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Prince from Another Planet Full Details

August 01, 2012 | Music

Of all the live concert recordings released by RCA during Elvis Presley’s lifetime, none carried the historic significance of his long-awaited New York City shows at Madison Square Garden in June 1972. Now, a pair of hour-long performances have finally been coupled in one package for the first time as PRINCE FROM ANOTHER PLANET: 40th ANNIVERSARY EDITION. This deluxe 2-CD+DVD box set will be available everywhere October 30th through RCA/Legacy, a division of SONY MUSIC ENTERTAINMENT.

PRINCE FROM ANOTHER PLANET takes its title from a New York Times headline that accompanied its rave review of the King of Rock ‘n’ Roll’s four sold-out shows at Madison Square Garden (80,000 tickets sold), the weekend of Friday through Sunday, June 9-11, 1972. CD two reprises the Saturday night show in its entirety, some 20 songs (plus introductions) originally issued on LP on June 18, 1972, just eight days after the concert took place. CD one reprises the (slightly longer) Saturday afternoon show, some 23 songs (plus introductions), archived and issued for the first time 25 years later in 1997, on CD.

The Madison Square Garden recordings have been newly mixed for the first time by respected New York engineer Michael Brauer.
Adding to the historic weight of PRINCE FROM ANOTHER PLANET is an evocative 5,000-word essay written by Lenny Kaye, longtime guitarist for Patti Smith. Kaye actually covered the press conference and the concerts for his gig as music editor of Cavalier magazine in the ’70s. In addition to his roles as a musician and a producer of numerous reissues and compilations, Kaye has been annotating albums for more than four decades.

Accompanying the two CDs is a bonus DVD that presents unseen footage of the Saturday afternoon show, captured on hand-held camera by a fan, and now acquired by Legacy from that fan decades later for this package. Rarely is unseen footage of Elvis in concert discovered, so this footage lends historical importance to the package. The film is a revealing portrait of a physically commanding Elvis and his power­house TCB Band, background vocalists, and orchestra. 

The recently discovered footage is set to make its world premiere during Elvis Week in Memphis on Friday, August 17th, at 4:30 p.m. at a free event in the Elvis Week Entertainment Pavilion.

Along with the concert film on the DVD is another video document, the press conference that took place on Friday afternoon before the big weekend. Attended by Colonel Tom Parker and Elvis’ father, Vernon Presley, Elvis disarms and wins over the New York press corps with his good-natured demeanor.

For example, when asked “Which kind of song do you like doing the best?” Elvis answers, “I like to mix 'em up. In other words, I like to do a song like ‘Bridge Over Troubled Water’ or ‘American Trilogy,’ or something. Then mix it up and do some rock and roll, some of the hard rock stuff. I'm not the least bit ashamed of ‘Hound Dog’ or ‘Heartbreak Hotel’…”

A closer look at the concert repertoire confirms his answer. The set lists for the afternoon and evening shows are an eclectic mix, something for everyone. After the bombastic “Also Sprach Zarathustra” theme from 2001: A Space Odyssey, both shows are bookended at the start by “That's All Right” (from 1956), Creedence’s “Proud Mary” (via Ike & Tina Turner), Hoyt Axton’s “Never Been To Spain” (via Three Dog Night), and Dusty Springfield’s “You Don't Have To Say You Love Me.” Both shows end with “Suspicious Minds,” Kristofferson’s “For The Good Times,” Mickey Newbury’s “American Trilogy,” Willie Nelson’s “Funny How Time Slips Away,” Don Gibson’s “I Can't Stop Loving You” (via Ray Charles), and of course, “Can't Help Falling In Love.”

The set lists are virtually identical, though four songs from the afternoon show were not performed at the evening show: Buffy Sainte-Marie’s “Until It’s Time For You To Go,” “Blue Suede Shoes,” Lowell Fulsom’s “Reconsider Baby,” and Don Ho’s “I’ll Remember You.” And one song from the evening show was not performed at the afternoon show: Man Of La Mancha’s “The Impossible Dream.”
With those exceptions, the central portion of each show is very nearly the same something-for-everyone program, starting with the Righteous Brothers’ “You've Lost That Lovin' Feelin'” and Tony Joe White’s “Polk Salad Annie,” then straight back to 1956-57 for “Love Me,” “All Shook Up,” “Heartbreak Hotel,” the medley of “(Let Me Be Your) Teddy Bear” c/w “Don't Be Cruel,” “Love Me Tender,” and “Hound Dog.”

After being roundly excoriated by New York critics after his televised visits of 1956 (on Jackie Gleason’s Stage Show, in January, February and March), and 1957 (Ed Sullivan’s Toast Of the Town in January; and The Steve Allen Show in July), Elvis and his manager Tom Parker did not schedule another New York performance for some 15 years. Even after Elvis triumphed on his black leather NBC-TV “comeback” special of December 1968, and returned to public concert touring fulltime in August 1969 (at the International Hotel in Las Vegas, chronicled in 2010 on RCA/Legacy’s On Stage: Legacy Edition), they still waited three years to play New York.
When asked at the press conference why it took so long, Elvis answers with a straight face: “I think it was a matter of not getting the building, the proper building. We had to wait our turn in order to get the building. Couldn't get a good building in fifteen years. No, all kidding aside, we had to wait our turn to get in... into the Garden, you know. I just hope we put on a good show for everybody. Oh, I like it. I enjoy it.”

(RCA/Legacy 88691 95388 2)
Disc 1: The afternoon show recorded June 10, 1972 (originally issued April 1997, as An Afternoon In the Garden, RCA 67457-2):
Selections: 1. Introduction: Also Sprach Zarathustra (Theme from 2001: A Space Odyssey) • 2. That's All Right • 3. Proud Mary • 4. Never Been To Spain • 5. You Don't Have To Say You Love Me • 6. Until It’s Time For You To Go • 7. You've Lost That Lovin' Feelin' • 8. Polk Salad Annie • 9. Love Me • 10. All Shook Up • 11. Heartbreak Hotel • 12. Medley: (Let Me Be Your) Teddy Bear/ Don't Be Cruel • 13. Love Me Tender • 14. Blue Suede Shoes • 15. Reconsider Baby • 16. Hound Dog • 17. I’ll Remember You • 18. Suspicious Minds • 19. Introductions by Elvis • 20. For The Good Times • 21. American Trilogy • 22. Funny How Time Slips Away • 23. I Can't Stop Loving You • 24. Can't Help Falling In Love • 25. End Theme (Orchestra).

Disc 2: The evening show recorded June 10, 1972 (originally issued June 18, 1972, as Elvis As Recorded At Madison Square Garden, RCA LSP 4776):
Selections: 1. Introduction: Also Sprach Zarathustra (Theme from 2001: A Space Odyssey) • 2. That's All Right • 3. Proud Mary • 4. Never Been To Spain • 5. You Don't Have To Say You Love Me • 6. You've Lost That Lovin' Feelin' • 7. Polk Salad Annie • 8. Love Me • 9. All Shook Up • 10. Heartbreak Hotel • 11. Medley

Source:Elvis Information Network
TCB1974 wrote on August 01, 2012
Looking forward to this release and the newly discovered concert footage. The most exciting RCA release for some time is my guess and then we also get A boy from Tupelo in the same timeframe. It is good to be an Elvis fan.
Viva wrote on August 01, 2012
Oooh yes please. I have been largely uninspired with Elvis releases for quite sometime, but with this and "The boy from Tupelo" on the way I am really excited. Can't wait!
Jamie wrote on August 01, 2012
Hello, Ronnie Tutt has revealed that the 1972 MSG album was sped up to fit as many songs as possible onto the vinyl. He attributed this to Colonel Parker's desire to optimise revenue from song publishing deals made by the Presley organisation for material on the MSG set list. So, as much as a remix of that old album is very, very welcome (the familiar mix is horrendous), first and foremost they need to correct the speed.
dgirl wrote on August 01, 2012
I'm surprised Col Parker didnt kill his career all together with such cheap tactics. The more I hear about him, the more he disgusts me. But it was Elvis' fault as well for not standing up to him. THe biggest star in the world and the music and his craft took a back seat to the money his damn whole career. Such as shame. This then is a welcome release.
Lefty wrote on August 02, 2012
I'm going to reserve praise until I have this in my hands. That being said, I am very impressed with what I've read thus far. The only entirely new item, the afternoon show filmed by a fan, is a great inclusion. It appears to be almost complete. That in itself is amazing. Sound engineer Michael Bauer has won some Grammy's, so I'm hoping the mix will be outstanding. And I couldn't agree more about The Colonel. Elvis was a success in spite of Tom Parker, not because of Tom Parker.
Deano1 wrote on August 02, 2012
I had heard that Ernst did not agree with Ronnie Tutt's statement concerning the speed of the recording...There are a couple of songs that sound faster than normal on the original LP ("You Don't Have To Say You Love Me" for one), but Elvis did have a tendency to sing some songs faster than the original recordings such as "Until It's Time For You To Go" and "Suspicious Minds"...This is a nice set and it is nice to see Elvis MSG shows honored with a new release.
Martin DJ wrote on August 02, 2012
If the recording were speeded up, Elvis's voice would have sounded differently, so clearly it wasn't. If you look at the news item on the artwork of this his release, what seems like an officical Legacy ad mentions a 40 minute bonus dvd. Here it seems we get 80 minutes.
wildfishie wrote on August 02, 2012
I agree with Martin. If the speed was higher the pitch would also be higher. I really doubt that by 1972 they had computer technology to speed up a recording and maintain the original pitch. This will be a very welcome release, specially because of the promising high quality new mix. But I can't help wondering: wasn't Madison Square Garden supposed to be released under FTD Classic Albums, like "On Stage", "In Person" and "Live In Memphis"?
Rusty wrote on August 02, 2012
There was a way back then of speeding up a tape without changing the pitch but it really did mess up the sound and EQ and not many engineers used it for that reason.
Wiebe wrote on August 02, 2012
So far this is exceeding my expectations. I just hope the aprox 1 hour for the concert footage is not a typo, since before they were talking about 40 mins total for the DVD.
Natha wrote on August 02, 2012
Some time ago a bootleg DVD was produced under the same name. Will this be the same content? On that DVD als clips from the evening show were included. It would be nice indeed if the above mentioned filming is from another fan, as that gives us the opportunity to get an even better view of that historic event. All the more because the management and the FIlm Industry never understood the historic value of having these shows professionally filmed.
Viva wrote on August 03, 2012
I'm surprised that there is doubt over whether the original MSG release was sped up, this has been known for years. There's no doubt Elvis's voice doesn't sound right, and the band, especially the drums, only confirm it. Listen to "An afternoon in the garden" and the difference, albeit slight, is very clear.
Orion wrote on August 03, 2012
First, let me say that I am looking forward to this set. I look forward to the booklet and the remastered sound on each of the concerts. However, I am disappointed that the DVD is comprised of footage that was captured by a fan with a hand held 8 mm or 16 mm camera. Remember folks we're talking about 1972 technology - there was not available handheld video cameras at that time. Should I dare even speculate if the footage has sound and if so how bad is it going to sound ? Hand held 8 mm with AR sound captured on a built-in mic. I think I'd be happier with the footage that ABC news shot.
Lefty wrote on August 03, 2012
I plan to watch the concert footage in the same way one would watch an old home movie. Basically, that's what a home use, hand held camera will give us. The concert footage is not included for entertainment, nor is the press conference footage for that matter. They're included for the sake of posterity. The music is what it's really all about. I hope that the new mix is good as the potential would lead us to believe. That being said, I'll wait to see. Been disappointed too many times to get my hopes up. Nevertheless, I pre-ordered the set on Amazon today.
Wiebe wrote on August 03, 2012
I was told they have quite a good sound source to fit the 8mm footage. I'm actually glad the handheld camery is 70ies technology, have you ever seen video technology from the 80s and 90s? I am extremely excited over the DVD. I just hope it wasn't filmed from the back row. I wish they will release more fan footage in the future. Imagine what they could do with the Pittsburgh footage.
Steve V wrote on August 03, 2012
Well I was at the MSG concerts and I cant say for sure one way or another. All I know is the show seemed to be over in a flash and Elvis seemed to rush it. It wasnt my favorite Elvis show , not nearly. That belongs to the 1975 Nassau Col show where he sat down at the piano and seemed not to care about the length of the show, and mixed up his songs better. At MSG, he seemed to be obligated to do his hour and get off. The 10 people I was with also felt the same. We were somewhat disappointed in it to be honest. The event & hype loomed much larger than the actual music content. But I will purchase this as my ultimate souvenir of the event.
Martin DJ wrote on August 03, 2012
Steve, you're right about that. Jerry Scheff called the way the band played in those years either lounge punk or punk lounge. I believe sometime in 1973 he quit the band, to return a couple of years later. The first time he played with the band again he started playing the way he used to, which lead to raised eyebrows form other band members: the pace had slowed by then.
TCB1974 wrote on August 03, 2012
There will also be 2CD legacy release with just the remastered shows, next to this box with DVD and essay.
Jamie wrote on August 04, 2012
Hello, at the usual risk of being hanged, drawn and quartered I'd like to make 2 points. It's very interesting to read the contribution of Steve V, a veteran of the actual shows, saying Elvis seemed to rush it. Irrespective of the notorious tape-speeding controversy, I've always thought Elvis sounded distracted at these shows. My take on it is that the MSG 1972 concerts were strictly "You had to be there" events - that is, their purpose was to give New Yorkers the Presley experience - in exchange for their dollars - rather than to leave a lasting musical legacy. The concerts are not great and were completely over-looked when BMG compiled a 'live' CD to finish the 5-disc 70s box-set. The hammy, flippant press conference, and the rushed release and awful mix of the 1972 album, also point to the affair being a frivolous money-earner. The famous Prince From Another Planet headline is a great testimony to the charisma, charm and showmanship of Elvis but let's not kid ourselves the reporter was reflecting critically on artistic merit, because I can promise you they were not. This was post-Priscilla Elvis looking weighty and the doleful eyes tell us more about the man than the magnetism and the easy gags. Related to this, my second point relates to the Legacy double CD series. Hitherto, all the releases have seen a genuinely classic Elvis album twinned with another - sometimes we've been fortunate enough to have 2 great releases partnered in this way. Notwithstanding the "Prince From Another Planet" rebranding, this is the first time two unexceptional albums have been paired in the Legacy schedule. It raises the possibility of most or all of Elvis's CD's being coupled over the next few years. I have mixed feelings about it because Legacy had become synonymous with great music and I feel it will become diluted with releases such as this. If any of my friends in ElvisNews wish to send a hit squad after me, I can reveal that I live in the south west of England but that's all you're getting.
Martin DJ wrote on August 04, 2012
Madison Square Garden was the first Elvis album I bought, back in 1972. I must have listened to it at least a hundred times, and I find and comments about the recorded being speeded up (how would American Trilogy sound if it were?) and the supposedly bad mix incomprehensible. One does get the impression that Elvis was in a hurry, but it’s possible that in between song banter was cut to fit the whole show on a single lp. As for the concert itself, while some of the oldies sound rushed, Hound Dog has a playful intro and a live Heartbreak Hotel in the seventies is a welcome rarity. It is refreshing to have That’s Alright as an opener instead of See See Rider, the new arrangements of Proud Mary (those drum rolls!) and Polk Salad Annie (a bass solo!) rock, the ballads (like You’ve lost that loving feeling and the over the top Impossible Dream) are well executed and it’s hard to find fault with An American Trilogy and I Can’t stop loving you. Those were good days indeed, where you could see Elvis without having to endure seven minutesof I got a woman / Aman and band introductions that could last more than fifteen.
Wiebe wrote on August 04, 2012
At least Paul Simon and John Lennon had a good time....I too remember getting this album. Both shows are great. I remember the goosebumps I got when hearing Impossible Dream. The band was great, I don't think Elvis held back on any of the songs, on the contrary. I actually like how he sings the oldies with a wink, they sound funky. These are part of the legacy releases for a reason, because they are legendary records. ARAMSG went gold within 6 weeks, that should tell you something. Agreed to disagree. I still listen to both shows a lot. I'm sure most had a great experience when they saw the shows. Steve did you and your 10 friends see all of the shows? I do agree about the Uniondale shows. You'll Never Walk Alone, the audience recording sounds spectacular and you got to see that show, wow.
Wiebe wrote on August 04, 2012
And I think Elvis is very coherent, natural and funny during the press conference. What's up with the negativity?
Martin DJ wrote on August 04, 2012
And don't forget David Bowie, who arrived when the show had already started and was dressed flamboyantly, which made Elvis (himself not a conservative dresser, especially not on stage) give him a look (as Bowie recalled in an interview). What also made the 1972 concerts stand out was the way Polk Salad Annie and Proud Mary were drastically different from the 1970 versions - different arrangements didn't happen too often. Also, as On Tour shows, Elvis was still energetic at the time, look at the way he moved during Polk Salad Annie and Proud Mary. In Aloha From Hawaii he looks less bloated, but his movements are restricted.
LonElvis wrote on August 04, 2012
I always had the impression that the show was not rushed so Elvis could leave but that Elvis was trying to project this on-going intensity for the hour the show was on. Elvis was tryinig to project this non-stop, in your face type experience versus a show with lags and ups and downs, and he comes right out and goes right at you. From the time Elvis hit the boards until the time he leaves he maintains a high level of intensity and keeps things constantly coming at the audience. That was deliberate in my opinion, and the result is a rocking show. We have more to choose from now with all the soundboards and other releases, but I can tell you when I was younger this was a very welcome addition to my collection. I listened to MSG, Aloha, and Memphis '74 all the time back then. To me they all hold up over time. I remember seeing the press conference on Elvis on Tour and thinking Elvis was cool and witty. Sure in today's world we expect more self reflection and sharing but at the time it came off as Elvis being Elvis. And he was candid at times, including the "it's hard to live up to an image..." statement. I thought it was a great press conference.
LonElvis wrote on August 04, 2012
As for Aloha, I think Elvis was trying to project a more mature image and was trying to put the focus more on his singing. And that was successful, too. I love Aloha and the songs like It's Over and What Now My Love and Welcome to My World. Elvis rocked more in MSG and Elvis on Tour. But he took a different approach with Aloha.
Jamie wrote on August 04, 2012
Hi again, the previous Legacy releases haven't been remixed (I think Sony/BMG have used the 2010 remasters on the Legacy releases before now?) but this set has been - that should tell you something about the original mix. A comparison of these recordings and the Las Vegas masters reveals that the latter win out every time. The 1970 masters of "You've Lost That Lovin' Feelin'" and "Proud Mary" are better recorded (I know why but that isn't the point), the tempos are better judged and solid, and Elvis's voice is simply huge. I think some ElvisNews members have sentimental and nostalgic attachments to the 70s live albums, and that I'll have to respectfully agree to disagree with some of my friends about these New York shows. Finally, I made an error in my earlier contribution - the 70s box set does have 2 songs from "An Afternoon in the Garden" on the live disc, though these were included as rarities rather than far a more meritocratic reason.
TCB1974 wrote on August 05, 2012
Actually, I think that the afternoon show in MSG was one of his best shows after 1970. It is obvious to me that Elvis was not rushing but wanted to keep the energy high. It is obvious that Elvis wanted to overwhelm you, impress you and be gone after 75 minutes, with a dramatic 'Elvis has left the building'. It was short but intense. After Aloha From Hawaii, the shows became more relaxed, knowing it is not possible to keep up with that energy as one's body continues to grow older.
Wiebe wrote on August 05, 2012
1970 was an exceptional year for Elvis. Some people prefer the lighter approach with the occasional power outburst in 1972 and others the full power 1970 experience. They used quite a few tracks on different albums from the shows. I remember the Welcome To My World album with the beautiful For The Goodtimes (ES) and the fantastic powerful I Can't Stop Loving You from the Afternoon Show. I think when we get the footage to match the sound we shall all see how involved and 'with it' Elvis was.
Martin DJ wrote on August 05, 2012
If with Aloha Elvis was concentrating on his singing and trying to project a mature image, what about On Tour then? Was he concentrating any less on singing and trying to project a less mature imagine by being energetic? And as for it not being possible to keep up with that energy as the body grows older: at the Aloha concert he was only 38! During the Rolling Stones' Biggest Bang tour Mick Jagger was in his sixties and ran across the stage which was the width of a stadium and used to warm up for a show by running on a home trainer for twenty minutes backstage. So it's not so much a matter of the body growing older as it is not stuffing it with junk food.
Steve V wrote on August 05, 2012
Wiebe - to answer your question 10 friends and I attended the Sat evening show. I attended the others with my girlfriend at the time. They all seemed pretty much the same. We didnt know what to expect from a 1972 concert, the only thing we were thinking of is perhaps a show like Thats The Way It Is showed us up until that time. In that regard we thought everythins was rushed as compared to that film. Looking back all in all they were good shows, a song for everyone I supposes, but we all looked at each when The Impossible Dream started. We didnt want or expect that at an Elvis concert. If he wanted to go 'soft' there were much cooler songs of the day like Your Song, Fire & Rain, My Sweet Lord ( a natural for him I thought) and others. Im just glad he hadnt started with the ONJ covers yet! I agree, one song he should have always kept as the opener is Thats All Right. To me, the only legit opener for his shows.
Natha wrote on August 05, 2012
At the time the album was released it gave me a great thrill and when the afternoon show was released the joy was even greater. I never had the opportunity to see and hear ELVIS alive so I cannot compare like Steve V can, yet I never had that feeling like he had. I enjoyed it tremendously. Comparing ELVIS to others is for me useless. ELVIS was almost all around the year reaching out to his fans (and I don't care what the reasons for Parker were). Did anyone else? Also there was a unique strain of demand from people who wanted to see and hear the KING. Does anyone have an idea how large the total number of attendance was in all those years? It had his toll anyway on the one and only KING. It is hard to fathom what all this did to the inner world of ELVIS. Anyway I am looking forward to hearing the new mix.
Wiebe wrote on August 05, 2012
Steve, if only I could be in your shoes. I started liking Elvis in 1981, and somewhere in 1982 someone told me he was dead. I tell you that was quite a blow for a nine year old. Anyway I like your response. We all have our taste. If you are into rock and pop I guess Impossible Dream seems corny, I like it. This type of operatic song suited Elvis' voice very well. He could really show off his vocal ability. But then, I am an opera singer; like you said: A song for everyone. I wonder what the sound was like in the hall. Was it loud? How did it sound? And I always thought (pure speculation) that Elvis must have seen some of the footage of TTWII and On Tour before he did Aloha, and must have felt funny watching himself move. Let's face it we all felt funny when we first saw the lasso, I did. And he was hardly on any drugs when he did Aloha, so he felt his nerves more and it was harder to let go. Just my take. He started moving again after. Watch the opening night video of August 1975; pretty wild.
Wiebe wrote on August 05, 2012
Steve, if only I could be in your shoes. I started liking Elvis in 1981, and somewhere in 1982 someone told me he was dead. I tell you that was quite a blow for a nine year old. Anyway I like your response. We all have our taste. If you are into rock and pop I guess Impossible Dream seems corny, I like it. This type of operatic song suited Elvis' voice very well. He could really show off his vocal ability. But then, I am an opera singer; like you said: A song for everyone. I wonder what the sound was like in the hall. Was it loud? How did it sound? And I always thought (pure speculation) that Elvis must have seen some of the footage of TTWII and On Tour before he did Aloha, and must have felt funny watching himself move. Let's face it we all felt funny when we first saw the lasso, I did. And he was hardly on any drugs when he did Aloha, so he felt his nerves more and it was harder to let go. Just my take. He started moving again after. Watch the opening night video of August 1975; pretty wild.
LonElvis wrote on August 05, 2012
Aloha had a very unique setlist, and he sang some beautiful numbers, and he did a fantastic Steamroller blues. He was more of an arena rock star in Elvis on Tour and he was more of a vocalist in Aloha, looking his very best. He seemed bigger than life in Aloha. Personally I rank a lot of the 1975 shows up there with the 1972 and 1973 shows. Steve - Now you have me wishing Elvis had done "My Sweet Lord." That would have been perfect for him.
Steve V wrote on August 05, 2012
Wiebe - to answer another one of your questions, believe it or not, the sound in the hall was pretty much like you hear on the record. I remember when the LP came out in 1972 pretty soon after the show, I remember it sounding pretty close to what I heard live. People say the LP mix was bad, but it sounded like I remembered it.
Natha wrote on August 06, 2012
Steve V, what a wonderful contribution you wrote in. As one in the audience stating that the sound in the MSG was similar to the album, I wonder what the improvement after all will be.
Wiebe wrote on August 07, 2012
Yes Steve, thank you for sharing your Elvis experience with us.
LonElvis wrote on August 08, 2012
Not sure if there are any Neil Diamond fans on this site but (since we're talking 1972 and remastered sound) the new Hot August Night (recorded 1972) rerelease is in great sound. The clarity and sound separation of the instruments and voices is amazing. Remastering can really make a difference, and you can really hear it on this album.
Loesje wrote on August 08, 2012
LonElvis: of course there are Neil Diamond fans: Lex and I did enjoy this remastered concert many times already!
Steve V wrote on August 08, 2012
Hopefully there are fans of many artists on this site, so different opinions & conversations can take place about all kinds of music and not only the ones that listen to Elvis 24x7. Yes I like Neil also, especially his Bang stuff.
LonElvis wrote on August 08, 2012
Steve and Loesje - good to hear. I am really impressed by this new remaster / rerelease. I like Neil's live CDs best of all of his stuff - from Gold all the way through Hot August NYC. But the sound on this remastered Hot August Night 1972 is truly amazing to me. There's a reason that's his most loved album ever. And the new version is even better.
Smile:-) wrote on August 10, 2012
I met legendary guitar player Lenny Kaye at the Beach Boys concert in Oslo last week. We agreed to meet again and between two Patti Smith concerts in the city of Oslo, I made an interview with Lenny where he talked about his carreer and how he got involved in this release. He also gave me details about the sound and video quality on this release. The interview will be available in a future volume of the Flaming Star magazine:)
TCB1974 wrote on August 15, 2012
Lenny Kaye was guitarist for Elvis at any concert?
Wiebe wrote on August 18, 2012
Did anyone see the presentation of the footage?