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Author Topic: Elvis Presley - 50th anniversary Comeback Special  (Read 11314 times)
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« Reply #150 on: July 17, 2018, 01:58:28 PM »

Here's a trailer for the '68 event:


https://youtu.be/R2Vl_Je_1OQ
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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #151 on: July 29, 2018, 09:54:20 AM »

At an Graceland auction an acetate turned up, featuring Elvis' recording of "I'm left, you're right, she's gone", including a previously unknown false start.

Here's the audio:

https://www.youtube.com/watch?v=baFEPiFPc1A


And here is the link to the auction:

http://auction.graceland.com/1955_Sun_Records_Acetate_Pair_for_Elvis_Presley_s_-LOT3368.aspx
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #152 on: August 03, 2018, 12:05:35 PM »

Revisiting Elvis Presley’s ’68 Comeback Special With Its Director
Filmmaker Steve Binder looks back, as the concert film makes its way into theaters for a special re-release




https://www.rollingstone.com/music/music-news/revisiting-elvis-presleys-68-comeback-special-with-its-director-706220/
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #153 on: August 10, 2018, 02:48:17 AM »

Elvis Week Celebrates the 50th Anniversary of the "'68 Comeback Special"

https://www.memphisflyer.com/memphis/elvis-week-celebrates-the-50th-anniversary-of-the-68-comeback-special/Content?oid=15051582



Here's a thought exercise. As rock-and-roll fans descend on Graceland for the double celebration of Elvis Week 2018 and the 50th Anniversary of Elvis' "'68 Comeback" TV special, try to imagine what Memphis might be like today had Singer Presents ... Elvis (as the career-defining NBC special was officially named) been a wholesome Christmas variety show instead of the juggernaut rock and gospel performance that it was. Imagine if Presley's manipulative manager, Colonel Tom Parker, had gotten his way: There would have been no iconic black leather suit. There would have been no gospel medley backed by Darlene Love and the Blossoms. And no reunion of Elvis and his original Sun Studio guitarist, Scotty Moore and drummer DJ Fontana.


 If the Colonel had gotten the TV special of his dreams, the alleged King of Rock-and-Roll would have crooned his way through seasonal favorites like "I'll Be Home for Christmas" and an old Frankie Laine song called "I Believe."

"To this day, I don't know why he thought 'I Believe' was a Christmas song because it's not," says the show's producer/director Steve Binder, in recounting his first awkward encounter with Parker.

Binder had been a logical pick to handle Elvis' return to TV, having helmed the landmark The T.A.M.I. Show, a 1964 rock and soul concert film with a dozen emerging British and American acts, including The Rolling Stones, James Brown, The Supremes, The Beach Boys, and Marvin Gaye.


 Still, credentials aside, the young director had to make a good impression on ths Colonel. Otherwise the manipulative Parker wouldn't permit a private one-on-one meeting with Elvis.

"I truck out to MGM Studios, where Elvis had just finished a movie, and where the Colonel's offices were," Binder told the Flyer in a recent telephone interview. "And the Colonel hands me a quarter-inch audio tape of 20 Christmas songs that Elvis had recorded and sent out as a gift to disc jockeys all over America as a present. It's got a picture of Elvis surrounded by holly and berries. He told me, 'This is the show that NBC and myself have decided on.'"

Binder had other ideas.


 "In my head, instantly, I knew this was a show I'm not going to do," he says. "So I wrote off the meeting. Drove back to my offices on Sunset."

By the time Binder arrived back at an office he shared with his partner, music producer Bones Howe, there was a surprise message waiting for him: "Elvis is going to be in your office tomorrow at 4 p.m."

"If you're looking for trouble, just look right in my face," Presley snarls in the tight opening shot of Singer Presents ... . And it's not like the audience watching at home ever had any real choice in the matter, since the singer's famously sullen mug is framed in an extreme close-up, floating in pitch black background with just a splash of red at his throat.


 This is nobody's Christmas show; it's Elvis daring fans and critics alike to judge him — to gaze into the bright, blue, bedroom eyes of a massively disruptive artist from the previous decade, and determine whether or not he was still the rebel rocker from Memphis, or if he'd become Hollywood's toothless Teddy bear, cranking out another round of cheap, non-threatening product.

You'd never know it to look at him, as the camera pulled back and the tune changed from Jerry Leiber & Mike Stoller's "Evil" to Jerry Reed's "Guitar Man," but nobody wanted to know the answer to this question more than Elvis.

"What if it fails?" Elvis asked Binder during the first closed-door meeting with his new director. Money for making Elvis movies was drying up, and the special had only come about in the first place as part of a deal the Colonel had struck with NBC while seeking backers to make more.   


 "If it fails, your career is over," Binder answered, bluntly. "Nobody will forget the success you had in your early recording career and your movies, but TV is instant. The minute you appear on TV, everybody has an opinion the next morning. If you're successful, all the doors will open and you'll have any choice you want. But it's a gamble, and I can't promise you it's going to be successful."

Presley distrusted TV. The medium had burned him in the past, abetting the moral panic that followed rock-and-roll's big bang in the 1950s. But he was also frustrated in his role as King of B Musicals. He trusted Binder's unvarnished answer and felt comfortable in the director's office. Gold records on the wall, from Howe's work with groups like The 5th Dimension and The Association, made Elvis feel comfortable enough to drop an unsurprising confession. "The recording studio's my turf," he told Binder, allowing that he'd always felt more at home behind a microphone than in front of a movie camera.

"You make a record," Binder said. "I'll put pictures to it." 

Elvis had one personal request. He wanted to put "These Boots Are Made for Walking" arranger and session guitarist Billy Strange in charge of the special's music. Binder agreed instantly.

"This was really the first thing Elvis did outside the womb," Binder says, explaining why he didn't hesitate in regard to his star's one major request. "[Elvis] joined our world instead of me joining his."

There was one small problem with Elvis' first choice though. Strange was working on an album with Nancy Sinatra, and the studio was pressuring him to complete it as fast as possible. When, after several prompts, the over-extended Strange still failed to deliver Elvis' lead sheets in time to start rehearsals, Binder fired him.

"You can't fire me," Strange told Binder. "I've known Elvis a lot better and for a lot longer than you."

"Fine," Binder answered. "Then I'll be gone and you'll be there. But one of us is not going to be there."

Colonel Tom backed the original plan and said Elvis wouldn't show up for rehearsal if Strange wasn't there. Nevertheless, Binder moved forward, convincing New York composer/conductor Billy Goldenberg to take over.

"That changed Elvis' musical life, period," Binder says. Before that, Elvis had never sung live with an orchestra before. He'd go into the studio to record movie soundtracks with his rhythm section only. Then, additional musicians would be brought in to overdub all the parts.

"He loved every note he heard, and he bonded with all the musicians," says Binder, who hired Phil Spector's favorite studio musicians, the Wrecking Crew, and brought in The T.A.M.I. Show and Shindig alums the Blossoms to sing backup.

Blossoms singer and Rock-and-Roll Hall of Fame inductee Darlene Love remembers meeting Elvis in the recording studio. "That's where we met Elvis and became friends with him," she told the Flyer. "Especially me because of my gospel background."

During spare moments, Elvis, who'd already cut a pair of acclaimed gospel albums (How Great Thou Art and His Hand in Mine) grabbed his guitar and asked the Blossoms what their favorite sacred songs were.

"We'd be over in the corner with Elvis just having a good time, and I think sometimes everybody got a little bit angry with us for taking all of his time," Love says. "He loved what he called 'the hymns of the church.' Songs like 'Precious Lord Take My Hand' and 'Amazing Grace' and 'How Great Thou Art.' He would sing the leads and we'd do the background. He would ask us, 'Is this key all right?' And you know, whatever key it was in was all right with us."

Binder was fascinated with the Elvis he saw backstage, singing with the Blossoms or casually jamming in his dressing room with friends.

"I said to myself, instantly, this is better than all the big production numbers we're doing on stage," Binder recalls. "We've got to get a camera in there."

But the Colonel, still expecting "I'll Be Home for Christmas" to show up in the set, inserted himself again. He wouldn't allow cameras into the dressing room under any circumstances.

"It was insane," Binder says. "This was the magic! I knew if we were putting out a disc, this is the one that would go platinum. So I just kept pounding the Colonel and hounding him every day. And finally he broke down. I don't think he was happy that he did it. But he said, 'Okay, Bindel [sic], if you want to recreate it on stage, you can try that. But I won't guarantee it'll get into the show.'"

"I don't think they realized that part was going to be so big," Love says of the musical improv reuniting Elvis with Moore and Fontana on numbers like "That's All Right Mama."

When Singer Presents ... first aired in 1968, it was an hour special cut down to about 48 minutes for commercials. Ratings were gigantic. "It was the first time, in primetime, that one guy did the whole show himself without guest stars," Binder says.

Though he still had a few feature films left in him, Singer Presents ... marked Elvis' transition away from Hollywood and a return to his roots, touring and recording. He'd take lessons learned from the TV special on the road with him, all the way to Vegas.

When Elvis died in Memphis in 1977, NBC decided to produce a tribute show with Viva Las Vegas co-star Ann-Margret hosting. “They sent a gopher down to the studio catacombs to track down the Elvis Presley special,” Binder says. In a twist of fate, the guy who went down to the basement pulled Binder’s 90-minute director’s cut version off-the-shelf. “That’s when they started airing the 90-minute version,” he says. “A lot depended on luck and fate. I couldn’t be happier.”

Recently, there was a loud buzz about the Elvis era finally drawing to a close. Las Vegas was losing interest. First-generation fans were dying, changing the market, as rare collectables became less rare. The Sun Records television series failed to earn a second season. But 2018 brought a pair of critically acclaimed documentaries — HBO's exhaustive two-part The Searcher, and Eugene Jarecki's identity-obsessed The King. And between its fancy new facilities and the most ambitious Elvis Week schedule in the event's history, Graceland also seems to be ready for another closeup, daring us all to look Presley in the eye one more time.

Binder, Billy Goldenstein, Darlene Love, and other artists connected to the "Comeback Special" are coming to Memphis to participate in Elvis week events at Graceland.




To read the full interviews with Steve Binder, Darlene Love, and Elvis friend and country hitmaker T.G. Sheppard, see Memphisflyer.com.
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


PRO SHOT BEACH BOYS CONCERTS - LIST


To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #154 on: August 16, 2018, 12:45:25 AM »

It's the 16th so I just wanted to give you a reminder that today a new edit (I believe) of the '68 Comeback Special will be shown in cinemas.


One Night ('68 Comeback) - https://www.youtube.com/watch?v=XI_DaBGjQNA


EDIT:

And this was just posted on youtube:

Elvis Presley - If I Can Dream (68 Comeback Special - 50th Anniversary HD Remaster)

https://www.youtube.com/watch?v=u-pP_dCenJA
« Last Edit: August 16, 2018, 01:24:53 AM by Rocker » Logged

a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #155 on: August 16, 2018, 04:12:53 AM »

Yep, got the tickets and we're excited about seeing Elvis on the big screen tonight!
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« Reply #156 on: August 16, 2018, 04:18:28 AM »

I hope you enjoy it! Let us know what you think
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #157 on: Yesterday at 04:11:46 AM »

Elvis: '68 Comeback Special review – the King continues to enchant
Fifty years on, this made-for-TV special feels weirdly old and new at the same time

https://www.theguardian.com/film/2018/aug/15/elvis-1968-comeback-special-review-film-concert
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #158 on: Yesterday at 06:24:35 AM »

We thoroughly enjoyed this.
The theater audience was at least 80 percent female, and they really got into it. The number that got the most response was "Trying to Get to You," we ladies were going crazy lol.
 singing was great, as were the choreography and karate chops. Don't know how Elvis could have looked better .
This is scheduled to be shown again in US theaters (and others?) next Monday. I highly recommend it. The show lasts 1 hour 45 minutes. There is an intro featuring director Binder and Priscilla Presley, followed by the broadcast, then some funny outtakes.
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« Reply #159 on: Yesterday at 12:10:54 PM »

Thanks for your report  Wink I'm glad you enjoyed it.
Yeah, "Tryin' to get to you" is a killer performance. I really couldn't decide which performance of that song is my favirte, the '68 special version or the one from the '74 live album (in Memphis). The sit down shows are fantastic anyway. In fact the only parts of the comeback special (and the unused footage) that I don't care very much for are the two stand-up shows. Those big band arrangements sound terrible to my ears. There are a couple of cool performances but most of it is not as good as it could have been imo.
I guess I'll watch one of the sit down shows later today on DVD  Cheesy
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #160 on: Yesterday at 07:51:37 PM »

Thanks for your report  Wink I'm glad you enjoyed it.
Yeah, "Tryin' to get to you" is a killer performance. I really couldn't decide which performance of that song is my favirte, the '68 special version or the one from the '74 live album (in Memphis). The sit down shows are fantastic anyway. In fact the only parts of the comeback special (and the unused footage) that I don't care very much for are the two stand-up shows. Those big band arrangements sound terrible to my ears. There are a couple of cool performances but most of it is not as good as it could have been imo.
I guess I'll watch one of the sit down shows later today on DVD  Cheesy
Those sit down shows are rock and roll at its primal best. One day, I walked into my local bank, and they were playing it on the in-house monitors. I've seen it dozens of times, but still couldn't take my eyes - and ears - off it.
Even in 77, Elvis sang Trying to Get to You great. Seemed to have been one of the few early songs he never lost his passion for.
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« Reply #161 on: Today at 12:22:08 PM »

Thanks for your report  Wink I'm glad you enjoyed it.
Yeah, "Tryin' to get to you" is a killer performance. I really couldn't decide which performance of that song is my favirte, the '68 special version or the one from the '74 live album (in Memphis). The sit down shows are fantastic anyway. In fact the only parts of the comeback special (and the unused footage) that I don't care very much for are the two stand-up shows. Those big band arrangements sound terrible to my ears. There are a couple of cool performances but most of it is not as good as it could have been imo.
I guess I'll watch one of the sit down shows later today on DVD  Cheesy
Those sit down shows are rock and roll at its primal best. One day, I walked into my local bank, and they were playing it on the in-house monitors. I've seen it dozens of times, but still couldn't take my eyes - and ears - off it.
Even in 77, Elvis sang Trying to Get to You great. Seemed to have been one of the few early songs he never lost his passion for.


Yes, I remember hearing a live recording from ca. '75 where he introduces the song as one of his favorites. I believe it is on a FTD CD....




Anyway, "The Searcher" will be released on DVD:


Sony Bringing Documentary ‘Elvis Presley: The Searcher’ to Disc Oct. 16

https://www.mediaplaynews.com/sony-bringing-documentary-elvis-presley-the-searcher-to-disc-oct-16/


Well, I really liked the movie and still think it is a great documentary on Elvis. But the extras on the DVD (including the special edition) are disappointing. Why not use all the unreleased footage the producers acquired?
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


PRO SHOT BEACH BOYS CONCERTS - LIST


To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

- Jack Rieley
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