A NEW 3-BOOK PROJECT IS ON HAND  

PORTRAITS '53-'77

released

Cleveland November 23, 1956..jpg
Hudson Theater NY, July 1, 1956..jpg
LA September 1956..jpg
Junco Studios NY, October 1956..jpg
LY publicity photos.jpg
WDIA Goodwill Revue, December 6, 1957..j
Graceland, December 25, 1957..jpg
Germany, Summer 1959 publicity photos.jp
Roustabout 1964  publicity photos.jpg
Girl Happy 1964 publicity photos.jpg
Frankie and Johnny 1965 publicity photos

Released  April 15 . . .

all shippings the week after . .   .

 

A new monster project by Erik Lorentzen. Erik squeezed every last drop out of his hard drive, consulted his online comrades and conjures up a beautiful book from his sky-high digital photo collection.

 

Here you will see more than 400 beautiful publicity photos spread over approximately 400 pages, taken from 1953 to 1977. The best photo material from the greatest and most famous photographers such as: Alfred Wertheimer, William Speer, Sean Shaver, Virgil Apger aso. Elvis up-close and personal.

 

As usual with Erik, these photos come out best when printed on high-quality glossy paper. An average book by Lorentzen weighs about 3

 kilos and measures 25x30 cm. The photos are almost all printed full page, resulting in a beautiful photo book.

 

From the flyer up top you can see that the photos are not commonplace and that makes this book a valuable copy you must have in your collection. NOW is the time to create space on your

bookshelf for this mammoth photo book.

 

Only the best high-quality photos deserve a place in this book.

 

ELVIS PRESLEY ─ THE WORLD'S MOST PHOTOGRAPHED

 

             Pre-order here

Flaming Star publicity photo
Elvis at Elvis

€115,- incl. worldwide shipping

His Hand In Mine photoshoot, 1960. Bever
June 25, 1968, NBC TV Special press conf
Madison Square Garden, NY., 1972.

  Some people tap their feet . . .

           Some people snap their fingers . . .

                    Some people just sway back and forth . . .

 I JUST SORTA DO 'EM ALL TOGETHER, I GUESS.

1953 Midsouth Fair with cousin Gene Smit

On the brink of becoming an artistic phenomenon:

Elvis Presley

On July 5, 1954, Elvis Presley, chock full of nerves and not exactly sure of what would transpire, ventured inside Sun Studio for his first official recording session with producer Sam Phillips, guitarist Scotty Moore and bassist Bill Black.

After trying various songs with middling results, Phillips was ready to end the session, but Presley serendipitously began playing Arthur “Big Boy” Crudup’s “That’s All Right” on his acoustic guitar, fusing the bluesy number into a heretofore unexplored musical genre that ultimately became rock ’n’ roll.

magazines and books by Erik Lorentzen

Subscribe to our widely acclaimed magazine

─ 4 issues €60 ─ delivered to your doorstep. 

YES, world-wide!

NEW Release:

 

Due to the high demand of the first 5 TTWII volumes, we are proud to announce the following . . .

TTWII soft-cover-color-photo-coffee-table book. available in our shop for €62,- only. Incl. world-wide shipping. Order NOW.

Elvis Summer Festival TTWII 2020 soft co
Issue 34 (2).png
Cortina 1956 Olimpiadi - Winter Olympics

Renew your subscription today. Send €60 to sales@elvisfiles.no ─ starting with issue 33 ─ via PayPal or credit card for 4 magazines or use the friendly SUBSCRIBE AND PAY HERE . . . button above or the BUY NOW button below. Be up-to-date with the best photos and the correct stories. The Elvis Files© is by far the best magazine ever since 2012, hailed by many fans and collectors around the world. We ship from Norway over the Northern Atlantic to Mozambique criss-cross Arabia to Russia and every country in between ─ for FREE.

Elvis in Loving You

Hal Kanter - Not before and not since. I think he's a figment of a vivid imagination. He made up who he was. I remember he sort of hi-jacked the wrap party I organized on the last day of shooting. I hired this nightclub and invited everyone along who'd been involved with the picture. I'd paid for everything out of my own pocket and it cost a fair amount of money. About a hundred people were there having a good time ─ eating, drinking, dancing and so on. And when we arrived the first thing we saw was a booth that Parker had set up with a big sign on it saying `Elvis And The Colonel Thank You.' And there was Parker himself handing out pictures of Elvis and various other promotional gifts, making out that he'd organized the whole thing.

TTWII soft-cover color-photo coffee-table book. Available through our shop for €62,- including world-wide shipping. The best 250 ─ hand picked ─ in pristine quality ─ photos in color from the 5 book trilogy TTWIwas by Erik Lorentzen.

TTWII 1970 Summer Festival soft cover photo folio sample
TTWII 1970 Summer Festival soft cover photo folio sample

TTWIwas - 1970 Summer Festival photo folio book samples. A total of 250 mind-blowing color photos!! Limited to 1000 copies!

TTWII 1970 Summer Festival soft cover photo folio sample
TTWII 1970 Summer Festival soft cover photo folio sample
CBS Eye logo ad December 1951.jpg

Elvis Gyrates on The Ed Sullivan Show

Experienced showmen such as Ed Sullivan weren't sure the world was ready for such wild moves as the slick Elvis Presley was offering, but when Elvis proved too popular not to book, Sullivan scheduled him. Elvis made his first appearance on The Ed Sullivan Show on September 9, 1956.

Ed Sullivan dress rehearsal September 9,
Ed Sullivan

GETTING BOOKED

Elvis Presley had already appeared on other national television shows (such as on Stage Show, The Milton Berle Show, and on the popular The Steve Allen Show) when Ed Sullivan booked Elvis for three shows. Elvis' pelvic gyrations during his appearances on these other shows had caused much discussion and concern about the suitability of airing such provocative and sensual movements on television.

Although at first Ed Sullivan said he would never want Elvis on his show, Sullivan changed his mind when The Steve Allen Show with Elvis as a guest had about twice as many viewers as Sullivan's show that night (they were competing for the same audience since they were in the same time slot).

After negotiating with Elvis' manager, Ed Sullivan paid Elvis the huge sum of $50,000 for appearing on three of his shows: September 9, 1956, October 28, 1956, and then on January 6, 1957.

Ed Sullivan - Ready Teddy - dress rehear
Elvis Presley during his second appearan
January 6, 1957 TV show.
ElviSullivan.jpg

SULLIVAN DIDN'T HOST AND ELVIS NOT ACTUALLY ON SET

For Elvis' first appearance on The Ed Sullivan Show on Sunday night at 8 p.m. on September 9, 1956, Ed Sullivan himself was not able to host since he had recently been in a very serious car accident that left him in the hospital. In his place, Oscar-winning actor Charles Laughton hosted the show. Elvis was also not on location in New York for the show since he was in Los Angeles for the filming of Love Me Tender.

 

Laughton hosted from New York and then when it came time for Elvis' appearance, Laughton introduced him and then cut to the stage in Hollywood with Elvis.

TV Radio Mirror December 1956.-3.jpg
LMT publicity photoshoot by Frank Powoln
September 9, 1956. (2).jpg

ELVIS' PERFORMANCE

Elvis appeared on a stage with large, artistic guitars as decoration. Wearing a plaid jacket and holding his guitar, Elvis thanked Mr. Laughton and the audience and then said, "This is probably the greatest honor that I've ever had in my life. There's not much I can say except that hope it makes you feel good and we want to thank you from the bottom of our heart."

Elvis then sang, "Don't Be Cruel" with his four back-up singers (the Jordanaires) followed by "Love Me Tender," which was the not-yet-released title track from his new movie.

 

During this second set, Elvis sang "Ready Teddy" and then ended with a portion of "Hound Dog."

Throughout Elvis' entire performance, viewers could hear girls in the audience screaming ─ especially when Elvis did his special twitch or swung his hips or swiveled his legs. Elvis appeared to enjoy himself, frequently smiling or even laughing, which made him seem friendly, sweet, and hunky — depending on who was watching.

CENSORED

During Elvis' first performance on The Ed Sullivan Show, the cameras stayed mostly from the waist up during the first half of Elvis' appearance, but during the second time he appeared that night, the camera widened out and the TV audience was able to see Elvis' gyrations.

While many have felt that Elvis was censored by only showing him from the waist up on The Ed Sullivan Show, that really only happened during Elvis' third appearance, on January 6, 1957. For some still unknown reason (although there are a lot of rumors as to why), Sullivan allowed Elvis to only be shown from the waist up during that third and final show.

IT WAS A BREAKTHROUGH PERFORMANCE

Elvis' appearance on The Ed Sullivan Show was a major success. Over 60 million people, both young and old, watched the show and many people believe it helped bridge the generation gap for Elvis' acceptance into the mainstream.

The ManThe Myth - The Legend

That's what www.theelvisfiles.com Is All About - Elvis Presley

The Nashville Tennessean, Wednesday Morning, Feb. 15, 1956.

Rock & Roll Set Adores Elvis Presley

It Happened Last Night.

By Earl Wilson

NEW YORK ─ “Teenagers,” 21-year-old Elvis Presley, of Memphis, Tennessee, exclaims, “I love ‘em!” “Sure,” the new idol of the Rock ‘n Roll set told me “they tear off my clothes, they scratch their initials on my cars, they phone my hotel all night. But they buy my records and they pay me to sing. I’m grateful and when they stop annoying me, I’ll start to worry.”

For the present at least, Elvis would seem  to have little to worry about. After an appearance two weeks ago on Jackie Gleason’s TV program “Stage Show,” with the Dorsey brothers, Elvis was quickly signed for another four weeks. Observers generally credited Gleason with a shrewd move.

If any singer could dent the popularity of the show’s competition, smooth, effortless Perry Como, it was probably Elvis. His fans ─ including a “few” older folks ─ have shelled out for over 100.000 of his latest record, “Heartbreak Hotel,” an almost incredible showing for a two week period. On one-night stands over a good part of the country, Elvis plays to very excited and well-packed-in throngs.

What does this kid Presley have? A couple of particularly cubey squares were asking. Well, he’s got a voice that’s very loud and full of feeling and when he sings, unlike Como, it is not effortless. Like Johnny Ray, to whom he has been compared, he writhes and contorts and suffers through a song, and the kids love it. In addition, he’s some showman. For instance. He wears his hair long, with sideburns yet.

Dorsey January 28, 1956..jpg
At CBS-TV Studio 50. Elvis Presley first performance on the Dorsey Brothers' 'Stage Show' program, New York, New York, January 28, 1956.

“I’ve got the money for a haircut.” Elvis assured me. “But this is good business. It’s important that I be conspicuous. His more enthusiastic admirers say he looks like a cross between Marlon Brando and the late James Dean. In a way, he does at that. Incidentally, he’s taking acting lessons.

Then, there’s his clothes. “I don’t think it’s right,” Elvis says, “for a fellow to dress loud. On the street that is. On stage, I want to stand out. The louder my clothes the better.” He favors combinations of red and black, usually without ties. He went to the closet and returned smiling, with a jacket that almost become his trademark. It was a flaming, screaming fire-engine red. A turquoise model is another favorite.

He has “about 75” suits. “Have you worn ‘em all?” I asked. “Most of ‘em” he said. He has 27 pairs of shoes and shirts “I haven’t taken the price tag off yet.” “You see, collecting clothes is my hobby.”

“Mam’s been speaking to me about spending too much money,” (His parents are Mr. and Mrs. Vernon Presley, of Memphis). Mrs. Presley may have had in mind his two Cadillacs, a pink one and a yellow one, back home in Memphis. He travels to his personal appearances in a standard, inconspicuous Plymouth. “Why is that?” I wondered.

“Well, I used to use the pink Caddy ─ had it especially painted, you know, but the kids got so they recognize it. They’d scratch their initials in it and walked off with my hubcaps as souvenirs. “I’m proudest and happiest, though, with my motorcycle.” With two powerful cars and a motorcycle, the accent seemed on speed. I mentioned this. “No reason to worry about that,” Elvis assured me. “I never speed. You see, I care too much about living.”

1956 Harley-Davidson KH on Getwell Rd.,
'55 Cadillac Fleetwood. August 14 - 20 1955. 2414 Lamar.
1956 Harley-Davidson KH ad.
The Enthusiast cover May 1956.jpg
The Enthusiast issue May 1956. A 1956 KH

Who Is Elvis Presley?

THAT rocket blazing a fiery trail across the musical sky these days and nights is no rocket. It's 21 year old Elvis Presley, Memphis's contribution to the world of music. Presley's rise to fame has been little short of fantastic. Some time ago, Elvis walked into the Sun Record Company in Memphis, Tenn., and recorded his voice at his own expense. Sun Record Company liked Presley's style and signed him to a contract.

 

Recently RCA Victor bought Presley's contract and he is on his way up. He recorded "Heartbreak Hotel". His unique style clicked at once. Now this record is a cinch to pass the million mark any day. He is in great demand for personal appearances and TV shows. More of his songs are being released. His head is in a whirl but Elvis is taking it all in stride. He appreciates his good fortune and is determined not to let it change him.

How does Elvis rate cover position in the Enthusiast? He is a Harley-Davidson rider and is shown on his third motorcycle. He started out as the owner of a 165 and at present rides the 1956 "KH." It is a red and white model and is his favorite. His new life makes great demands on him but, he still finds time to roll up some miles on his "KH". Good Luck for your future, Elvis. 

Ted Bruehl Photo ─ January 1956, Getwell Rd. Memphis, Tn.

Article of the Enthusiast® ©Harley Davidson

"Chicago International Amphitheatre"

Elvis meet the press in the Saddle and Sirloin Club - March 28, 1957.

Peter Guralnick wrote; Elvis had a press conference at the Saddle and Sirloin Club at the Stockyards Inn in the afternoon, and that night he unveiled the $2,500 gold leaf suit that the Colonel had had made up for him. The idea had come from the gold cutaway that Liberace wore in Las Vegas, and the Colonel had Nudie Cohen, Hollywood tailor to the stars (or perhaps a certain kind of star, including all the bespangled country and western luminaries), come out to the movie set in his steer—horn-decorated Cadillac to measure him for it.

The Chicago Tribune wrote;

Before opening night of his 1957 tour at the International Amphitheatre, Elvis Presley held a news conference in the Saddle and Sirloin Club, a nearby ritzy hangout for cattle executives visiting the Union Stockyards.

Flanked by a hound dog and a gaggle of reporters ahead of his first-ever Chicago stop — the first concert after his waist-up "Ed Sullivan Show" appearance — the 22-year-old Presley unveiled golden shoes, part of the custom-designed gold suit that he'd debut that night and that would become iconic.

Then came the 16-song, 47-minute performance, attended by some 13,000 rabid fans who rendered "the King" and his backing Jordanaires inaudible with their screams.

Newspaper accounts detail the pandemonium: Grown women were reduced to tears. Dozens of girls fainted. An usher from Bridgeport was cold-cocked by the purse of a fan trying to rush the stage at the arena, located at 42nd and Halsted streets.

From his rollicking rhythm and blues roots to the grandiose stage shows at now-shuttered arenas, the relationship of "The King of Rock 'n' Roll" with the city was special.

"I don't think there was a more pivotal or more important voice to younger generations at that time. They needed that beacon of energy for their generation and certainly Elvis was it," said Cory Cooper, a Nevada-based "Elvis expert."

Like most major cities in the United States, Chicago was a familiar and frequent spot for Presley, where he played both the Amphitheater and Chicago Stadium. But Presley's legacy here took a macabre turn in 1956.

Chicago's American life-size poster.
International Amphitheater Chicago. March 31, 1957.

The American of Chicago produced a series of high quality posters with blank spines except for two notations and a number on each, which have been printed on newspaper, so that they can be folded and show no ink leaks. Celebrities of the time like James Dean, Nancy Sinatra, James Cagney, James Stewart, The Beatles and of course Elvis Presley were all present. In preparation for this special Elvis Presley poster which was to be inserted in Chicago's America issue in 1968, the poster offered announced this upcoming release. Due to the fragile nature of newspapers, few of these inserted posters have survived.

 

Given Elvis' popularity, advertising the pending insert was a smart tactic to elicit interest and, in turn, sell more of this edition. This earlier advertisement for the poster insert is equally unusual and represents the exact image of Elvis in his gold lamé costume that would be included free with the Sunday edition of Chicago's American. What fan could resist to such a dazzling image of the singer in action to hang on his wall?

Erik Lorentzen & KJ Consulting proudly presents the ULTIMATE Elvis Files magazines and books.

 

your on-line search ends here!

 

"That's The Way It Was"  Vol.4 and 5

We've had Vol.1-2-3 in December 2019 and now we have the complete collection with two more editions and +hundreds of unseen photos ─ in B/W and color ─  from the original negatives (not from the movie slides but from the MGM photographers). In all 5 volumes you see over thousands of unseen photos you'll probably never see again, not in any book ─ EVER.

 

And that's a promise!

ELVIS SUMMER FESTIVAL: 

At the end of last year, THE ELVIS FILES TEAM were very proud when we released the trilogy Box ELVIS SUMMER FESTIVAL - That's The Way It Was Volume 1-2 & 3 with nearly 2,000 unseen photos. The three books were very well received by Elvis fans all over the world.

THE ELVIS FILES are now even more proud to present the new box set.
 

 

ELVIS SUMMER FESTIVAL ─ That's The Way It Was ─ Volume 4&5

 


 

The set consists of two Hardcover books, about 800 pages, packed in a slipcase with more than 1100 color and black/white photos you never have seen before in this pristine quality!


 

NO ONE ELSE HAS OR WILL GET THESE PHOTOS ─ ONLY IN THESE TWO VOLUMES

Erik Lorentzen's new publication Vol.4&5 TTWII Summer Festival 1970
Erik Lorentzen's new publication Vol.4&5 TTWII Summer Festival 1970
Erik Lorentzen's new publication Vol.4&5 TTWII Summer Festival 1970

─ Latest Releases ─

The Elvis Files magazine issue 33
TTWII Summer Festival soft cover table book
The Elvis files double feature book: Behind the scenes of Speedway / Stay Away, Joe

Elvis Presley Meets Success in ‘Loving You’

SOMEBODY — some low-down, ornery skunk — must have been spreading the word that success was spoiling Elvis Presley. For Paramount's "Loving You," starring America's favorite hound-dog hollerer, along with poor Lizabeth Scott and Wendell Corey, does just about everything, and little else, to prove that it ain't — isn't. The film opened yesterday at various neighborhood theatres.

Mr. Presley's second picture, which producer Hal Wallis has seen fit to dignify with color and VistaVision, is a success story, a suspiciously defiant treatment of one young feller's rise from threadbare Southern blue jeans to musical fame and fortune. The hero of this story, written by Herb Baker and Hal Kanter, the director, is a shy, simple and modest lad hog-tied by a hard-boiled publicist, Miss Scott, and forced to submit to such promotional bait as eye-blinding hillbilly attire and spectacular cars. All he wants, really, is to bellow across his guitar, wiggle out from under it and scoot around in his li'l ole hotrod car.

Does Elvis sing? More or less — eight numbers, including the title tune twice. And from this sampling of his musical art, not to say acting, it seems likely indeed that he won't change. Artistically, Elvis grunts his melodies (with a few audible lyrics), studiously shaking his hair over his eyes, whacking his gee-tar and writhing away as if he had just sat down on an anthill.

He also studiously refrains from looking into the camera, and who can blame him? "Uh need somebody," he informs the smitten young Dolores Hart, squinting over her shoulder (probably toward the nearest exit).

Elvis is a fightin' man, though, on occasion. After appropriately grinding out "Hot Dog" a (piece of music) in a restaurant, he kayoes a heckler with much the same technique. He also squelches Mr. Corey, as a cynical bandleader, about being called Deke Rivers, "'S'muh name," snarls Elvis.

The picture ends with a maudlin televised tribute (in Texas) to the hero, after Miss Scott browbeats some civic stand-offs in a fantastic speech citing "freedom in America" and the initial hostility to, believe it or not, Debussy's "Afternoon of a Faun" and Stravinsky's "Rite of Spring.""All that don't matter here," thunders the Mayor. And he's right. It don't.

 

The Cast

LOVING YOU, screen play by Hal Kanter and Herb Baker; directed by Mr. Kanter; produced by Hal B. Wallis for Paramount. At neighborhood theatres. Deke Rivers . . . . . Elvis Presley / Glenda Markle . . . . . Lizabeth Scott / Tex Warner . . . . . Wendell Corey / Susan . . . . . Dolores Hart

Behind the scenes (31).jpg
Behind the scenes (16).jpg

  Blast from the Past

still available through our shop

Elvis - The King of Hawaii (2011)
Very impressive book. You can see pictures of all the movies Elvis made in Hawaii. Hundreds of them. Not only The Aloha Special, but also all the other great moments from Elvis in Hawaii.

The movies, Elvis on holiday in may 1968 and 1969, and also march 1977. In concert in November 1972 as a rehearsal for the Aloha, and countless pictures of the Aloha Special ─ January 14, 1973.

From Erik Lorentzen, 384 pages.
King Creole - Frame by Frame (2012) with Pål Granlund and Erik Lorentzen
King Creole: Frame By Frame

400-page hardcover book by FTD, Erik Lorentzen and Pål Granlund.

This is the first volume of an exciting new series called Elvis Presley In Hollywood. Volume two in this series, Jailhouse Rock: Frame By Frame

Each book will contain more than 400 pages and, alongside text written by Mike Eder, many hundreds of stunning, previously unpublished photographs that have been carefully selected.
Jailhouse Rock - Frame by Frame (2012) with Pål Granlund and Erik Lorentzen
Jailhouse Rock: Frame By Frame

400-page hardcover book by FTD, Erik Lorentzen and Pål Granlund.

This is the second volume of an exciting new series called Elvis Presley In Hollywood. Volume one in this series, King Creole: Frame By Frame

Each book will contain more than 400 pages and, alongside text written by Mike Eder, many hundreds of stunning, previously unpublished photographs that have been carefully selected
The Elvis Files book Vol.5 1969-1970 (2012)
The Elvis Files book Vol.5 1969-1970 (2012)

While the 1968 TV Special was an amazing comeback, Elvis’ return to the very top of his profession would never have happened without the Memphis 1969 recording sessions along with the live performances that followed. Let’s face it, Elvis’ amazing legacy was only sealed in gold by these two all-important years.

The Elvis Files Vol. 5 contains over 1,500 stunning photos in its 580 pages all from the fabulous return-to-splendour years of 1969 -1970.
The Elvis Files book Vol.6 (2013)
The Elvis Files Volume 6: 1971-1973

As with the other volumes release so far this again is a huge hardback book with 470 pages and feature more than 1500 photos.

Every single concert & tour, the Vegas and Tahoe shows, private moments and in studio, fan memories and more.
The King Of The Jungle (2014)
In June 1968 Elvis Presley taped a television special to be broadcast that Christmas. The TV special "Singer Presents Elvis" was a milestone in sixties music and a key to Elvis' musical renaissance.

A moment of change, when what was lost is found again. Elvis was lean and chiseled and ─ what he had not seemed in years ─ a little dangerous.

Featuring 546 pages the book includes a detailed look at everything that took place at the historic taping and recording sessions.
Ultimate Elvis Recording Sessions Vol.1 (2014)
Its initial impression is one of enormity in appearance and content. The three books in an accompanying slipcase weigh over 23 pounds, with each volume coming in at 7½ pounds. Each book is a large 9¾ by 11¾ inches in size, and collectively the set runs a whopping 1,712 pages.

Several hundred of those pages are filled with full-page photos of Elvis.

The publisher claims there are “approximately" 1,500 photos of all sizes in the books.

Erik Lorentzen, Piers Beagley, Keith Flynn,Gordon Minto.
Ultimate Elvis Recording Sessions Vol.2 (2014)
Its initial impression is one of enormity in appearance and content. The three books in an accompanying slipcase weigh over 23 pounds, with each volume coming in at 7½ pounds. Each book is a large 9¾ by 11¾ inches in size, and collectively the set runs a whopping 1,712 pages.

Several hundred of those pages are filled with full-page photos of Elvis.

The publisher claims there are “approximately" 1,500 photos of all sizes in the books.

Erik Lorentzen, Piers Beagley, Keith Flynn,Gordon Minto.
Ultimate Elvis Recording Sessions Vol.3 (2014)
Its initial impression is one of enormity in appearance and content. The three books in an accompanying slipcase weigh over 23 pounds, with each volume coming in at 7½ pounds. Each book is a large 9¾ by 11¾ inches in size, and collectively the set runs a whopping 1,712 pages.

Several hundred of those pages are filled with full-page photos of Elvis.

The publisher claims there are “approximately" 1,500 photos of all sizes in the books.

Erik Lorentzen, Piers Beagley, Keith Flynn,Gordon Minto.
Greater Than Ever - Elvis Presley A Touch of Gold Lamé (2015)
A Touch of Gold Lamé a 450+ page Hardcover book by Erik Lorentzen is the same size and weight (3.5kg / 7.7 pounds) as the Elvis Files books and will cover all you could want to know about Elvis and his 1957 concerts featuring the famous Gold Lame Suit.
The Elvis Files book Vol.7 (2015)
The seventh volume of the Elvis Files story chronicles Elvis' years on tour through the USA, the Las Vegas and Lake Tahoe seasons.

All ELVIS EVENTS in this Time Frame 1974-1975 are shown.

Every Working Moment, The Mid-Seventies Tours, The Las Vegas and Lake Tahoe Seasons, Plenty of CANDID Moments and Previously Unpublished Photos.

The cover photo is by Keith Alverson.
The Elvis Files book Vol.8 (2016)
Elvis Files Vol.8 1976-1977 will cover the final years of Elvis' life, the continuous energy - draining treadmill of tours, the final recording sessions and the last CBS TV Special.

While Elvis was not a well man in the last twenty months of his life, collectors will surely find this detailed look into these last years not only an emotional ride but also a part of Elvis' history that cannot be ignored.

The cover shot is taken by photographer Keith Alverson.
Elvis Presley in Person - The Florida Tour, August '56 (2016)
Elvis Presley In Person – The Florida Tour August ’56 by Erik Lorentzen.

The second book in the ‘Gold Standard’ series from Erik will focus on Elvis’ famous Florida tour of August 1956.
This well-known tour began on August 3rd in Miami and Elvis went on to perform 25 concerts in seven different cities over a nine day period. More than 100,000 fans saw Elvis perform, which was unique at the time as no entertainer had previously achieved such an impressive record.
Elvis at the Mississippi-Alabama Fair and Dairy Show September 26, 1956 (2016)
Having finished the Elvis Files series, Erik Lorentzen is concentrating on his new "Gold Standard Series" where he will expand on certain pivotal moments in Elvis' life enabling Lorentzen to publish yet more newly discovered and previously unpublished photos.

EIN has seen the pile of unreleased Tupelo concert photos and they are astounding.
Elvis and Ann-Margret: Love in Las Vegas (2016)
A beautiful soft cover book with 150 pages (25 x 30 cm / 9.8" x 11.8") of PURE LOVE and the latest book from 'The Elvis Files' author, Erik Lorentzen.

The book is written in English and contains a lot of great photos of the beautiful couple. KJ Consulting are proud to publish this book about one of the biggest (Hollywood) romance of the sixties. Only 900 copies printed. Almost sold out. Order now.
The World of FTD Vol.1 (2017) with Keith Flynn and Piers Beagley
Elvis recordings specialist Keith Flynn has completed a tour-de-force about the FTD label, a 1200 pages, hardbound three book set, chronicling every release by FTD.

The book was authored and designed by Keith Flynn with input from a large number of other Elvis specialists including EIN's Piers Beagley, EM&HM's Trevor Cajiao, Geoffrey McDonnell, Gordon Minto and many others.

The book also features 100s of high-quality photos from the collection Erik Lorentzen.

Source: EIN
The World of FTD Vol.2 (2017) with Keith Flynn and Piers Beagley
Elvis recordings specialist Keith Flynn has completed a tour-de-force about the FTD label, a 1200 pages, hardbound three book set, chronicling every release by FTD.

The book was authored and designed by Keith Flynn with input from a large number of other Elvis specialists including EIN's Piers Beagley, EM&HM's Trevor Cajiao, Geoffrey McDonnell, Gordon Minto and many others.

The book also features 100s of high-quality photos from the collection Erik Lorentzen.

Source: EIN
The World of FTD Vol.3 (2017) with Keith Flynn and Piers Beagley
Elvis recordings specialist Keith Flynn has completed a tour-de-force about the FTD label, a 1200 pages, hardbound three book set, chronicling every release by FTD.

The book was authored and designed by Keith Flynn with input from a large number of other Elvis specialists including EIN's Piers Beagley, EM&HM's Trevor Cajiao, Geoffrey McDonnell, Gordon Minto and many others.

The book also features 100s of high-quality photos from the collection Erik Lorentzen.

Source: EIN
The EPE Catalog by Bob Pakes (2017)
Bob Pakes is an early Elvis enthusiast who runs the impressive website 'Elvis Echoes Of The Past'. His first venture into publishing is the incredible 'The EPE Catalog' along with (The Elvis Files) Erik Lorentzen.

Over 390 pages 'The EPE Catalog' presents an A-Z guide with over 1,450 images on every weird and wonderful product that was part of the immensely successful 1956 Elvis Presley merchandise train.

The book is an incredible compendium of why teenage America went crazy for Elvis Presley!
The Reno Brothers (2018)
From Erik Lorentzen is the new mega Hardcover book, 'The Reno Brothers' about Elvis’ first movie, 'Love Me Tender.' This beautiful hardback book will contain many rare and unpublished photos and will be the ultimate book on 'Love Me Tender' with all the stories and, as always, countless mindblowing pictures. This book will be published in The Gold Standard Series.

Weight 3 kg / 6.6 pounds.
Size W 25cm (9.84") x H 30cm (11.8") x D 3.5cm (1.4")
Las Vegas '56 (2018)
Elvis' First Las Vegas season hardcover book.
Elvis Presley made his Las Vegas debut on April 23, 1956. He performs in the Venus Room at the Frontier Hotel.

Elvis Presley is in the forefront of the Freddie Martin Orchestra and the comedian Shecky Greene. He is booked for two weeks.

Weight 3 kg / 6.6 pounds. Size W 25cm (9.84") x H 30cm (11.8")
TTWIwas Vol. 1-2-3 (2019)
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The Miami News. Wednesday, March 23, 1960.

 

The Fans Were There But Elvis Had Jumped The Train At 11th Street

GI Elvis Bivouacs On The Beachhead

 

By MORRIS McLEMORE

 

Duke Stewart stood on the steps of his tidy place on Miami Beach and peered into the night.

 

"You reckon they're coming?" he inquired of a friend who was busy at the time negotiating the repurchase of his car from the house parking lot.

 

"Who's coming you don't have room for?" the friend asked.

 

"Those kids," declared the restless Stewart. "Our security chief heard a rumor a mess of kids are coming ever to get at Presley . . .”

 

Inquiries among members of a thin picket line at the Fontainebleau Hotel entrance brought the intelligence that none of the young people knew of any contemplated assault. Those still on watch were merely victims of their own enthusiasm and stranded, sick that they had missed their boy.

 

This is not the first time an innkeeper has heard whispers that an avenging horde would descend upon a hotel containing Elvis Presley and spring him, guitar, red cummerbund, neckcloth and all.

 

In each instance, of course. Col. Tom Parker has been somewhere in the woodwork. I do not suggest the colonel planted any such rumor where it would be wafted toward the sensitive ear of the manager of the Gold Coast's most sophisticated hotel . . . but, if he didn't, it's only because he was busy eyeing money.

 

It seems no more than a couple of riots ago that Elvis left us.

 

Actually, of course, it was more like two years and, when he returned last night, he was all skinned up. Fortunately, his fans here did not see the marks on Presley's classic temple, for they might have thought this a result of his recent military service and destroyed the Army.

 

We saw some of their power yesterday afternoon, when several hundred lovers of song gathered at the FEC station to welcome the ex-service man. Elvis could not alight from his private car, or so declared his manager. Colonel Parker, the medicine men's medicine man.

 

Ten minutes of squealing and shouting by the assembly failed to budge Col. Parker from his fateful decision. Although he had at his command a task force of 16 gendarmes under Sgt. Ralph Hinson he feared for his man's person and the car was hauled ingloriously backward to 11th Street.

 

There the slender 25-year-old was hustled to the hotel in a black limousine and soon was lost in a cavernous 8-room suite.

 

This rambling reservation is included in the tab Frank Sinatra will pick up when Elvis appears on a one-hour television spectacular to snuff out all other spectaculars.

 

It is reported Presley will be paid $125,000 for this opening caper in his return to workaday, civilian living. Col. Parker never argues against any such report.

 

"I have nothing to say, nothing further at all," he declared to this reporter. "All matters must be cleared with Mr. Sinatra, because he's paying for it . . . After the money changes hands, we'll be happy to talk on any subject but we have a schedule and we'll stick to it until the cash is in the till . . ."

The Miami News. Wednesday, March 23, 196
The Miami News. Wednesday, March 23, 196
The Miami News. Wednesday, March 23, 196

©1979 Excerpt from Alfred Wertheimer's Elvis ‘56 IN THE BEGINNING

Wertheimer - July 1, 1956. Penn Station.

I woke up in Newark, New Jersey, feeling sticky. We were fifteen minutes from New York, and with a cold shot of water on the face and my all-American breakfast of an apple, a half-pint of milk and a Yankee Doodle cupcake, I was ready to go. 

Elvis was sitting cross-legged in a compartment with D. J. and Bill. He had on the same white bucks as the night before, which were no longer quite so white, the same slate-grey suit and the same slick pompadour, which by now had a gloss that could outshine a waxed black Cadillac. 

He was reading a fan letter. D.J. studied her photograph, a wallet-sized high school picture that was so universal in kind, I was convinced there was a special camera that, no matter how it was used, would forever yield a "cheese" smile looking over the right shoulder. D.J. turned it over to read her name and handed it to Elvis, whose face was still puffy and soft from sleep. Elvis looked her over and passed into a morning daydream. 

D. J. said, "Hey, she's pretty good lookin', huh?" Elvis came back. "Yeah, pretty good lookin'." Bill looked out the window and all went black. 

We were crossing under the Hudson River into the subterranean corridors of Pennsylvania Station." 

The main concourse of the station was active with Sunday morning travelers. Elvis picked up a copy of the Sunday New York Mirror. This time he didn't stick it under his arm. In bold, two-inch type the headline read "2 Airliners Missing, 127 Aboard." I had heard he once had a close call in a chartered plane, somewhere outside of Texas. 

Wertheimer - July 1, 1956. Penn Station-

He read that news across the concourse "PHOENIX, ARIZ. June 30. Two luxury airliners, carrying an estimated 127 passengers and crew, were missing and presumed crashed in the Arizona desert ... "), up the stairs ("as darkness wrapped the desert, a vast search-rescue effort was halted for the night ... "), on the street (" ... could be the worst disaster in commercial aviation history ... ") and in the cab ("Other Major Flying Disasters") to the Hudson Theatre, site of the "Steve Allen Show." The train looked better all the time. 

Wertheimer July 1, 1956.jpg
Wertheimer July 1, 1956-1.jpg
Wertheimer July 1, 1956-2.jpg

We were back in New York. The number four Mirror Disc of the Week was "I Want You, I Need You, I Love You" by Sivle Yelserp (sic). Number one was "Wayward Wind" by Gogi Grant. The frosting on the cake was one of "Nick's Snacks!!!": "It isn't what young girls know that bothers their parents ... it's how they found out." 

The cab carrying Tom Diskin, Elvis, Junior and myself drove up Forty-fourth Street, which was deserted and grey under the Sunday morning overcast. At the entrance to the theater, a young girl dressed all in white appeared, escorted by a middle-aqed gentleman. She looked about sixteen going on thirty, and wore what must have been her best white dress (its billowing folds were topped by a bow in the back), white gloves, white pumps, and hat. Her earrings were white rhinestones in the shape of hearts. Around her neck was a rhinestone cross. She looked as if she were ready for her first Communion, except for the dark glasses that she wore. 

Steve Allen Show. July 1st 1956 Hudson T

As soon as Elvis opened the door of the cab, she bravely stepped forward and with all the tentative confidence mental rehearsals bring, she asked, Elvis can I have your autograph?" 

"Sure, honey." 

She presented the pen and the book. He asked her and she told him, becoming so excited, that she could barely speak. When it finally came out, it rushed in a choking torrent. 

"I came in all the way from Long Island with my father; we've been waiting here for over one hour; "I'm so lucky I was able to see you before you went into the theater; I can't wait to see you tonight."

 

Elvis returned her autograph book, took a white gloved hand in both of his and smiled graciously. "It's very nice of you to come all the way from Long-Island. I really appreciate it." 

She choked again. "I'm, I'm so happy to see you I love your music. I love your voice; I've got all your records; I love "I Want You, I Need You, I Love You": I listen to it all the time; I read everything I can about you ..." 

She couldn't go on. 

Elvis spoke gently. "I'm glad you like it. I sure hope I do well tonight. You gonna watch?" 

"I sure will." 

Tom interrupted. "Elvis, it's getting to be time for rehearsal."

"I gotta go now." 

She kept it together. "Goodbye." 

As soon as Elvis entered the theater, she covered her face and wept. Her father put his arm around her, delighted that his daughter's wish had come true. I asked to take their picture. She composed for one shot, then covered her face again and burst into tears. It was true devotion. After the scene last night, I believed it. 

July !st New York City, NY.

The Hudson Theatre, the oldest legitimate showhouse on Broadway, a relic of green marble and stained glass, had been overtaken by the unforgiving progress of television and had been converted into a studio. The stage, which had been extended to accommodate both sets and television cameras, jutted deep into the seating area leaving no more than a dozen rows. The balcony had been given over to the lights. 

Elvis met Bill and D. J. outside his dressing room and they quietly walked together across the stage and up the aisle and took seats halfway from the rear. where Tom and a few of the Jordanaires sat. The Colonel was nowhere in sight. 

Elvis was instructed to sing to the dog. Without the mike, he crouched down nose-to-nose with the dog and let her know, "you ain't nothing but a hound dog." She heard that and ignored him for the rest of the song. 

Now they had a problem. Steve wanted the hound to listen to Elvis, so he suggested that they get to know each other. The top hat and bow tie were removed. Elvis leaned over, caressed her neck and whispered in her ear. She turned away. Elvis became intimate, speaking softly, touching her forehead with his hand to let her know she was the only one in his life. She didn't believe him. 

The director tried his technique, scratching her chin and speaking his own special dog language. He convinced her to put aside her feelings and be the trooper he knew she was. 

 

The director gave the cue. Elvis extended his hand and she leaned forward and rested her chin in his palm. He told her again she was nothing but a hound dog, and when he had her where he wanted her, his hand holding her face close to his, he told her she "ain't never caught a rabbit." Elvis tried to keep a straight face when she turned away. Scotty, D. J. and Bill rocked through the refrain. 

Elvis coiled like a runner at the starting blocks, shot his finger straight out at her and told her again. She looked right back at him and took it, and when he finished telling her, "you ain't no friend of mine," he patched it all up, hugging and caressing her, laughing as she licked his face. The audience applauded, the stagehands nodded, and Steve approved. The Memphis Flash was okay. 

Steve Allen, Hudson Theater, New York, NY.
Steve Allen, Hudson Theater, New York, N
Steve Allen, Hudson Theater, New York, N

THERE'S NO SUCH THING AS HAVING TOO

MANY - JAW DROPPING - ELVIS FILES BOOKS

Lorentzen's books broaden your Elvis knowledge

Stories From Elvis Presley’s Band

TTWII - August 4, 1970, LV. Rehearsal.-2
TTWII Elvis Presley messing around during a rehearsal
TTWII soft cover photo folio - Erik Lore

The TCB Band in 1970: Ronnie Tutt, Jerry Scheff, James Burton and John Wilkinson. Glenn D. Hardin is not visible in these photos.

Lydia Hutchinson | January 8, 2016 | Performing Songwriter

August 1970, the Grand Ballroom of the Las Vegas Hilton. The lights are going down. Out of the darkness comes a torrent of drums, a guitar riff, a piano and eight background singers clapping in tent-revival rhythm. Elvis Presley appears from the wings, throws his shoulders around and flashes a photon beam of charisma. The world’s most coveted head of male hair flops across his forehead. As he starts to sing “That’s all right mama,” the crowd goes nuts. It’s more than all right. The 35-year-old superstar has made a triumphant return to live performance.

 

When he first hit in 1955, Elvis was like an H-bomb on shaky legs. In 18 months, he went from hillbilly singer to the biggest star in America, with a parade of No. 1 hits such as “Heartbreak Hotel,” “All Shook Up” and “Jailhouse Rock.” Along the way he upended our entire pop culture—from music to fashion to attitudes about race and sexuality.

 

By the early 1960s, Elvis was lured to Hollywood as aspirations of movie stardom replaced his desire to be the king of rock ’n’ roll. But he got trapped in a succession of inane films—the result of years-long manipulations of his notorious manager, Colonel Tom Parker. Finally, in 1968, Elvis had enough. In that landmark year, he reasserted himself in the televised ’68 Comeback Special, a new album, From Elvis in Memphis—and his first chart-topper in seven years, “Suspicious Minds.”

 

“I lost my musical direction in Hollywood,” Elvis told reporters on the eve of his return to live performance in Vegas the following year. “My songs were the same conveyer-belt mass production, just like most of my movies. Now I’m back and on the right road.”

 

His traveling companions on the road to the Hilton were a group of ace musicians, including Glen D. Hardin (piano), James Burton (guitar), Ronnie Tutt (drums) and Jerry Scheff (bass). This is the band that would ride with the king from his initial return to the stage in Vegas until his drug-addled last performances in 1977.

 

Best of the Best

Elvis had reunited original backup band members Scotty Moore and drummer D.J. Fontana for the ’68 special, but the old hands were eased out for the Las Vegas shows in favor of young guns with more skill and flash. Moore and Fontana—along with bass player Bill Black—had been with Elvis when he began recording at Sun Studios in Memphis in 1954, but the new players were carefully selected from among the best live and session musicians in the business.

 

Preparing for Elvis’ new live show was an impressive undertaking. Luckily, Elvis and his new band clicked immediately.

 

“We rehearsed probably 200 songs,” says Jerry Scheff. “When we played them with him, it wasn’t like a rehearsal. It was more like we were just having fun, like jamming almost.”

 

A San Francisco hippie with jazz and classical training, bassist Scheff had contributed to hundreds of west coast pop sessions, from Neil Diamond to Linda Ronstadt.

 

“The old songs from the ’50s, Elvis turned those into medleys, and we’d race through them,” Scheff says. “He put them in because he had to, but he squashed them down to the least time possible. He wanted to be taken more seriously by critics. That was his vision—to ease out of the rock ’n’ roll business and become known more for what he considered more adult-type stuff.”

 

Glen D. Hardin agrees. “Elvis was convinced that he was probably the best rock singer in the world, but he came to a point where he wanted to be Perry Como.”

 

Hardin, a Lubbock, Texas native, cut his teeth with Buddy Holly’s group, the Crickets, then after a stint in the Navy, joined the house band for the mid-’60s TV music program Shindig! There he taught himself the arranging skills that he’d use to give much of Elvis’ live work in the ’70s its pomp and circumstance.

 

“I could make the arrangements pretty busy because he was such a powerful singer,” Hardin recalls. “A lot of the stuff for the Vegas show, he’d tell me the song, then say he wanted it the next day. Sometimes it was more than one. A lot of it, I did without ever consulting him. When I got it all together, I’d usually stop by his dressing room before we went on, and I’d play it for him. It was loose.”

 

“In rehearsals, and on stage, Elvis keyed off the guitar,” says James Burton. “We had great eye contact. He loved guitar. If I’d play a lick or something, he would just turn around and say, ‘Yeah, baby!’ It was a great communication that all of us had.”

 

Burton had first caught Elvis’ eye as a member of Ricky Nelson’s band on the weekly TV show The Adventures of Ozzie & Harriet. As the chickenpickin’ axeman rose to the top of the L.A. session scene, Elvis kept tabs on him. He knew the day would come when they’d work together.

 

Rookie drummer Ronnie Tutt, another Texan, had played with Western swing bands and symphonies before joining Elvis’ band. “I’ve always said it was like working for a stripper in the old days of vaudeville,” Tutt says. “The drummers and musicians had to watch every move the stripper made to accent it with their instruments.”

 

With so many songs at his disposal, Elvis rarely followed a set list. “You never knew which way he was going to go on stage,” Burton says. “He could change at any moment. He’d say, ‘James, give me an E.’ Then he’d go into whatever song he had in his mind.”

TTWII - movie still

Santa Cruz Sentinel, 23 January 1975

Elvis May Buy Boeing 707 Jet

MEMPHIS, Term. (AP) ─ If Elvis Presley chose to live in it while on tour, a Boeing 707 jet the singer hopes to buy would be "10 times more plush" than some places he has stayed, his attorney says. Presley has bid $1.5 million for the plane, formerly owned by financier Robert L. Vesco, and already has made a $75,000 deposit, Charles H. Davis said Wednesday." Davis said he expected a group of creditors of a defunct firm formerly headed by Vesco to decide soon on whether to approve the sale. Superior Court Judge Irwin I. Kimmelman of Newark, N.J., also must give his approval. Davis said the plane, which has been at the Newark airport since last May, has 33 passenger seats, sleeping accommodations for a number of persons, a sauna and steam baths, a dressing room, a study and two dining rooms. "Elvis can add more staterooms," Davis said. "He can take his entire staff and band and they can practice while flying. He has had to charter three jets on occasion to take his entire group when he flies to appearances. "Facilities on the plane will be 10 times more plush than some places he has had to stay. And he can keep the plane at a guarded airport location and Capitola Lions.

Meet Tonight

Meeting tonight at Art and Walt's Garbini Inn, Soquel, members of the Capitola Lions Club will view a film, "Second Sight," on a pilot program to provide guide dogs for the blind. Lions President Eddie Ball said the film documents the training of German Shepherd dogs as leaders and their placement with blind persons, who also must be instructed to make the relationship work. Charles Murray is the Capitola club's liaison for its Sight Conservation program. Members of all area Lions clubs are invited to the meeting, slated for 7:30 p.m. live in it.

 

It is excellent from his standpoint." The plane has 40,000 hours of flying time, about half of its expected life, and originally cost between $3 million and $4 million without improvements made by Vesco, Davis said. Davis said that if Presley purchases the aircraft, he would employ a permanent staff of four to operate it, two pilots, a flight engineer and a navigator. Elvis' father, Vernon, said his son had been looking for an aircraft to buy for some time. The elder Presley inspected the plane last week and has shown pictures of it to his son.

 

Vesco, now living in Costa Rica and the Bahamas, is under indictment on charges of conspiracy to stop a Securities and Exchange Commission investigation of his finances in exchange for a $200,000 contribution to the 1972 re-election campaign of former President Richard M. Nixon. Former Atty. Gen. John N. Mitchell and former Commerce Secretary Maurice H. Stans were acquitted in April 1974 on charges of criminal conspiracy, perjury and obstruction of justice in the same case.

Eventually he bought himself a flying Graceland, worth to a king.

So what do we know about his attraction to planes?

He owned 2 jets in his life.

  • a Convair 880 called Lisa Marie

  • a Lockheed Jetstar called Hound Dog II.

 

Convair 880

The Convair 880 was a jet airliner produced by the Convair division of General Dynamics. It was designed to compete with the Boeing 707 and Douglas DC-8 by being smaller, faster and safer, a niche that failed to create demand. Only 65 880s were produced over the lifetime of the production run from 1959 to 1962, and General Dynamics eventually withdrew from the airliner market after considering the 880 project a failure. Only 9 of these aircrafts are left in the world, none of them is airworthy and only one is preserved properly, Lisa Marie – the plane of Elvis Presley. It is parked in Graceland in Memphis and it is part of the Elvis museum.

Manufacturer: Convair
Maiden flight: January 27, 1959
Produced: 1959-1962
Number of aircrafts built: 65

Cumberland County Memorial Auditorium, Fayetteville, NC. August 3-4-5 1976.

Jetstar

The JetStar originated as a private project within Lockheed, with an eye to winning a USAF requirement that was later dropped due to budget cuts. Lockheed decided to continue the project on their own for the business market. Noise regulations in the United States and high fuel consumption led to the development of the 731 JetStar, a modification program which added new Garrett AiResearch TFE731 turbofan engines and redesigned external fuel tanks to original JetStars. The 731 JetStar modification program was so successful that Lockheed produced 40 new JetStars, designated the JetStar II, from 1976 through 1979. The JetStar IIs were factory new aircraft with the turbofan engines and revised external fuel tanks. Both 731 JetStars and JetStar IIs have greatly increased range, reduced noise, and better runway performance compared to the original JetStars.


JetStar production totaled 204 aircraft by final delivery in 1978. Most original JetStars have been retired, but many 731 JetStars and JetStar IIs are still flying in various roles. A JetStar that was owned by Elvis Presley in his later years, named Hound Dog II, is on display at Graceland.

Maufacturer: Lockheed
Maiden flight: 4 September 1957
Produced: 1957 – 1978
Number of aircrafts built: 204

Both jets were sold by the family after the death of Elvis, but later they were bought back and parked in Graceland, Memphis and they serve as a part of the museum.

Lisa Marie And Hound Dog II - Memphis Ai
Arkansas - At Ginger Aldens grandfathers

Lisa Marie and Hound Dog II - Memphis Airport 1975 

November 8, 1971 Philadelphia.jpg

San Bernardino Sun, 22 November 1971

Elvis Adjusts to Audience

BY MARY CAMPBELL

AP Newsfeatures Writer

Elvis Presley, the person RCA Victor says has sold more records than any other person who has ever lived, is also an incredible showman in person. He gave an entirely different ─ show different in approaching ─ in November 1971 in a sometime basketball arena in Philadelphia from the one he gave in August 1969 in a Las Vegas nightclub. And unlike some performers, who would have wound up with a good presentation and a lesser one, Presley was in both cases tremendously exciting.

In Las Vegas, he was returning to live performing after nine years devoted to many movies and a little TV. His audience there ─ people old enough, worldly enough and prosperous enough to gamble in a Las Vegas hotel and then go to the hotel's nightclub, all remembered Presley from early 1956 the shock of the sound of his voice and the crude songs he sang clanging into the midst of ballads from "My Fair Lady" and "Bells Are Ringing." But mostly Presley was the shock of all those sexy gyrations that earned him the name "Elvis the Pelvis" and got him photographed waist-up only on the Ed Sullivan Show.

 

In Las Vegas, Presley gave his audience 1956 ─ all the grinds and thrusts with the guitar and all those old hit songs sung with 1956 intensity, "Blue Suede Shoes," "Don't Be Cruel," "Heartbreak Hotel," "Hound Dog," "Love Me Tender." The audience got very, very turned on. It was nostalgia with a very big plus. People who hadn't liked Presley at first now were used to rock stars' gyrations and, no longer focusing entirely on that, talked excitedly after the show about Presley's stage presence, his excellent voice, his showmanship, his cool, his sex appeal.

 

In Philadelphia, the audience was very different and so was Presley. While we might have assumed that the whole world had become accustomed to a star's sexy moving around on a stage, Presley evidently didn't assume that. Here he had many entire families and they didn't see movements any more suggestive than one would see from a group of carefully supervised Junior high school cheerleaders.

 

After the first couple of numbers, Presley got rid of the guitar and took off a short cape which made him look a combination of an Elizabethan dandy and Superman. He walked around holding a hand mike, gesturing mostly with the other hand, gestures from orchestra conducting to cheerleading to twirling a lariat. He did shake his left knee, but the way he did it was like tapping a toe in time to music. Still, it was a tight, exciting show.

 

There was the merest moment between the end of one song and the start of the next. High point of the evening, as far as we were concerned, was "Bridge Over Troubled Water." That was sung with religious intensity and the audience responded the way a church full of people sometimes rises to the intensity of a spellbinding gospel minister. "How Great Thou Art" and "The Impossible Dream" were on nearly as high a level of fervor. Screaming erupted at the beginning and end of every song and each of the four times Presley took a black scarf from around his neck and in the V neckline of his bright white suit and threw it into the audience.

 

Old friend Charley Hodge, playing acoustic guitar, kept providing scarves and glasses of water. Also behind Presley were three electric guitarists, a pianist, a drummer, an orchestra and nine backup singers. When the Beatles used to perform, the audience screamed. When George Harrison hosted a concert in New York in July, there was silence during a song and then strong but ordered applause at the end. Presley fans still scream. They also shoot flashbulbs toward the stage, throughout. The 17,000 seats in the hall named Spectrum were all sold, plus the press box.

 

Next stop, on a 10-city tour of one-nighters, Boston. Presley gives the impression of a person on top of a career, not with the career on top of him. He sang some of the old hits, but not all of them, and threw in some relative oldies that were hits for other people, like "You Don't Have To Say You Love Me" and "You've Lost that Lovin' Feelin'." He sang one of his 1969 million sellers, "Suspicious Minds," and not the other one from that year, "In the Ghetto."

 

The six females in front of me appeared in the age groups of three little girls, two mothers and a grandmother. Three had binoculars. Not screamers, they seemed enveloped in silent awe. They loved what they heard, weren't disconcerted by anything they saw and clapped a lot at the end. The conclusion is supershowman Elvis Presley knows what he's doing.

San Bernardino Sun, 18 March 1974

Elvis returns to Memphis

MEMPHIS, Tenn. (AP) ─ Elvis Presley is back where it all started 20 years ago and the hometown fans are happy. "The President lives in the White House, but the King lives in Memphis,'' said one man. Presley was in town for five shows four over the weekend and one on Wednesday. The opening performance Saturday drew a crowd of 12.000 who screamed, cheered, waved and jumped out of their seats. "Hello. Memphis,” said Presley. "It's good to be home." It was his first Memphis performance in 13 years.

 

Presley, 39, crooned, bumped, teased, wiggled and tossed silk scarves to begging women. Nobody fainted. "We gave out a lot of aspirins and earplugs, but nobody needed the oxygen tank," said Faye Martin, a Red Cross volunteer. Glittering in a white jumpsuit, Presley worked his way through more than 20 songs, opening with "C.C. Rider" and bowing out to "I Can't Help Falling in Love With You." Hundreds of people shouted for more, but Presley was gone.

 

Officials of the Mid-South Coliseum where the concert was held said the singer left the building in nine seconds flat. Before the show, barkers hawked "treasures from Elvis" that included a $3 souvenir booklet with 16 pictures of Presley in "living, loving color," $7.50 autographed scarves in various colors and $2 field glasses.

Mid-South Coliseum 1974.jpg

ELVIS PRESLEY DIES; ROCK SINGER WAS 42

He was both loathed, loved

By JOHN ROCKWELL New York Times News Service

NEW YORK For most people, Elvis Presley was rock-and-roll. And they were right. Bill Haley may have made the first massive rock hit, and people like Chuck Berry and Little Richard may have had an equally important creative impact on this raucous new American art form, but it was Elvis who defined the style and gave it an indelible image. The songs were tough and driving in a time, 20 years ago, when American popular music was still based on Tin Pan Alley tunesmithing. And the image was of a working-class rebel, pushing sex into the nation's consciousness long before the "sexual revolution." With his ominous, greasy, swirling locks, his leather jacket and his aggressive undulations, Elvis was a performer that parents abhored, young women adored and young men instantly imitated.

 

Presley's national impact began in the spring of 1956, after he had signed to RCA Victor; in that year alone he had such hits as "Heartbreak Hotel" (the first), "Don't Be Cruel" and "Hound Dog" (a double-sided hit), "Blue Suede Shoes," and "Love Me Tender." But before that Presley had forged his style in Sam Phillips' Sun Records studios in Memphis. Although he was not a songwriter, Presley still deserves more credit than he is generally accorded for the creation of his style. Early rock-and-roll derived from a blend of white rockabilly and black rhythm-and-blues.

 

Elvis was not an ignorant country boy who stumbled into the style or who followed the orders of wiser mentors. The by-now-legendary "Sun sessions" of 1954 and 1955, which produced his greatest recorded work and which were recently reissued on an RCA LP, saw Presley carefully working and reworking the songs, evolving his craft on the spot. Elvis' first national impact ─ the "Elvis the Pelvis" days ─ saw the greatest eruption of hysteria about a singer since the days of the young Frank Sinatra. He was mobbed, and idolized even as he was denounced as the devil's tool.

 

Presley became the focus for a new kind of youth music, one that swept aside the gentilities of the adult-oriented pop of previous decades and reflected the swelling youth market of the postwar baby boom. By the late 1950s, however, Presley's image began to change. He went into the Army, and by the time he returned to performing, his main impact was felt in the films he had begun to make soon after his initial success. There were rocking moments in them, to be sure; "Jailhouse Rock," from his third film, was one of his greatest hits. But in most of his movies (overt B films, all of them) he became a sultry Lothario, crooning ballads like "Love Me Tender," his first hit of this sort. By the mid-60s, following the Beatles and the British Invasion, Presley's career had reached its nadir. He still made films and records, and they still sold respectably. But he was no longer a creative force in popular music.

LMT between takes on the set of his firs
MILWAUKEE, WI - APRIL 1977 Elvis Presley

In that context his appearance in Las Vegas in 1968 and an attendant television special and album constituted a genuine comeback. From then on the Presley career took an erratic course. At his best and he was capable of the best right up to the end he could reach back and deliver his up-tempo songs with passion and power. He no longer topped the charts, and he no longer affected people except as an icon, but he could give surprisingly profound musical pleasure. But Presley appearances in recent years had long since transcended the category of concerts and became ritual celebrations. He didn't sell millions of records, but he sold out sports arenas with monotonous regularity. And the audiences at those concerts were something to behold, so adoring and affected were they.

 

Elvis would come on, overweight but regally commanding, and thousands of cameras would light up like rippling waves of fireflies wherever he turned. Grown people would cry unashamedly in their seats, and renditions of appalling indifference would be cheered as lustily as the occasional brilliant effort. Ultimately, the inconsistencies and irrelevancies of his later career do not dim his earlier achievements. Rock is even more a youthful art form than Romantic poetry, after all; in both, the brightest creativity comes early, and successful artists tend to live out their lives on their youthful reputations.

 

Elvis will remain the founder of rock 'n roll in most people's minds, and every rock singer owes something to him in matters of inflection and visual style. The Beatles and Bob Dylan brought the music closer to art as it has been traditionally defined. But Elvis was and remained a working-class hero, a man who arose from obscurity and transformed American popular art in answer to his own needs and who may possibly have been destroyed by the isolation that American celebrityhood sometimes entails. He was as much a metaphor as a maker of music, and one of telling power and poignance.

IMG_9305.JPG
Backstage at the Riviera Hotel in Las Ve

Record Stores Mobbed by Presley Fans

WASHINGTON - Screaming and fainting were only two of the activities by persons reacting to Elvis Presley’s death. Merchandising and analyzing were occupying many others, all over the country.

The computer at RCA Records in New York broke down under the pressure of orders for Presley records, so the amount of the demand was not known. But the company’s plant in Indianapolis was converted into a chiefly Presley-producing operation, turning out 250,000 albums and 200,000 singles each day by working around the clock to meet a demand estimated to reach 100 million.

“The problem is not in pressing the records, but in getting the paper for their covers,” said Vince Penn, regional representative for RCA’s East Coast division, who said that the entire East Coast, including “every record store in Maryland, Washington and Virginia,” is sold out of Presley stock. “We probably won’t be able to replenish the stock in some stores for at least another week.”

New York RCA spokesman Stu Ginzburg said that RCA is trying to be “as low-key and tasteful about this tragedy as we can,” but is planning to return out-of-print Presley movie sound tracks to the catalog. A future promotional campaign is planned.

Specialty record stores in the area reported that they were “absolutely mobbed” by Presley fans seeking old records and memorabilia.

“Elvis was a dead product at this store until he died,” said an employe of Joe’s Record Paradise. Now, however, the store has a waiting list for Presley albums, singles, LPs and photos that’s two pages long. “People will pay anything,” says Les Moskowitz of Roadhouse Oldies. “We’ve been selling some of the 78s for $15 and $20 a throw.

“People I’ve never seen in here before are asking for Elvis records. We had offers of $100 for some of the Sun singles like “Good Rocking Tonight” and “Baby Let’s Play House,” even before he died, but I’m not going to sell those. I’m going to wait a couple of weeks and see what happens.” The Record Bar in Memphis sold 35 albums, 12 eight-tracks and 20 singles in 10 minutes flat; Chicago’s Rose Record Stores named as a typical customer a legal secretary who bought 14 albums for $122.14 because she “just admired him very much as a person.”

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Presley’s most recent album, Moody Blue,” was No. 26 on the Billboard listing of hit albums before his death. The first 250,000 copies of it were pressed in blue vinyl, instead of the usual black, and these are now being sought as collector’s items.

Presley impersonators found themselves in sudden demand. Bill Haney, who calls himself “almost Elvis Himselvis,” said that his “telephone has been ringing off tne wall” because “millions of fans . . . love Elvis and they have no live Elvis to worship anymore.

“The only way his fans can remember his legend is to be able to see somebody do his material in good taste, do it well and do it justice. I hope I can do it well enough so that people will come out and remember Elvis through me,” said Haney, who was making $50,000 a year doing Presley’s material before the singer’s death.

 

Rick Saucedo, who canceled his Wednesday night show of Presley impersonations in Chicago but resumed Thursday’s, said his career could now “go either way. For all I know, my career could be over.”

In the tee-shirt business, a licensing problem is holding up production. Foto Lith, producer of the Charlie’s Angles and Kid-for Rent tee-shirts, is negotiating with lawyers in Memphis to make an official, heat-transfer Presley shirt.

 

Winterland Products of San Francisco is searching the right to produce a silkscreen version, requested by many large record store chains.

One Brooklyn firm that refused to be named has a memorial tee-shirt in the works, with a picture of Presley, a record cover, “King of Rock ‘n’ Roll” and his dates. They had previously had an Elvis tee-shirt, but “It never was a Jaws or Farrah Fawcett” when he was alive.

Day of the Unicorn, a Mt. Vernon, N.Y., wholesaler, has only 100 of its black shirts with Presley’s name and face in stock at $7 retail each, and “they flew out,” said Val Manokain, who hopes to have more in by next Wednesday.

Others, from President Carter to Presley’s colleagues to pop culture scholars, were turning out analyses of Presley and what he symbolized.

“His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture,” said the President’s statement. “His following was immense and he was a symbol to people the world over of the vitality, rebelliousness and good humor of his country.”

The Soviet government newspaper Izvestia depicted him as a victim of “sharp business operators (who) turned Presley into an ‘idol of rock ‘n’ roll,’ placing his talent and reputation at the service of profits. Contrary to the legend, the riches and fame did not bring happiness to the King of Rock ‘n’ Roll, but emptied him and wrecked him and prematurely turned him into a cripple,” the paper said.

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September 9, 1956.