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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 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 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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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!
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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 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 6 November 2013
Ok so the DVD doesn't contain the whole show,but if that's all there is then that's all there is.This release is fantastic the concert itself sounds 100 times better than the original vinyl and that's because the songs are at the correct speed.On the original 1972 release col parker had them sped up a notch so they would fit on one LP.Elvis is in good voice and he interacts with the crowd especially before a bluesy Hound Dog.I personally prefer the afternoon show where he sings I'll Remember You and a rare Reconsider Baby.As another reviewer has said buy the deluxe version they won't be around for ever.
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on 28 June 2015
Fantastic box set of one of Elvis iconic performances. Beautifully presented a real must have for all Elvis fans. After all these years Elvis is still making other people rich on the back of his astounding talent. I'm certainly not complaining just making an observation!!!!!
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on 16 November 2012
I bought the LP in 1972 and many years later the cd's. Back in 72 I certainly had no complaint with the performance as Elvis looked great and sang with much gusto. The only reservation I had 40 years ago and still have today is the evening show does seem a bit rushed. Indeed it is only on side 2 of the LP (ie from the Impossible Dream onwards) that the quality in the Presley vocals become manifest. Trilogy here is far better than the Aloha version in 73 and overall Elvis' vocals show little sign of the tremelo that became very evident on the Aloha concert. The Press Conference is priceless and just look at the expression on Elvis' face after hearing the Colonel's attempt to explain why the New York City shows weren't included in the On Tour filming. Despite what I have just written "That's All Right" is probably the best post 1950's live version I have heard. For £14 you can hardly go wrong.
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