hit or miss affairs. Stories abound of unfocussed 40 minute karate demonstrations, of rants about being strung-out, of Suspicious Minds performed to the tune of What Now My Love, and of the same old songs being churned out as if they were live equivalents of the movie soundtracks. It just seems, on the basis of the two CDs and DVD contained herein, an horrendous shame that Elvis, himself, was caught in a trap from which he couldn't walk out.