Elvis Aaron Presley

Elvis to rock around the clock
June 29, 2004

A US satellite radio company is launching a special channel that will broadcast Elvis Presley's music 24 hours a day, seven days a week.

The commercial free "Elvis Radio" will debut on July 2 with a live broadcast from Memphis, Tennessee, where thousands of Elvis fans are expected to gather over the Fourth of July holiday weekend to celebrate the 50th anniversary of the king's first single That's All Right.

Sirius Satellite Radio believes it can avoid overly repetitive content by tapping the extensive Presley catalogue, including hit singles, 'B' sides, rarities, movie soundtracks and live concert recordings.

"I know he'd be beaming with pride at having his very own station," Elvis's widow Priscilla Presley said today.

The channel is being launched in partnership with Elvis Presley Enterprises (EPE), the company which handles the Presley estate.

"Elvis Presley was a true pioneer, a man of many firsts in our world," said EPE president Jack Soden.

"It seems natural for Elvis to be the first artist to have a satellite radio station exclusively devoted to his work."

US satellite radio is still in its infancy, with only two million subscribers in a country of 175 million broadcast listeners.

Elvis Song Stirs Debate of Rock's Birth

Thu Jul 1

(Elvis Presley is shown in this 1957 file photo. On July 5, 50 years to the day that Elvis recorded 'That's All Right,' media and fans from around the world will converge in Memphis for a blowout celebration to commemorate the song, which has been labeled by the city and others as the tune that started the musical and cultural phenomenon known as rock 'n' roll. (AP Photo/FILE))

MEMPHIS, Tenn. - As far as Elvis Presley songs go, "That's All Right," his very first record, wasn't among his biggest hits. In fact, the 1954 song wasn't even a hit at all.

Yet on July 5, 50 years to the day after it was recorded, media and fans will converge on Memphis for a blowout celebration to commemorate the song, which has been labeled by the city as the tune that started the musical and cultural phenomenon known as rock 'n' roll.

But while Elvis may be universally known as the King of Rock 'n' Roll, some consider it a stretch to anoint him the creator of a genre that mixed blues, R&B, country and even a bit of swing — musical styles that were around long before Elvis.

"There was a birth way before — where did Elvis get it from?" asked rocker Lenny Kravitz.

"The thing we think of as rock 'n' roll is Elvis," said rock historian Marc Kirkeby. "But there were records that would be thought of as rock 'n' roll before that and they were done by black artists."

And not just blacks — or even artists — are credited with starting rock 'n' roll. Just two years ago, there were commemorations of the 50th anniversary of rock 'n' roll pegged to disc jockey Alan Freed's Moondog Coronation Ball in Cleveland. Some rock historians have claimed the March 21, 1952, show as the first rock concert — the main reason the Rock and Roll Hall of Fame was located there.

Other historians point to "Rocket '88," the 1951 hit written by Ike Turner (news), as the first rock record because of its distorted electric guitar sound. Still others claim Bill Haley's 1954 hits "(We're Gonna) Rock Around the Clock" and "Shake, Rattle and Roll" (the latter a remake of a Big Joe Turner version) helped birth the rock explosion.

And of course, there are those who say that the blues and swing recordings of black artists from years earlier were rock tunes.

"That's like one of those things that's so contested. I always thought it was when Big Joe Turner did `Shake, Rattle and Roll,'" said guitarist Vernon Reid, formerly of the rock group Living Colour. "Everyone makes a claim and it's contentious."

Probably only die-hard Elvis fans or music historians are familiar with "That's All Right," a cover of a blues number by Arthur Crudup. Released in 1954 by the famed Sun Records, then a local blues label in Memphis owned by a relatively unknown Sam Phillips (news), it was not a national success, but caused a sensation when played on local radio.

Presley's upbeat version, mixing in a bit of country twang, gave the song a different sound. It created a buzz for Presley that eventually caught the attention of RCA Records, which bought out Elvis' contract a year later. Presley wouldn't get his first pop No. 1 single until 1956 with "Heartbreak Hotel."

When pressed, even folks in Memphis won't go as far as to say "That's All Right" was the definitive date rock was created.

"I think if you look at the annals of history, people look at that date as something that had a dramatic effect on rock 'n' roll," said Kevin Kane, president and CEO of the Memphis convention and visitors bureau.

Even during a tour of Sun Studio, still the tiny structure it was in 1954, the tour guide points to "Rocket 88" — also recorded there before Phillips started Sun Records — as the first rock record.

Sitting in the small gift shop and cafe that serves as a greeting point for visitors — many of them Elvis faithful on their way to Graceland — John Schorr, Sun Studio's owner, acknowledges that.

"I don't think anyone is calling this the very first rock 'n' roll song ever made, but it is the first time rock 'n' roll went global and exploded on the world scene," says Schorr, who purchased Sun more than a decade ago (it remains a recording studio).

"Everyone refers to it as kind of the opening shot of the big bang of rock 'n' roll that occurred in rock 'n' roll, which the other ones hadn't done yet."

Others also suggest that more so than the music, "That's All Right" was perhaps the first time that American teens — more specifically, white teens — started embracing a new style of edgy, sexy black music as their own.

"The rock 'n' roll explosion really starts when white kids were becoming immersed in black music," said Kirkeby. "Elvis was the catalyst for that, you have to give him that credit."

Soul legend Isaac Hayes puts it more bluntly.

"You've got to think about it at a time when black music was looked down upon by whites. People like Elvis got lambasted for singing that kind of music," he said. "It took a white guy to break it. Blacks couldn't break it."

More than 1,000 stations around the globe are scheduled to play "That's All Right" at the same time on that date, and Memphis talent such as Justin Timberlake and Hayes are expected to perform during a concert. Throughout the year, there have been dozens of promotional tie-ins celebrating "That's All Right" as the start of rock 'n' roll, from Rolling Stone magazine covers to DVD and CD releases.

The "50 Years of Rock 'n' Roll" in Memphis was Kane's brainchild. Besides its blues heritage, the city's rich musical history includes the Stax soul music label (home to Otis Redding, Hayes, The Staples Singers and others) as well as Sun (which started the careers of Presley, Carl Perkins, Jerry Lee Lewis, Johnny Cash and Roy Orbison, just to name a few), among other contributions.

Though it's been touting itself as the birthplace of rock for years, it wasn't until two years ago that Memphis thought it should put together a worldwide anniversary campaign to draw attention to Memphis as a music center.

"We feel the more exposure that we can generate for Memphis for events through various things that we do, and tying it to our musical legacy can only help encourage people who are motivated by music that Memphis is a place you really want to visit," Kane said.

Rolling Stone has also agreed that Presley's debut song marks the birth of rock. But Joe Levy, a deputy managing editor of the magazine, says it wasn't jumping on the Memphis bandwagon.

"We've been talking for several years about when to mark the anniversary of rock 'n' roll, and in the end it seemed pretty natural," Levy said.

"As a mass phenomenon that changed American culture, Elvis Presley is a legitimate starting point for the beginning of rock 'n' roll. That's where the music became a phenomenon, and the phenomenon grew into a culture that would change the culture and the rest of the world."

Reid, who is black, says that's partly because white culture made that determination.

"Elvis was crowned the `King of Rock 'n' Roll' not by black people. That's really what it comes down to — who had the power to make the definitions stick?" he asks. "The 300-pound gorilla in the room is that this is when white people started paying attention to it."

Still, Kirkeby says Presley — who never claimed to have invented the genre — transformed not only black music, but white music as well.

"The seeds were present well before Elvis, but the thing we call rock 'n' roll was an explosion of black culture meeting white culture that was embodied in him."

Kravitz says the true creators of rock will likely never get their due.

"The guys who invented rock 'n' roll, we probably don't even know who they are," he said. "We can talk about all the Bo Diddleys and the Fats Dominos and all the great guys and Chuck Berrys who were the pioneers, but I'm sure there were a bunch of guys sitting on porches somewhere in the backwoods — we don't even know who they are."

Presley song gets overdue release

That's All Right Mama is widely regarded as the birth of rock 'n' roll
Elvis Presley's debut single is to receive its first release in the UK - to mark the 50th anniversary since it was originally recorded.
Presley's That's All Right Mama was never officially released in the UK.

It will be released in the UK as a CD single and as a 10-inch vinyl record. Only 5,000 copies will be pressed.

The vinyl release will be available only in HMV stores and will cost £3.99. If the record goes to number one, it will be Presley's 19th, a UK record.

Monday is the 50th anniversary of the That's All Right Mama's recording at Sun Studios in Memphis on 5 July 1954.

The song is widely regarded as heralding the start of the rock 'n' roll age.

The record will come with its original b-side, Blue Moon of Kentucky.

Elvis fans mark rock n' roll debut

The 50th anniversary of rock 'n' roll is being marked on Monday, commemorating the date when Elvis Presley recorded his first single.

Musicians are gathering at Sun Studios in Memphis, Tennessee, where Presley first combined blues with rockabilly on the song That's All Right Mama.

"It was a major moment in 20th Century culture," music historian Patrick Humphries told BBC Radio 4.

The song gets its first official UK release on Monday.

Audition

Radio stations around the globe will play That's All Right Mama at 1700 BST on Monday, exactly 50 years after it was recorded.

Presley played the song with guitarist Scotty Moore and bassist Bill Black as part of an audition for Sun Records head Sam Phillips.

"Elvis had been running through some slow ballads," Phillips said, before his death in July 2003.

"We were getting ready to rack up and go home, Scotty was putting away his guitar.

"All of a sudden Elvis would not take his strap off his shoulder and he came up with that song."

Moore said: "Elvis was just fooling around. He was just a white teenager rocking through an old black blues song he heard on the radio."

"It was cut in three or four takes. That was what we were looking for."

The song was taken to a Memphis radio station where it was played seven times in a row, prompting listeners to demand to know the identity of the singer.

Contrast

A contrast to the safe, conservative songs popular at the time, That's All Right Mama is regarded the birth of rock 'n' roll and Elvis Presley's spectacular career.

Thousands of rock 'n' roll fans, including pop star Justin Timberlake, are expected to gather at the Sun Studios site in Memphis on Monday.

The song will be released in the UK as a CD single and as a 10-inch vinyl record, with its original b-side Blue Moon of Kentucky. Only 5,000 copies will be pressed.

The vinyl release will be available only in HMV stores and will cost £3.99. If the record goes to number one, it will be Presley's 19th, a UK record.

пожалуй,единственный рокнольщик,которого я люблю от начала до конца!
Элвис великолепен!Он прекрасный исполнитель!

Элвис — взлет и падение звезды (советская версия)


16 августа исполняется 22 года со дня смерти Элвиса Пресли. В такие дни музыкальные и прочие издания традиционно вспоминают (если кто вспомнит - дата-то некруглая и давняя) о том, каким великим и неповторимым талантом обладал этот исполнитель и как безвременно ушел он из жизни. Но "МГ", будучи газетой молодежной, а потому временами склонной к нетрадиционным методам подачи того или иного материала, предлагает вам в этот день...немного посмеяться.

Думается, это не будет кощунственным по отношению к памяти великого певца - смеяться мы будем не над ним. К тому же, признавая талант Элвиса, мы не забываем о том, что он и сам был человеком веселым, недаром еще при его жизни вышел альбом "Давайте посмеемся с Элвисом на сцене" ("Having Fun With Elvis On Stage"), содержавший забавные реплики певца, записанные во время его концертов.

Итак, предлагаем вам советскую версию головокружительной карьеры великого артиста, появившуюся в журнале "Новое время" в самый разгар застоя и "борьбы двух систем". Статья, откуда мы будем обильно цитировать, называлась "Песня - это тоже политика" (ясное дело!) и увидела свет в сентябре 1971 года. Ее автором был некий А. Игнатов, а вот комментарии к цитатам из нее - наши. И не подумайте, что это была единственная публикация, посвященная Пресли или вообще рок-музыке, - в период "железного занавеса" подобных материалов было в нашей прессе хоть пруд пруди. Просто этот "приглянулся" нам, как наиболее примитивный, убогий - и беспомощный. Итак, в путь.

Пролог

"Начнем с рок-н-ролла, который в свою очередь начался с воровства. Точнее - с воровства и фальсификации, ибо американский шоу-бизнес похитил у американских негров музыку протеста, каким был первоначально рок-н-ролл, превратил его в модный ритм и, выбросив оригинальные тексты, сопроводил новый ритм бессмысленными или полубессмысленными куплетами. Затем новым ритмом и написанными "под него" песнями была наводнена Западная Европа, а за ней и остальной буржуазный мир".

Такая вот цитаточка. Автор либо не знал, либо сознательно умалчивал о том, что среди звезд рок-н-ролла была немало негритянских исполнителей - Сhuck Berry, Little Richard, Larry Williams, Fats Domino. Так что о "похищении" рок-н-ролла у самих себя говорить было как-то странновато. Что же касается изначального "негритянского" рока как музыки протеста (а автор статьи имел в виду протест сугубо политический), то это явная глупость: в 50-е годы он таковым не являлся и выполнял лишь одну функцию - танцевальную, тексты являлись просто "бесплатным приложением" и дальше любовной тематики не шли. Достаточно вспомнить названия хотя бы пары-тройки "черных" хитов того времени - "Долговязая Салли", "Девочка не может с собой cовладать" (Литтл Ричард), "Посторонись, Бетховен", "Сладкие шестнадцать лет" (Берри), "Сногсшибательная мисс Лиззи" (Вильямс). Другое дело, что и среди рокеров нашлись свои талантливые поэты, как например Чак Берри. Но, увы, первые герои рок-н-ролла не могут быть причислены к "протестантам" даже людьми с очень живой фантазией или очень длительным стажем пребывания на партийной работе.

Однако давайте перейдем к главному персонажу нашей повести.

Элвис

"Рассказывают, что современный рок родился в небольшом американском городке во время конкурса певцов-любителей. Автором изобретения был безвестный юноша, выкрикивавший непонятные словосочетания и, по всей видимости, охваченный яростным приступом истерии. Его звали Элвис Пресли.

Реальна или нет эта легенда о рождении рок-н-ролла, но верно одно - именно Элвис создал стиль пения деформированным, напряженным, "испорченным" голосом, растягивая слова или проглатывая целые фразы, меняя звучание слов, заменяя их бессмысленным блеянием - йя-йя, йе-йе и тому подобное. Это он начал в песнях выкрикивать, вопить, испускать звуки диких животных."

Видите, как просто стать "у них" звездой: достаточно во время концерта начать выкрикивать "непонятные словосочетания", при этом можно (даже желательно) иметь отклонения в психике, иначе "яростного приступа истерии", способствующего успеху у публики, вам как своих ушей не видать. Обратите внимание, как изящно автор статьи снял с себя ответственность за всю чепуху, которой он потчевал читателей: "рассказывают" (мол, я только передаю то, что говорят другие). В случае чего он, автор, всего лишь пересказал "легенду". Ладно, поехали дальше...

"Его аккомпаниаторы, столь же бесноватые, как и он, стремились вырвать из гитар самые резкие, самые сильные, самые яростные звуки. Эта какофония не только соответствовала поведению и песням Элвиса, она была необходима для того, чтобы хоть немного перекрыть шум в зрительном зале. Ибо публика на концертах Пресли обычно свистела, вопила, стучала ногами, ломала кресла, дралась - одним словом, принимала в концерте весьма активное участие".

Как видите, у музыки нашлось еще одно предназначение - "перекрывать шум в зрительном зале". На наш взгляд, для этого более подошла бы сирена или пароходный гудок. Что же касается "какофонии" (в переводе с греческого - "сумбурное, хаотическое нагромождение звуков") на концертах, то приведем результаты одного любопытного опроса читателей на самый лучший рок-ансамбль "всех времен" (greatest rock'n'roll band ever), проведенного в 1970 году английской музыкальной газетой "Record Mirror". Если вы думаете, что на вершину списка попал один известный ливерпульский квартет, то ошибаетесь очень сильно. Итак, первая пятерка:

1. Elvis Presley, Scotty Moore, Bill Black, D.J.Fontana

2. Jerry Lee Lewis и аккомпанирующий состав

3. Buddy Holly и аккомпанирующий состав (CRICKETS)

4. Bill Haley и аккомпанирующий состав (COMETS)

5. Gene Vincent и аккомпанирующий состав

Обратите внимание, что все пятеро победителей - музыканты 50-х годов, опередившие как cамих BEATLES, так и STONES. Для непосвященных поясним, что Scotty Moore - cоло-гитарист Элвиса, Bill Black - его контрабасист, а D.J.Fontana - ударник. Билл Блэк, кстати, после ухода от Элвиса в 1959 году организовал собственную группу BILL BLACK СOMBO, с которой немало раз покорял американский сингловый хит-парад. Такая вот "какофония" получается. Однако читаем дальше.

"Розовощекий красавец Элвис стал королем, кумиром, полубогом. Папой новообращенных любителей ритма. Но прошло несколько лет, и волна рок-н-ролла стала убывать. Элвис еще немного продержался на твисте, а потом...потом Элвиса забыли. Да, да, просто-напросто забыли. Но он не ушел со сцены! Он продолжал выступать, пел все новые и новые песни, но рок уже никто не хотел слушать, а кроме него Элвис умело исполнял только слащавые и медоточивые любовные песенки".

Улавливате в определении "розовощекий красавец" плохо скрываемое раздражение? Можно подумать, что если бы Элвис был бледным типом отталкивающей внешности со впалыми щеками, автор проникся бы к нему большей симпатией! Ему, этому Игнатову, вообще, судя по всему, угодить было трудно - рок-н-ролл он обзывал "какофонией", спокойные ("слащавые") песни тоже вызывали у него изжогу. Короче, "установка" у него была такая - обличать. Точнее, обливать грязью. Однозначно. И то, что Пресли забыли, - неправда. Потому что в начале 60-х - в период, который имеет в виду автор, певец, при отсутствии "живых" концертов (вопреки утверждению автора, что "он не ушел со сцены" - как раз ушел, почти на 8 лет), продолжал регулярно записывать пластинки и сниматься в кино, так что, потеряв прямой контакт со зрителями, Элвис отнюдь не лишился аудитории. Например, фильм "Голубые Гавайи" (1961) только от продажи права на прокат в США и Канаде (не считая доходов от билетов) принес 4 миллиона 700 тысяч долларов (по тем временам это сумма!), лента "Вива Лас-Вегас!" (1964) - 5 миллионов 152 тысячи. Но автору очерка не до таких мелочей.

"Казалось, звезда Элвиса Пресли окончательно закатилась. Но тут новая мода, распространенная знаменитой четверкой ливерпульских парней - битлзов, дала бывшему королю новый шанс. Он стал подделываться под битлзов, но его первые опыты на сей счет не увенчались успехом. Дело в том, что многие из певцов нового стиля бита /.../ взяли на свое вооружение темы и термины молодежных движений. Так появились у бита песни о мире, об американской агрессии во Вьетнаме, песни, осуждающие капитализм, расизм, колониальные войны.

И опять автор статьи передернул факты. "Новая мода" ливерпульских парней не имела поначалу ничего общего с протестом. У "ранних" битлов (как, впрочем, и у "ранних" STONES и прочих британских групп, "наехавших" на американский шоу-бизнес и возглавивших так называемое "британское вторжение") не было ни малейших намеков на песни, обличающие пороки этого гадского капитализма! Более того, большой процент в их репертуаре занимали композиции... американского же происхождения! Но автор в таких тонкостях был явно не силен.

Далее он поведал о том, как под воздействием новых тенденций в музыке Элвис записал песню "Гетто", прозвучавшую "суровым укором капитализму", и как его популярность среди "молодых американцев резко поползла вверх", но потом он (Элвис) почему-то бросил это дело (в смысле укорять капитализм) и теперь опять "со сладострастными ужимками поет о любовной неге, бросая бычьи взгляды на дам из первых рядов партера". Короче, вновь морально пал.

В общем, как говорится, суду все ясно. Кроме одного: как могла подобная чушь попасть на страницы довольно солидного журнала и разойтись едва ли не по всему миру - ведь "Новое время" выходило, кроме русского, на английском, французском, немецком, испанском и других языках! Неумелая пропаганда срабатывает как антипропаганда - результат получается обратный желаемому. Обидно только, что читателей держали за круглых идиотов.

Эпилог

"Элвис Аарон Пресли - самый легендарный исполнитель в истории рок-н-ролла. /.../ У Элвиса Пресли в нашей стране - своя история. Думаю, что у самых фанатичных коллекционеров его пластинок на Западе нет пластинок "на ребрах" - то есть самодельных "синглов", нарезанных на рентгеновских снимках, которые в свое время были почти у каждого любителя рок-н-ролла в СССР. /.../ Думается, вряд ли где еще его поклонники были столь преданными и благодарными, как в СССР /.../ Мы надеемся, что наша пластинка /.../ не разочарует как тех, кто пронес ностальгическую любовь к Элвису Пресли со времен "ребер" до наших дней, так и тех, кто впервые познакомится с творчеством этого выдающегося музыканта". (Из аннотации к долгоиграющей пластинке Элвиса, вышедшей в Советском Союзе в 1989 году).

Игорь МАТВЕЕВ

© музыкальная газета

50 лет назад Элвис записал свой первый сингл
https://www.beatles.ru/news/news.asp?news_id=1098

Сегодня с утра показывали этот момент: Скотти Мур и Тимберлейк сидят у студийного катушника, Скотти нажимает кнопку и звучит:
that's allright mama
that's allright with you...
А качество!!!

'68 and Aloha Deluxe Edition DVD Details Announced! 5/12/2004
On June 22, 2004 Elvis Presley Enterprises (EPE), via its distribution partner BMG, will release the new and much fanticipated Elvis, ’68 Comeback Special – Deluxe Edition DVD (3 Discs) and Elvis, Aloha from Hawaii – Deluxe Edition DVD (2 Discs). These DVD sets in premium quality packaging comprehensively present the footage shot for Elvis’s 1968 television special Elvis (a.k.a. The ’68 Comeback Special) and his 1973 television special Elvis, Aloha from Hawaii. The new DVDs are a production of Elvis Presley Enterprises, Inc.

The release date could vary slightly for some countries – specific dates are not available from BMG as yet. This is to be a global release and the DVDs will be in the “all regions” format – meaning they’ll play in all DVD players worldwide, regardless of the country in which one purchases them.

BMG has opted to start off with DVD only, as the VHS market worldwide is nearing extinction. It’s virtually a sin to watch this glorious material on VHS anyway! Still, BMG and EPE are discussing possible means of addressing the demand that will continue for Elvis on VHS.

Whenever we post updates related to these DVD we will issue alerts immediately via our free E-newsletters service. If you are signed up for our various newsletters, you won’t miss a thing.

Soon to be launched is a special new section of Elvis.com to be your “go to” place for advance glimpses at some of the special footage, FAQs, news and special announcements, purchasing details, and other information relating to these DVDs. We’ll also be posting the complete liner notes with all the content details very soon. In the meantime, here’s a quick overview of the content:

Elvis,’68 Comeback Special - Deluxe Edition DVD
(3 Discs)
Available for the first time, the original Elvis television special as it first aired on NBC on December 3, 1968, but with one change: the restoration of the bordello segment that was deleted from the show’s main production number at the request of the broadcast’s primary sponsor. (This restoration was also made in the previous home video and DVD releases of the show, but those releases varied from the original broadcast version in other ways as well.)

And all the material shot from which the components of the TV special were assembled:

- Available in their absolute entirety for the first time, both of the black leather sit-down shows – Elvis, clad in black leather, performing jam sessions with original band-mates Scotty Moore and D.J. Fontana, and friends.

- Available in their absolute entirety for the first time, both of the black leather stand-up shows – Elvis, clad in black leather, performing solo on stage.

- Available for the first time, all the material shot for the Trouble/Guitar Man opening of the special – used and unused takes – everything in its complete, raw form.

- Available for the first time, all the material shot for the gospel production number – used and unused takes – everything in its complete, raw form.

- Available for the first time, all the material shot for the big Guitar Man production number – used and unused takes – everything in its complete, raw form.

- Available for the first time, all three takes and the false start shot for the If I Can Dream show closer – all in complete, raw form. (The final take was the one chosen for the television special.)

- Available for the first time, the shots of Elvis from the closing credits roll of the television special – but without the credits roll.

- Available for the first time, the complete taping session for Elvis’s on-camera “huh-huh-huh” promotional tag for the television special.

- The exciting new If I Can Dream music video created for this DVD set and its promotion. It is assembled from the traditional white-suit If I Can Dream show closer and Elvis’s never-before-released performances of the song at the end of his two black leather stand-up shows.

To illustrate further what we mean by “comprehensive” – You know how the show closed with Elvis playing guitar standing in the big read ELVIS letters as the credits rolled? We even give you a version of that without the credits. And to further illustrate the point, you get all the ’68 material complete with the chatter and whatnot going on while sound is on before and after the camera is rolling and you see the “slates” marking each take. We trust you will like our definition of “comprehensive.” No trimming up or censoring out.

The original videotape material for this program has been digitally remastered and restored. The audio, originally recorded in mono, has been digitally remastered and rechanneled for Dolby Digital stereo and 5.1 surround.

Elvis, Aloha from Hawaii – Deluxe Edition DVD
(2 Discs)
The absolutely complete January 12th and January 14th concerts – never before available in complete form. They are re-edited from scratch and feature meticulously re-mastered sound and picture.

- The complete footage of the post-concert session Elvis did to expand program content for the American broadcast – never before available in complete, raw form. Uncensored.

- The complete footage shot for the “Elvis arrives” sequence for the opening of the television special – never before available in complete, raw form.

- The original American broadcast version of the Elvis, Aloha from Hawaii television special.

The original videotape material for this program has been digitally remastered and restored. The original multi-track audio has been digitally remastered and remixed for Dolby Digital stereo and 5.1 surround.

Второй день смотрю Elvis,’68 Comeback Special - Deluxe Edition DVD
(3 Discs), дошел только до третьего DVD (всего более 7 часов видео!!!!)
Качество и материал просто потрясают!

9 дублей вступления Let Yourself Go!!!!!

Elvis hits British charts
Monday, July 12, 2004

(photo: The original master that pressed the first ever Elvis record "That's all right" is displayed in Elvisly Yours, an Elvis memorial shop in London.)

LONDON, England (Reuters) -- Elvis Presley's "That's All Right," re-issued to mark the 50th anniversary of his first single, was kept off the top spot in the British charts on Sunday by R & B sensation Usher and Britney Spears.

Presley's song, recorded on July 5, 1954, had been tipped to go to number one but could manage only third place, the Official UK Charts Company said.

Last Monday, radio stations across the world celebrated one of the defining moments in rock 'n' roll by playing "That's All Right."

Presley, who died in 1977, recorded the song in Memphis, Tennessee when he was a young truck driver and it started a meteoric rise to fame across the globe as the "King of Rock 'n' Roll."

Minimal heartbreak for Presley women
14/07/2004

Life after Elvis is far from heartbreak hotel for the Presley women.

In the August American edition of Vogue, three generations of Presleys - Priscilla, her daughter, Lisa Marie, and Lisa Marie’s daughter, Danielle Riley - candidly discuss their lives.

Lisa Marie, Elvis’ daughter turned pop star, expressed relief that her teenage daughter, who uses her middle name, Riley, hadn’t turned out like Paris Hilton.

Priscilla, the ex-wife of Elvis, isn’t so quick to judge.

“Some celebrities’ children have done very well, and some are still struggling,” the 59-year-old tells the magazine. ”It’s a very difficult position to be in.”

Riley, Lisa Marie’s daughter from her marriage to Danny Keough, is just beginning a modelling career. The teen remains unfazed by the innate Presley fame. “My mom isn’t famous to me. She’s just my mom,” she said.

Priscilla Presley, left, Lisa Marie Presley, right, and Riley Keough, Elvis' granddaughter

http://www.lisapresley.com/

Здесь на флэшке Лиза Мари на папу похожа...

Кто слышал, как она поет, интересно было бы узнать, я никогда не слышал

Elvis grandchild won't be 'dumb twit' like Hiltons
15/07/2004

Lisa Marie Presley has vowed she will never allow her daughter to turn into a "dumb twit" like socialites Paris and Nicky Hilton.

Presley - daughter of Elvis and actress Priscilla - has boasted that unlike the hotel heiresses, her 15-year-old daughter Riley is the perfect example of a well-brought up child who doesn't dress or act like a "tramp".

The 36-year-old says, "Riley doesn't look like a tramp. She doesn't have that whole "I'm-gonna-be-a-sexy-teenager" thing."

Referring to the Hilton sisters, Presley said: "Those two are the epitome of what my mother raised me not to be. I don't know what they've done. Maybe it's the bleach that fascinates people."

Elvis Presley Boyhood Home To Open To The Public

The apartment where Elvis Presley lived as a teenager has been declared an historical building and will be open to the public.

The Uptown Partnership and the City of Memphis have announced the renovayion of the house will be completed in August, ready for a grand opening on August 9.

Elvis lived with his family at the residence between 1949 and 1953. The apartment at Lauderdale Courts was going to be demolished by was saved after appeals from Elvis fans and the Memphis Heritage Preservation Organization.

"Living at Lauderdale Courts, Elvis had access to a myriad of musical experiences," explained Jack Soden, president and CEO of Elvis Presley Enterprises. "The proximity to Beale Street, Sun Studio and Pop Tunes made this community the perfect environment for his incredible talent to grow and flourish."

"Uptown Square was a national treasure worth saving," said Memphis Mayor, Willie W. Herenton. "Early leasing indicates that it is a great mixed-income community. From doctors and lawyers to working and public-assisted families, it is what innovative housing is all about."

The address of the apartment is N. Lauderdale and Alabama streets, near Uptown Square's leasing and community center at 252 N. Lauderdale. Elvis lived within close proximity to Sun Studios where he recorded his first record.