Interview with Elvis Presley + Review of Elvis in concert July 31, 1969

This is the review of Elvis' first concert at the International Hotel on July 31, 1969.

It was written by Ray Connelly and originally published in the London Evening Standard August 2, 1969. Included with the review is an exciting interview with The King, again by Ray Connelly.

Review of Elvis In Concert - July 31, 1969

For a reputed fee of £225,000 the god of rock and roll returned to the

stage in a blaze of advertising at the brand new International Hotel in this hot and lunatic town of Las Vegas. I've already seen the show three times and I can tell you he is sensational - better than any of us could ever have im

agined.

Elvis Presley July 31, 1969 International Hotel, Las Vegas

Twice nightly for 28 days he will be appearing for the rich and their womenfolk. 'It is, 'he says, 'the most exciting thing

I've done in years'. But it was th

e first appearance on the first night that had all the drama.

He was out of this world, better by far than I - always the greatest Presley fan in world - could possibly have hoped for, and a lesson in himself to the entertainment media of our generation.

For a full hour he wor

ked and sweated, gyr

ated and shuddered, warbled and sang, and grunted and groaned his way through 20 songs. It was a sensational comeback.

Looking as slim as a ramrod, and not a day over 23 (he's actually 34 now), he ambled back on to the stage after a n

ine year absence l

ike a sheepish young lad going to meet his girl friend's parents for the first time. Hardly daring to look or acknowledge the audience,which was composed mainly of over-30's, since young people could never normally afford the price, h

e went straight into Blue Suede Shoes, and had completed I Got A Women and That's All Right Mama before finding it necessary to begin any chatting.

For over an hour he flogged himself to n

ear exhaustion moving wildly and sexily around the stage all the time, and now and again reaching for a handkerchief or a glove from the ecstatic and many-splendoured ladies in the front row. Although his early fans are grown up and mothers themselves now, Elvis has remained the boy from the South - awkward, shy, full of evil promise and a dynamic performer.

As backing, a group of girl

singers, the Sweet Inspirations, joined with the Imperials to add strength to an outstanding six-man group on electric piano, drums, bass and three guitars.

Elvis Presley 1969 International Hotel, Las Vegas

The balancing of combo was perfect, and there was little need for the full 30-piece orchestra which helped out occasionally on some of the ballads like Love Me Tender and Can't Help Falling In Love (With You) and Yesterday.

It is difficult to describe the exact ap

peal of the man. True he is a great and rhythmic singer, but there's something more. His perfect looks and style add a charisma that is magnetic.

Having seen his show it is easier now to understand how became the legend that he is in pop music.

Surprisingly the biggest applause of the n

ight, and it was generous always, came of a brand-new song called Suspicious Minds - his next record and almost certainly 51st million seller.

While his act is co

ncentrated mainly on a selection of his own many hits he also found time to include some great versions of Ray Charles's I Can't Stop Loving You and Chuck Berry's Johnny B. Goode.

It was indeed a m

emorable night. The night when Elvis Presley, the founder of much of modern day pop music, discovered that he is still one of greatest performers and went back to doing what he always did best.

Interview with Elvis Presley - July 31, 1969

Getting to intervie

w Elvis was a much m

ore complex task than getting to see him - since the International Hotel anxious for lots of publicity during its first few weeks of business was being particularly generous to journalists who had flocked from all parts of world to see if Presley was as exciting as his memory.

Immediately after hi

s first show he gave a Press conference, guarded carefully by the Colonel, and during which he was only once thrown when someone asked him why he always dyed his hair ('I guess it's something I've always done . . . I guess', he said). But after three days and nights of refusing to let me see his star, the Colonel finally changed his mind (as I'd been told he would) and gave

me five minutes to ge

t ready.

We were in between shows and suddenly I was ushered backstage past the guards and into his dressing room. I'd ha

ve to make it quick, said the Colonel. An hour later I was back in my room telephoning this article over for the first edition of my paper the following morning.

Elvis Presley 1969 - Backstage The International Hotel, Las Vegas

'Sometimes when I walk into a room at home and see all those gold records hanging around the walls I think t

hey must belong to another person. Not me. I ju

st can't believe it's me' - Elvis Presley.

This is the legend himself talking. The man who virtually started the rock and roll group as we know it today. The man who changed the course of pop music, and in so doing helped to change the course of social history.

Because that, and exactly that, has been the influence of Elvis Presley - the boy from Tupelo, Mississippi, who has probably had more hit records than anyone else in the world. (At the last count it was well

over 70 - with 50 of those selling more than a million copies.)

Getting through to Presley is practically impossible. security guards with guns and walkie-talkie sets shadow him day and night, and it took an interminable amount dealing with his extremely canny manager, Colonel Tom Parker, to be given the VIP treatment and meet the man they created into a lege

nd.

And when one gets through how does one speak to a legend?

Elvis Presley 1969 - Backstage The International Hotel, Las Vegas

He's sprawling on a red Spanish settee in the sitting room of his back-stage suite, sipping a soft drink from

a bottle. The walls are plastered with telegrams (including one from the Beatles).

He's wearing the black karate-style suit designed for his season at the hotel, and his hair, dyed pitch-black as always, is swept back off his face in the style he created 14 years ago. His sideboards are now very long and spiked again, and are also jet-black.

He is incredibly handsome, with possibly the best film profile since Rudolph Valentino. Fittingly enough, he would pass for a stereotyped Las Vegas gambler in a movie. But, he says, he never gambles himself.

Still the Southern gentleman, he rises to greet me with an almost athletic enthusiasm, then rubs his great wide rings which are virtually clustered with diamonds against a silver wrist bracelet bearing his name. he looks ever so slightly nervous. The room is scattered with aides and friends. There are no women present. Priscilla Presley, the Memphis girl Elvis married two years ago, is up in the 30th floor penthouse suite. Baby Lisa, 18 months old, is at one of their homes in California.

The Colonel watches his creation like a benign mother, only interrupting when money arises. There is a story, it may be a myth, that says he takes 50 per cent of what Elvis earns. If that is true, he must be a multi-multi-millionaire by now and worth every penny of it to Presley.

'We didn't decide to come back here for the money, I'll tell you that', laughed Elvis, at such an absurd prospect, for after all, what's another £225,000 to him? 'I've always wanted to perform on the stage again for the last nine years, and it's been building up inside of me since 1965 until the strain became intolerable. I got all hyped up about it, and I don't think I could have left it much longer'. 'The time is just right. The money - I have no idea at all about that. I just don't want to know. You can stuff it'.

He laughs, and throws his head back, showing all those perfectly-kept teeth, and striking me with the smallness of his eyes and the exaggerated length of his eyelashes.

'Can we just say this', says the Colonel, all homespun, folksy humour. 'The Colonel has nothing to do with Mr. Presley's finances. That's all done for him by his father, Mr. Vernon Presley, and his accountant'.

Mr. Presley, Snr., a fatter and greyer version of his son, if ever saw one, nods at the formal third person way of speaking and takes another beer from the bar. 'He can flush all his money away if he wants to. I won't care', the Colonel adds. the humour easy, and good-natured - country style, if you like.

'We've now completed all the deals I made when I came out of the army in 1960', he says, almost apologetically. 'And from now on, I'm going to play more serious parts and make fewer films.

'I wouldn't be being honest with you if I said I wasn't ashamed of some of the movies, and the songs I've had to sing in them. I would like to say they were good, but I can't. I've been extremely unhappy with that side of my career for some time. But how can you find 12 good songs for every film when you're making three films a year? I knew a lot of them were bad songs and they used to bother the heck out of me.

But I had to do them. They fitted the situation'.

'I get more pleasure out of performing to an audience like tonight, than any of the film songs have given me. How can you enjoy it when you have to sing songs to the guy you've just punched up?'

And there's more laughter - the black calf-high cowboy boots he wears being swiveled up and around on to the table in front of him. 'How do you combine marriage and show business?' I asked. He pauses and smiles: 'Very carefully - just very carefully'. 'Did your wife object to you returning to being a sex symbol?'

'No. We plan a big family. When you're married you become aware of realities.

Becoming a father made me realise a great deal more about life'.

But marriage hadn't reduced the sexiness of his act. His left knee still trembles when he sings, his guitar still becomes a sort of phallic tommy-gun, while with the microphone he appears to simulate an act of rape.

And then there are his off-the-cuff on-stage comments which are full of ambiguities.

'Don't pull my cord, lady', he asks, as a fan reaches for the microphone lead.

On the first night of his performance a woman in the audience began stripping, overcome by the excitement.

Another took off her panties to mop the sweat from his brow.

He gratefully accepted them, his face in the frills and tossed them back. After the show young women climbed up on to stage to neck with their idol as the curtains fell.

It was this threat of sexuality which 14 years ago prompted clergymen to call for his banning and imprisonment, and won him title of Elvis the Pelvis. In those days his hip-jerking was considered total obscenity. His clothes were of gold, like his Cadillacs, and his image was one of unchained anti-respectful youth.

If you want to go any way at all towards understanding the music and corresponding sub-cultures of the under-30s, you have to know about Elvis Presley. He was the beginning of the rock generation. And after the startling impact he made in 1956, nothing could ever be the same again.

In England the fans have been particularly avid. 'I don't know why they've been so loyal', he says. 'They've really been fantastic to me. I still can't believe all the letters that come in after all this time'.

'I know I've been saying for years that I must visit Britain, and I will, I promise. But at the moment there are personal reasons why I can't. I shall be doing more shows in America now, though. I'm very satisfied with the reaction I've had here. It's been tremendously satisfying. That's what the business is all about for me. There will be films, too, but of a more serious nature. And I'll be making another television show for NBC'.

He's thinner now than he's been for years and the workout he does every night on stage is bringing his weight down even more. He looks like a man in his early twenties.

'I don't understand it', he said, in his slow deep drawl. 'People keep telling me I look young. I don't know how I do it, either. I got very heavy at one time when I was in all those movies, but I lose it quickly, you know'.

He is unbelievably friendly and unaffected. Once the barrier is broken down you won't find a legend, just an ordinary, helpful, warm and co-operative young man. He tries hard to answer the questions, but is floored when I asked him to name someone he'd rather be.

'I can't', he says.

He's also a shy man. He has few friends in show business - Tom Jones being the closest to him by a mile.

'I guess I'm just a boy from the South and I've never been connected with show people.

I have my own friends'.

But he remembers well the meeting he had with the Beatles during Beatle mania, and particularly their road manager, Mal Evans. 'I've recorded Hey Jude', he says. 'They're are so interesting and so experimental. But I liked them particularly when they used to sing She Was Just Seventeen. You Know What I Mean' - and he sings, and plays an imaginary guitar, Lennon-style.

'Did you see the telegram they sent me?' You can see Elvis Presley is very proud.

The pop world has changed overnight with the reappearance of the man they know the King. Mark my words - He's going to be immense all over again'.

By Ray Connelly and originally published in the London Evening Standard August the 2. 1969

Elvis: Vegas '69 - 200 page hardback book

Elvis: Vegas '69

Elvis: Vegas '69 a new 200-page hardback book, packed with over 150 stunning full color and B&W images, that commemorates the 40th anniversary of Elvis' historic return to live performance is to released. Written by Ken Sharp, author of the critically acclaimed FTD book, Writing For The King, the book tells the remarkable story of Elvis' return to the concert stage told through first-hand accounts by those lucky enough to be on hand to witness Elvis' miraculous artistic and creative rebirth.

Culling 100 new interviews, the 60,000 word text offers a gripping account of this seminal event told by the people who were there including Priscilla Presley, Elvis' TCB bandmates, the Sweet Inspirations, the Imperials, the Memphis Mafia, celebrities in attendance, International hotel personnel including owner Kirk Kerkorian, hotel President Alex Shoofey, publicity and showroom staff, security, international media and much more.

Learn the backstory behind what led to Elvis' triumphant return to live performance. You'll go behind closed doors with Elvis and the band in pre-show rehearsals and revel in the excitement and anticipation of opening night. We'll also exhaustively chronicle the opening show on July 31, 1969 through the eyes of the people that were there, press conference, after show celebration and more.

Packed with over 150 stunning full color and B&W images, many culled from the Graceland archives, vintage Vegas/Elvis concert memorabilia, a '69 show index and much more, the book will transport the reader back to the Strip for one of the most electrifying moments in Elvis' monumental career.

Join us for a front row seat ...

Elvis : Vegas '69 -- July 31, 1969 marks a historic milestone in Elvis' career. Bolstered by the runaway success of the '68 Comeback show and energized by productive recording sessions at American Sound Studios, which would spawn such timeless hits as 'Suspicious Minds', In The Ghetto' and 'Don't Cry Daddy', Elvis launched his return to live performance at Las Vegas's International Hotel in the summer of 1969.

Due for release in August.

Elvis 75th Birthday Collection

Love him tender? This collection has a few films that fit the bill. Twentieth Century Fox Home Entertainment and MGM Home Entertainment announced the "Elvis 75th Birthday Collection," arriving on DVD on June 1, "just in time for Father's Day."

Well, I'm not sure that Elvis ranks high on a lot of dads' lists, but this seven-movie set is bargain-priced and it gives newcomers to Elvis a good idea of The King's films and the way he was marketed.

Like historical/period films and the chip-on-his-shoulder Elvis? Included in this set is "Love Me Tender" (1956), set immediately after the Civil War; "Flaming Star" (1960), one of Elvis' better-acted films, in which he plays a half-breed torn between cultures; and "Frankie and Johnny" (1966), taken from the song and set on a Mississippi riverboat in the late 19th century.

Like the sensitive, naive Elvis? "Wild in the Country" (1961) features The King as an introverted country boy whose writing talent is encouraged, and "Follow That Dream" (1962) has him bashful around women in a film in which he plays the oldest son of a stubborn Florida homesteader who fights City Hall.

Prefer the cool Elvis? Then "Kid Galahad" (1962) and "Clambake" are more your style, with Elvis playing a boxer and the son of a Texas oilman who pretends to be a pauper to see if he can still get the girl.

All seven titles are included in the set. The collection also showcases some of Elvis´ most exuberant musicals, including the beach blanket romp "Clambake." Featuring appearances from stars such as Academy Award-nominated Tuesday Weld (Best Supporting Actress, "Looking For Mr. Goodbar"), Barbara Eden ("I Dream Of Jeannie"), Charles Bronson ("The Great Escape"), Shelley Fabares ("Coach"), and Donna Douglas ("The Beverly Hillbillies"), the seven films in the Elvis 75th Birthday Collection celebrate the consummate performer that was Elvis Presley. He was a better actor than many gave him credit for, and did his best despite being pigeon-holed in roles that took him farther from the serious drama he craved. This collection spans the years and gives a pretty good cross-section of The King's acting talents, which range from almost laughable to surprisingly good.

To Elvis fans, and fans of Elvis movies (I confess, I'm one of them), they're all worth watching. Most are light entertainment, and people who went to the movies knew that when they bought their tickets. But they were well-done light entertainment, however formula the movies became.

source:
Blu-ray and DVD news
By James Plath
First published May 16, 2010

Elvis Presley Died from Chronic Constipation - His Doctor Tells ALL

Elvis Presley fans have long believed that their "King of Rock n' Roll" died from an irregular heartbeat aka cardiac arrhythmia and that that condition was caused from Presley's obesity, drug dependency and weak heart.

However, Dr. George “Nick” Nichopoulos, Presley's doctor and friend has finally come forward and written down what he thinks killed Presley and Nichopoulos' findings are not pretty... Nichopoulos believes chronic constipation was the cause.

For more than the last decade, “Dr. Nick” was by Presley’s side and was the one who tried to resuscitate him when he died. Nichopoulos also just released a book titled, “The King and Dr. Nick" about what he believes caused Elvis Presley's death and the time they shared together.

“Dr. Nick” told POP TARTS that “After he died we weren’t sure (of the exact cause of death) so I continued to do some research and I had some doctors call me from different places and different med schools that were doing research on constipation and different problems you can get into with it. I just want to get the story straight – it all made sense with the new research that was done...
We didn’t realize until the autopsy that his constipation was as bad – we knew it was bad because it was hard for us to treat, but we didn’t realize what it had done. We just assumed that the constipation was secondary to the meds that he was taking for his arthritic pain and for his insomnia."

The autopsy showed that Presley’s colon was 8 to 9 feet in length as compared to the normal 4 to 5 feet long and was 5 to 6 inches in diameter as compared to the normal2 to 3 inches.

Back in the 70's, a colostomy which is surgery to remove part of the colon was the primary treatment for chronic constipation but Presley’s “ego” wouldn't allow him to follow through with it.

Nichopoulos said, “[Elvis] would get embarrassed, he’d have accidents onstage. He’d have to change clothes and come back because of the way we were trying to treat his constipation. So if they had done the colostomy then, he’d probably still be here. But it wasn’t acceptable treatment at that time. Now the treatment is short.”

The most shocking claim comes as Nichopoulos states that Presley’s obesity may have been caused by his severe constipation and not overeating.

MAN!!! That's just embarrassing! I certainly hope that if I die, all my embarrassing gastrointestinal colon issues die with me, never to be spoken or written about. No one but my doctor and my doctor alone needs to know I can't poop properly or the size of my poop hole or anything pertaining to that area.

Book Elvis: My best man

Chapter Excerpt From 'Elvis: My Best Man'

Published by Crown, a division of Random House, Inc.

'Elvis: My Best Man' by George Klein with Chuck Crisafulli

Reprinted from the book "Elvis: My Best Man" by George Klein with Chuck Crisafulli. Copyright © 2010 by George Klein with Chuck Crisafulli. Published by Crown, a division of Random House, Inc.

• Introduction: All the Way from Memphis

"GK, my man."

Elvis was in a good mood. And when Elvis was in a good mood, everybody around Elvis was in a good mood.

"Hey, Elvis. Hey, everybody," I answered.

"Get over here, GK," he said. "Sit down and stay a while."

He was looking relaxed, happy, and cool as could be sitting at the head of the table in the Graceland dining room. He gestured to the empty chair next to him on his right, so that's where I took my seat, saying my hellos to some of the other folks at the table: Priscilla, Joe Esposito, Charlie Hodge, Richard Davis. It was a couple of days into the new year of 1969, and Joe, Charlie, and Richard were all working for Elvis -- familiar members of our so-called "Memphis Mafia"—so it was no surprise to see them at this informal, post-holiday dinner. There were a few faces down at the other end of the table that weren't seen as often at Graceland, faces that represented more of the business side of Elvis's world: record producer Felton Jarvis, who'd become a trusted musical ally after working some of Elvis's Nashville sessions a few years before; Freddy Bienstock, liaison to the Hill and Range Publishing company that supplied and administered almost all of the songs Elvis recorded; and Tom Diskin, the right-hand man to Elvis's longtime manager, Colonel Tom Parker.

Elvis had been making me a welcome guest at Graceland since he'd bought the place back in 1957. In fact, I'd been with him when he looked at the property before he purchased it. I was comfortable enough at Graceland that, like most of us close to Elvis, I didn't really think of it as Graceland — it was simply "the house." But as many times as I'd been welcomed in, there was still something especially wonderful about being in Elvis's home during the holiday season.

This year, Elvis had gotten back to Memphis just before Christmas, having finished work on one of his Hollywood films, and I'd been happy to spend as much time with him as I could through the holidays. As always, Elvis and Priscilla had turned the Graceland grounds into a kind of winter wonderland, with sparkling lights strung up all through the property's magnificent oak trees, and a beautiful Christmas tree set up in the dining room. He loved the season, and this Christmas had been a particularly sweet one — it was his first as a father. On Christmas Eve a few of us had gathered at the house for a very warm and happy holiday party (with Elvis's father, Vernon, dressing up to play Santa Claus for the benefit of ten-month-old Lisa Marie). In the week between Christmas and New Year's we'd enjoyed several nights of private movie screenings at the Memphian Theater (Elvis liked the crazy comedy Candy with Marlon Brando), and we all rang in 1969 with a private party at the Thunderbird Lounge in midtown Memphis.

In the days after New Year's, Graceland returned to its natural rhythms — Elvis would come downstairs to have his dinner around ten p.m., and whoever was around was more than welcome to sit down and join him. This night, the table was laid out with some of his Southern favorites — meat loaf, greens, mashed potatoes, cornbread. I'd learned years before that midnight meat loaf did not sit very well with me, so I'd gotten in the habit of eating before I came over, and then just nursing a Pepsi or having a little dessert when I sat with Elvis for his late supper. This night, I wasn't thinking about the meal at all, though. When I'd heard that Felton and Tom and Freddy were coming over, I knew business was going to be discussed. And I wanted to be a part of that conversation. I wasn't sure yet how I was going to say what I wanted to say, but I knew it had to be said. Elvis was still feeling extremely proud and pleased with the Elvis TV special that had just aired on NBC at the beginning of December. After years of feeling stuck in mediocre films and stuck with mediocre material to sing, he had fought hard to make the kind of television show he'd wanted to make. He'd shaken off the advice of the not-so-easily-shaken Colonel Parker, who wanted his star client to make something along the lines of an hour of cozy Christmas carols.

Instead, Elvis had put together an incredibly exciting hour that paid tribute to his real rock 'n' roll roots while also showing himself to be an artist and entertainer still in his fighting prime: Elvis looking lean and mean in black leather. Elvis strapping on a guitar to jam with old bandmates Scotty Moore and D. J. Fontana. Elvis looking dangerous and powerful and relevant all over again. Elvis putting his heart into his performances and truly enjoying himself. That's the Elvis that so many of us around him had wanted to see again for so long, and that's what he gave us in that TV special. Apparently a good portion of the country had been feeling the way we did about Elvis, because his show was watched by almost half the nation's TV viewers the night it aired and wound up with some of the year's highest ratings for any kind of program.

• Click here to buy the book

Elvis had gotten some rave reviews in the press, too, and the only thing that bothered him about the response to the show was that some people referred to it as a "Comeback Special." He felt he'd never stopped working hard at what he was doing, and even if the movies and soundtrack albums he'd put his energies into weren't always inspired, he didn't consider that he'd gone anywhere that he had to "come back" from. Still, he knew he'd done some exceptional work, and I was thrilled that this good friend of mine, the most talented man I knew, had really put those talents to use again, rocking and rolling like only he could.

There was more good rockin' to come in the new year, too. The Colonel had just worked out a tremendous deal for Elvis to make his return to live concert performances, with a month's run of shows at Las Vegas's brand new International Hotel scheduled for the summer. Elvis was excited about getting in front of audiences again, and he liked to joke that the hotel and its showroom were being built just for him. For the first time in a long time, Elvis was feeling energized and optimistic about the path his career was taking.

On this particular night, when the group in the Graceland dining room had just about finished eating, Elvis pulled a small Hav-a-Tampa cigarillo from his shirt pocket. He'd become very fond of the thin, sweet, wooden-tipped cigars, though more often than not he'd just hold a cigar without lighting it up. The conversation slowly shifted from talk of the TV special to talk about the recent movies we'd seen and then toward some actual business. Felton mentioned that it was about time to start putting together Elvis's next recording session for an RCA album.

"Yeah, I know it," said Elvis, rolling the cigar through his fingers. "We'll get it worked out."

The session was supposed to happen soon at the RCA studios in either Nashville or Los Angeles, and Felton started going over which session players would be available in the upcoming weeks. Elvis always wanted to work with a strong rhythm section, and there was a bit of concern that L.A.'s top session drummer, Hal Blaine, was booked up and wouldn't be available for the recording dates. Felton had a few suggestions about suitable replacements, and went on to discuss other players who were or weren't available. Freddy Bienstock said that Hill and Range had plenty of new material to present to Elvis.

I sensed a dip in Elvis's happy mood. For all that had been going well recently, it'd been a long time since he'd had a real hit record, and at that point the thought of going to work in a recording studio probably seemed like just that — going to work. The more the session plans were discussed, the more that happy holiday mood seemed to be slipping away. Elvis had done so well with the TV special and was so excited about the upcoming concerts, it just seemed a crying shame that making great records couldn't be a part of his newfound satisfaction as well.

To me, it was not a question of ability or desire. Elvis had just shown us he was in top form, and though we didn't talk about it much, I knew he'd like nothing more than to be at the top of the charts again. I'd come to believe that getting there was simply a matter of where he recorded and what he recorded. He could certainly make any studio his own—he'd done that right from the start, cutting his first Sun records with Sam Phillips at the small, cozy Memphis Recording Service studio. But he'd never really enjoyed the bigger, fancier studios he'd worked in. It didn't matter how new the recording gear was or how expensive-looking the facilities were, Elvis worked by feel, and it'd been a while since he'd recorded in a place that had the right feel. On top of that, Elvis had a terrific ear for selecting great material to perform, but there'd been too many sessions lately where there just wasn't anything great for him to pick from what Freddy Bienstock and Hill and Range presented him with.

I knew exactly where he could find the feel and the material he was after. But I also knew very well that it wasn't wise to come at him with some big career-related suggestion in front of a lot of other people, especially a mix of business associates and Memphis Mafia guys. As open and generous as Elvis was, he had a strong sense of pride, and you didn't ever want to do anything to embarrass him. That was a surefire way to find yourself permanently standing on the wrong side of the Graceland gates. If you had something important to say to him, especially about his work, the smart thing to do was to ask him if you could speak in private, and then soft-sell him on whatever suggestion you were making. You had to keep things subtle enough so that he could feel he was making his own decisions. He never tried to make the rest of us feel small, but the fact was that he was the superstar, not us.

You had to keep in mind that as much as Elvis loved and respected his friends, he didn't want to be pushed around by them either. I knew all that, but maybe I was feeling a little cocky at the table that night because my own career was bringing me everything I'd ever wanted from a life in broadcasting. I was the red-hot, number-one rock 'n' roll disc jockey in Memphis, and I had a popular TV show called Talent Party that was Memphis's answer to American Bandstand and Shindig! I made my living maintaining a feel for the pulse of what was going on in music, and I knew that Elvis appreciated that. When it came to rock 'n' roll, I had a damn good ear for what was hot and what wasn't.

Now I was sitting as close to Elvis as I could possibly be, with our chairs just about six inches apart. As Felton and Tom and Freddy talked up the plans for the upcoming session, I watched Elvis flip his cigar around in his fingers with nervous energy, his face tighter and his expression darker than it had been before. I knew the smart way to approach Elvis, but I decided not to be so smart.

I raised my hand and said softly, "Elvis, can I say something?"

The table quieted. Elvis looked over at me with a slightly puzzled expression. "Yeah, GK. Say whatever you want."

So I said it.

"Elvis, you are the greatest star who ever lived. You define what a superstar is. Your popularity is worldwide and you've got more star power and more talent than anybody. You're the most versatile singer I've ever heard. You can sing anything."

Just out of the corner of my eye I saw Elvis raise his eyebrow a bit, wondering what I was getting at. He was smart enough to know I didn't raise my hand just to tell him how great he was.

"Elvis, you know you can sing anything. But it just makes me sick that you are getting nothing but B-side material to work with. You're the greatest singer in the world, you could have the greatest writers writing for you, but you're only getting lousy B-side crap material because writers are being told they have to give up a part of the publishing and ownership of the songs to get anything through to you. The top writers today aren't going to go for that anymore, Elvis. They won't give it up, and they shouldn't. Elvis, you can't be at your greatest if you're not getting great material. And it's a shame, because if you got your hands on some great songs, you'd have number-one records."

I paused a moment to get my breath. Elvis was still and quiet, and there was dead silence at the table. I figured I might as well go all the way now.

"Elvis, getting good material is just half of it. You're sitting here, a superstar, being told which musicians you can or can't get and being told when and where you should record. Elvis, just ten miles north of here is American Sound Studios, where they're cutting the greatest hits in the world right now. It's in North Memphis, a mile and a half from our old Humes High, near the corner of Thomas and Chelsea. It's a small funky studio with the kind of feeling I know you like. It's not fancy, it's not state-of-the-art, but they're cutting fantastic records there. 'The Letter' by the Box Tops. B. J. Thomas's 'Hooked on a Feeling.' 'Angel of the Morning' by Merrilee Rush. All hits. Wilson Pickett's recorded there, so has Neil Diamond. Dusty Springfield just cut 'Son of a Preacher Man' at American — she came all the way from England to record right there in North Memphis, Elvis. And it would be a dream come true for the guys at American if you'd record over there. With some great songs to work with at American, I know you'd have yourself some hit records, Elvis. It's what you deserve."

I don't know if it's possible to get deader than dead silence, but it was awful quiet around that table.

For the first time, I got real nervous. I'd seen people get close to Elvis and then get shut out because they crossed a line with him. It would be so easy for him now to pretend that nothing had just happened, to make some kind of joke to the rest of the table and then shut me out. The thought of not being welcome in Elvis's home was terrifying. I loved this guy more than any friend I'd ever had, and I couldn't imagine anything much worse than losing my friendship with him. But it truly felt worth the gamble to try to do everything I could to help him get back on top.

There still wasn't a damn sound at the table, though I was sure everyone could hear my heart pounding through my chest.

Elvis slowly flipped that little cigar around in his fingers, then his eyes went up and he kind of squinted like he was looking at something beyond the ceiling. He turned to me, looked at me hard, and pointed an index finger right at me.

"GK's right," he said. He turned to the others at the table. "George is right."

Those sounded like just about the sweetest words I'd ever heard, and I was overcome by such a mixture of happiness and relief that it took me a moment to register another sound I was hearing: Priscilla and the guys around the table were cheering. Charlie Hodge reached over to high-five me, and Felton jumped out of his seat with a whoop. "I can get you into American, Elvis. I can get you songs by Jerry Reed, Mac Davis — whatever
you want. We can make it happen."
"I've got a line to Neil Diamond," I told Elvis. "I know for a fact he'd be honored to write something for you."

Elvis nodded, then put the cigar in his mouth and bit hard on it. "I don't give a damn where the material comes from," he said. "I don't care about publishing or percentages or what the writers get or what we have to pay for. I just want some great goddamn songs."

Everyone around the table whooped again. Well, almost everyone. While I'd been speaking my piece I'd been very careful not to make any eye contact with Tom Diskin or Freddy Bienstock. I didn't dislike either of them personally, but both of them represented a way of doing business that treated Elvis like a product rather than a true entertainer — like an act to be hyped rather than an artist to be supported. Now, with a couple glances in their direction, I could tell from their tight smiles that they were not happy with the turn the evening had taken. And I knew they'd be reporting every word that had been said back to the Colonel just as soon as they could get to a hotel phone.

I knew it wasn't smart to get on the wrong side of the Colonel, but this night I didn't care. I felt I had done right by my friend Elvis. I got a nudge from Elvis's elbow and turned to look at him. He looked back at me for just a beat and then gave me a wink. That said everything I needed to hear.

We all got up from the table and started to move to the back den off the kitchen, everyone still talking excitedly about what might happen when Elvis got his hands on some great songs. Marty Lacker, another Memphis Mafia member, was in the den, and he was equally excited by the news. He'd done some work for American Studios and also thought it would be a perfect spot for Elvis. Felton Jarvis came up to me with a huge smile on his face and before I could say a word he grabbed me and gave me a bear hug. "George, I've been thinking exactly what you were saying, but I could never say it. I always feel I'm between a rock and a hard place trying to please Elvis and the Colonel and RCA. I always figured if I spoke up, I'd lose my job. But you said it, man, you said it."

I barely had time to thank him for the support when he called over my shoulder. "Elvis, I can call American right now. We can really make this happen."

"Well, make the call," said Elvis. "The sooner the better."

Felton left to use the phone in the kitchen, and I went over to stand by Elvis. He looked at me, with that hint of smile creeping on his face again.

"Shoot, GK — you look a mess. You got your nerves in the dirt."

"Phew, Elvis. I took a hell of a chance. But you know it was from the heart."

"I know it, George," he said. "You were right, though. And when you're right, you're right."

I stood there, breathing a little easier now, as the rest of the guys talked and kidded with each other. Then Felton stepped back into the room.

"Hey, Elvis. We're booked into American Studios. Next Monday night."

Another cheer went up. Elvis was heading back to North Memphis.

Back to our old neighborhood. Back to where it all began ...

Elvis in January

January 13, 1969

Elvis starts a four day recording session in Memphis at American Studios. On this evening the recording session lasted six hours. Elvis recorded " Long Black Limousine and " This Is The Story"

__________________

January 18, 1969

Elvis takes a break from recording at American Studios and rests at Graceland.. __________________

January 19, 1970Elvis traveles to Las Vegas to rehearse for his approaching second engagement at the International Hotel.

__________________

January 20, 1970
Elvis returns to American Studios for a recording session

__________________

January 11, 1974Elvis visits his Dentist and has dental work performed __________________
January 12, 1974Elvis travels to Los Angeles. __________________

January 10, 1976
While finishing his vacation in Denver with Linda and his staff, Elvis has Dr. Nick join them in Aspen where he rented a house. The next day Elvis returned to Memphis. __________________

January 14, 1976

Elvis purchases three Cadillac's and two Lincolns for friends. He spends over $70,000.

__________________

January 15, 1976

Elvis purchases furniture and equipment for his new Racquetball Court at Graceland.

__________________

January 16, 1976

Construction is completed on the Racqutball Courts at Graceland. Elvis has his equipment and furniture delivered.

__________________

January 17, 1976

Elvis and his staff play racquetball all afternoon at the new courts in Graceland.
__________________

January 1, 1977Elvis celebrated New Years Day quietly at Graceland with Ginger and Lisa Marie.

__________________

January 2, 1977

Elvis returns Lisa Marie to Priscillia in Los Angeles.

__________________

January 3, 1977

Elvis, Ginger and his staff fly to Harrison Arkansas to attend the Funeral of Ginger's grandfather. In The evening they returned to Graceland.

__________________

January 4, 1977

Elvis is seen riding his motor cycle around Memphis.

__________________

January 4, 1977

Elvis remains at Graceland and calls his flight crew to prepare the" Lisa Marie" for a flight to Palm Springs.
__________________

January 5, 1977

Elvis flies to Palm Springs for a short vacation with Ginger and his staff.
__________________

January 7, 1977

Elvis relaxes in his Palm Springs home with Ginger and his staff.

__________________

January 8, 1977

Elvis celebrates his forty-second Birthday with Lisa Marie as his house guests at his Palm Springs Home.

__________________

January 9, 1977

While still vacationing in Palm Springs, Elvis urges his dentist, Max Shapiro, to marry his Fiance. Elvis has Larry Geller perform the cermony on the spot. Elvis takes this opportunity to speak aloud about the possibility of him marrying Ginger in the future.

__________________

Springtime Tours '76-'77

As recorded live from the mixing desk in Johnson City, TN, March 17th, 1976 tour opening, Charlotte, NC, March 20th, 1976 Evening show and in various locations, March-May, 1977.
The Audionics label will soon release the 2-CD set "Springtime Tours '76 - '77" containing previously unreleased stereo soundboard recording of the Johnson City, TN, March 17th, 1976 show, the original binaural version of Charlotte, NC, March 20th, 1976 evening performance and selection of stereo tracks recorded "on the road" from March to May, 1977.
Unfortunately both the March 17th and March 20th, 1976, 8:30 p.m. concerts were not captured in entirety. These tapes were recorded in binaural with the lead-guitar almost isolated in the right channel, probably due to an expected change of lead guitar-player. The March 17th, 1976 recording was mixed down to stereo and two songs were added in original binaural sound as a bonus. The March 20th, 1976 8:30 p.m. show (previously released as "RUNNING FOR PRESIDENT") is presented in excellent quality in its genuine binaural form.
These shows are fascinating to listen to, as Elvis’ band sounds totally different thanks to the new additions Larry Londin on drums and Shane Keister on keyboards, breathing new life into Elvis’ repertoire at the time. All 1977 tracks are stereo recordings made by Felton Jarvis, using an 8-track tape recorder.
Among the Johnson City concert highlights are a rare "Until It's Time For You To Go", the first live rendition of "Hurt" and a tremendous "Tryin' To Get To You". Unreleased 1977 highlights: "My Way" from Chicago, May 2, "That's All Right" from Abilene, March 27th, and finally another "My Way" - again from Abilene - including a beautifully recited spoken part!
This is a truly sensational version, and the spoken part will no doubt give you goosebumps. A remarkable find, and certainly one of the most interesting discoveries in recent years! Note: some previously released 1977 tracks are included, because they are taken from the original source and containing bits of unheard dialogues before & after each song.
This new Audionics production will be presented in double digipack with a 16-page booklet. All accompanying photographs were taken on March 17-18, 1976, in Johnson City, TN, March 20, 1976 in Charlotte, NC, evening show and on tour in March - May, 1977. This 2-CD set is expected at the end of January. No doubt this is one of the most interesting releases in ages...
Tracks:
CD 1:
01. Introduction: Also Sprach Zarathustra

02. C. C. Rider

03. I Got A Woman / Amen

04. Love Me

05. You Gave Me A Mountain

06. Tryin' To Get To You

07. All Shook Up

08. Teddy Bear / Don't Be Cruel

09. Until It's Time For You To Go

10. Hurt (first live version)

11. Polk Salad Annie (incomplete)

12. Introductions by Elvis of vocalists, band

13. What'd I Say (James Burton, instrumental)

14. What'd I Say (reprise, James Burton, instrumental)

15. Drum solo (Larry Londin)

16. Bass solo (Jerry Scheff)

17. What'd I Say (Shane Keister)

18. Electric Piano & Clavinet solo (David Briggs)

19. School Day (Joe Guercio Orchestra)

20. And I Love You So (with break)

21. Fairytale (Chicago, May 2, 1977)

22. My Way (Chicago, May 2, 1977 - previously unreleased)

24. Love Me Tender (Norman, March 26, 1977 - previously unreleased)

25. Polk Salad Annie (Milwaukee, April 27, 1977)

26. Bridge Over Troubled Water (Duluth, April 29, 1977)

27. Big Boss Man (Duluth, April 29, 1977)

28. Trying To Get To You (Abilene, March 27, 1977)

29. That's All Right (Abilene, March 27, 1977 - previously unreleased)

30. Lawdy, Miss Clawdy (Abilene, March 27, 1977)

31. My Way (Abilene, March 27, 1977 - previously unreleased)
CD 2:
01. Amen

02. Love Me

03. Let Me Be There

04. You Gave Me A Mountain

05. Steamroller Blues

06. All Shook Up

07. Teddy Bear / Don't Be Cruel

08. Hound Dog

09. Heartbreak Hotel

10. Polk Salad Annie

11. Introductions by Elvis of vocalists, band

12. What'd I Say (James Burton)

13. Drum solo (Larry Londin)

14. Bass solo (Jerry Scheff)

15. Piano solo (Shane Keister)

16. Electric Piano & Clavinet solo (David Briggs)

17. Introduction of Charlie Hodge

18. And I Love You So

19. Hurt

20. Burning Love

21. America The Beautiful

22. Funny How Time Slips Away

23. Fairytale

24. How Great Thou Art

25. Can't Help Falling In Love

26. Closing Vamp

27. Trying To Get To You (Johnson City, March 17, 1976 - original binaural)

28. Hurt (Johnson City, March 17, 1976 - original binaural)

29. Are You Lonesome Tonight (Norman, March 26, 1977)

30. Blue Christmas (Norman, March 26, 1977)

31. Heartbreak Hotel (Saginaw, April 25, 1977)

32. Mystery Train / Tiger Man (Saginaw, May 3, 1977)

33. Can't Help Falling In Love (incomplete, Saginaw, May 3, 1977)

34. My Way (Toledo, April 23, 1977)

PRESLEY WAS ALMOST BLIND WHEN HE DIED, SAYS FORMER DOCTOR

ELVIS PRESLEY suffered eye disease glaucoma and was almost blind when he died, according to the late King of Rock's personal physician.
Dr. George Nichopoulos earned notoriety when, three years after Presley's 1977 death, he was indicted on 14 counts of over-supplying drugs to Presley and other patients, including rocker Jerry Lee Lewis.
He was acquitted on all counts, but the accusations earned him the nickname The Man Who Killed Elvis, among the star's angry fans.
Thirty years on, Nichopoulos is hitting back in a new tell-all book, in which he claims Presley was a physical wreck at the time of his death and suffered from numerous ailments that could have killed him.
The doctor alleges Presley suffered from glaucoma, arthritis, a fatty liver, an enlarged heart and a colon swollen to twice its normal size. He also allegedly suffered from gout, migraines and constipation.
The singer died at his Graceland home in Memphis, Tennessee, after suffering a cardiac arrhythmia, aged 42.