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Customer Reviews

4.6 out of 5 stars
4.6 out of 5 stars
Format: Audio CD|Change
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on 17 November 2012
This fantastic package proves once and for all who the Greatest Entertainer of All-Time is. Elvis is in top form vocally, physically and mentally - he has never sounded better. The audience reaction is amazing - I have never heard anything like it. You can feel his unparalleled charisma!! The newly found footage which accompanies this release is great and shows Elvis singing some of the tracks whilst doing only what he can including some great karate displays. Two of Elvis' 4 Sold-Out Madison Square Garden concerts are featured and they have recently been remixed by top recording engineer, Michael Brauer. They are far better than the original recordings and make you feel that you are actually sitting in the audience.

This is a MUST purchase for anyone interested in hearing what it was like to attend an Elvis Performance in 1972. There is also a great booklet incorporated in the package with photographs of Elvis and the history of how the concerts came about. There are also interviews with band members and others who winessed the concerts.

Elvis was truly a force of nature and his like will never be seen again. Truly 'sui generis'.
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on 10 June 2017
Arrived early no problems fantastic album from the king love it
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on 12 November 2012
Prince From Another Planet is a totally new and brilliant listening experience for these historic concerts from New York's Madison Square Gardens in 1972, which incredibly marked Elvis' first and only concerts in the City. The sound mix is absolutely fantastic giving the listener the feeling of what it would have been like being in the fourth row - for me the first afternoon show is by far the best with Elvis and the TCB band giving a much looser performance than the evening concert which was the one released at the time. From the opening adrenalin blast of Sprach Zarathustra leading into the thundering drums as Elvis takes to the stage before lunching into "That's All Right Mama" the sound is just earth shattering and Elvis' voice rarely sounded better. As live concerts these have to surely rank alongside the very best that any other acclaimed live concert recordings by any other artist could match and one is left in no doubt as to why Elvis was the greatest and most charismatic performer around then or now! The Deluxe Version is beautifully packaged with a lovely and stylish 48-page booklet putting the concerts into their historic context plus a bonus DVD with short-documentary and pre-show press conference as well as unseen 8mm footage of the afternoon show inter-cut with full audio. While the latter is great to have I would have liked a still image or slide-show when the footage stops and the audio continues until the footage reappears , however this is a minor issue. For the amazing price of the Deluxe Version it would be totally pointless not buying it in favour of the double disc. Deluxe editions normally cost an arm and a leg this is simply amazing value.
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TOP 1000 REVIEWERon 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.
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on 16 November 2012
This is one the best Elvis releases. The complete package. Wonderful unseen concert footage, two CDs giving us best quality recording of an Elvis concert ever. Turn it up loud, close your eyes and your there.

It so well mixed that if you were third trumpet in the orchestra you would hear yourself.

Every Elvis fan should own this package, BUY IT NOW

Mike Davis
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on 3 February 2013
Cd was ok but DVD disappointing as the footage of concert kept disappearing. I would not recommend this item
because of this. I will still keep this as I collect Elvis mementoes.
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on 16 August 2013
This was eagerly awaited to be sure. The news that film clips were now available was stunning and of course gives a whole new lease of life to a product over thirty-years old.

Imaginatively packaged with an appropriate homage to the original packaging I slightly regretted the storage of the discs in little cardboard envelopes. DVD box sets generally manage this better and frankly one of those packaging systems would not only be better but also protect the discs better.

The clips are tantalising because 8mm film reels were so short back then. The quality is of course grainier than we are used to on TV now but not poor for the era - especially as most cine film readily available was not especially geared for use in low light. This production has been synced to the vocals in a way that would not have been possible once and that makes for amazing authenticity. Shivers down the spine seeing Elvis live for the first time decades after he has died!

The percentage of visual footage to concert is low and perhaps the black screen inbetween was not the best idea but this is a minor quibble. The sound is good although my equipment is not high-end spec where that opinion may be challenged.

The extras are useful if slightly wasted - a lot of people saying Elvis was a legend/entertainer/star/performer adds little to our sum of knowledge. Like many i have seen the stills from the press conference, itself a major event since Elvis did very few, but these clips (for it is not the entire event) show the incredible amateurishness of either Elvis' organisation or the media. From the unalloyed corn of introducing Vernon Presley "who has a friend coming out", to the fact Elvis cannot see one questioner so bobs up and down in his seat to see him (slightly sending it up but still showing poor arrangements) it reeks of amateur hour and you feel sorry for Elvis having to do it.

So what of the show? Well we have all heard the album. I vary from some who say Elvis' shows dipped from "Aloha" Aloha from Hawaii via Satellite (Legacy Edition)he was already coasting in terms of performance. The arrival on stage shows the enormous charisma of the man but also reveals he knows he doesnt have to work at it any more - literally standing there with the cape on display and the huge smile. The later clips of the performance show stylised poses and little evidence of the coherent performance oputting across songs that was clear in "That's the way it is".

However the songs show Elvis still on top of his game. Varied in tempo and genre, with vocals still conveying the lyrical ethos Elvis showcases the wide range of his influences and ability to deliver. Of course being Elvis he puts his imprimateur on the material ("An American Trilogy as done by Newbury was almost a rejection of the American way but Elvis treats it as he did the single - which blew Newbury's away in the charts - a huge celebration of America and the American way). Why not? Elvis was the American dream - from dirt-poor to millionaire celebrity.

Was I disappointed? No way! You can niggle - and boy everyone has an opinion but few try and implement them - and I have myself; however get with the programme! How many other artists get this sort of treatment after a death longer than their career. It took me back to buying the LP on a wet rainy day in Boots at Bracknell and going home to my box-room bedroom in suburbia and knowing that somewhere out there Elvis was making life fun. It inspired me then to believe, it still does now and is worth every penny.
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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!
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on 18 November 2012
elvis,prince from another planet,being a massave Elvis fan from childhood when i saw this i just had to have it,mainly for the dvd,but i have got to say i was slightly disapointed,yes the footage is great to have in better quality but far to many blank spots,theres a lot more fans with more footage from other angles and from the other shows,even other production companies,i have dvds of the other shows on dvd in grainy 8mm quality,so there is more material out there,just a pity it wasnt used,but saying that i still give it 4 stars,any new material with Elvis is a bonus
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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.
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