(Passport) PAL, Code 0, Color, Stereo, 4:3, english, appr. 105 min. The Definitive Elvis - 25th Anniversary The Hollywood Years Part I: 1956 1961 LOVE ME TENDER... JAILHOUSE ROCK... KING CREOLE... BLUE HAWAII... These are just a few of the classic Elvis films you´ll encounter in this extraor-dinary look behind the scenes at Presley´s early pictures. Learn the story behind the landmark JAILHOUSE ROCK dance number. Hear previously untold stories from the producers, directors and costars who were right there on the set. See memorable clips and rare photographs from these early classics. Be there as Elvis gets his best acting notices ever, only to put his promising career on hold when he´s drafted. And share Elvis´ tri-umphant return to Hollywood for G.I. BLUES and BLUE HAWAII. Film clips from all Elvis´ films are represented in this program as well as those he almost got to star in: THE RAINMAKER, WEST SIDE STORY The Hollywood Years Part II: 1962 1969 BLUE HAWAII set the tone for many frothy, featherweight films to come, pushing Elvis´ hopes of becoming a legitimate dramatic actor further away. ut the talented people who worked on those lightweight flicks still have • bulous, behind-the-scenes stories and insight to share, including costars EBORAH WALLEY, SHEREE NORTH, BILLY BARTY, STELLA STEVENS, DIANE McBAIN, MARY ANN MOBLEY, CELESTE YARNALL, and Elvis´ sexy VIVA LAS VEGAS sweetheart, ANN-MARGRET. You´ll also see marvelous musical clips and rare photos from such memorable movies as FOLLOW THAT DREAM, FUN IN ACAPULCO, THE TROUBLE WITH GIRLS, and CHANGE OF HABIT. And you´ll learn the truth behind the film that would´ve changed the course of Elvis´ motion picture career; the BARBRA STREISAND version of A STAR IS BORN.
(2006/RCA) 20 tracks 1954-76. Mastered using DSD technology for optimum sound quality. - This collection could be Elvis Presley´s personal play list — R&B and blues classics that became an essential part of his lifelong repertoire, songs he powerfully connected to, as both performer and listener. They represent the breadth of Elvis´s career, from the landmark early sessions at Sun Studio to the final recordings he cut at Graceland. Elvis didn´t merely cover songs like ´That´s All Right´, ´Lawdy, Miss Clawdy´ or ´Reconsider Baby´, he made them his own, stamping his own personality, history and musical passion on each and every one of these remarkable tracks.
(2000/RCA) 19 tracks (62:26) with 8 page booklet. EU pressing - ´Moody Blue´ the last album released during Elvis´ lifetime. It appeared some twenty-one years after his first epochal album and had been on the market just two months when the world was stunned by the news of his death. Despite his well-publicized personal problems, Elvis´ musical vision was remarkably intact at the end. ´Moody Blue´ was Country, Pop, and R&B. Elvis was combining and reinterpreting the textures of the music he loved. The first album had been no less than that; ´Moody Blue´ held fast to his credo. During Elvis´ last years, RCA found it all but impossible to get their reluctant superstar into a studio. Elvis seemed wearied by the prospect of meeting the commitment of two albums and four singles a year called for under his 1973 contract.Too often, producer Felton Jarvis had to rely on ´´live´´ recordings to satisfy the quota. Indeed, four of the original ten recordings on MOODY BLUE were live. One of those original ten recordings, ´´Let Me Be There,´´ has been omitted from this upgrade because it appeared earlier on ´Elvis Recorded Live On Stage In Memphis´. In its place are the ten additional recordings from the last eighteen months of Elvis´ life, first released on ´From Elvis Presley Boulevard, Memphis, Tennessee´. Colin Escott (from the liner notes)
Verlag: CUMBERLAND HOUSE PUBLISHING - Seitenzahl: 244 - 2004 - Englisch - Abmessung: 158mm x 152mm x 24mm Gewicht: 336g ISBN-13: 9781581823943 Elvis Presley spoke to a whole generation of people through his music. Whether it was a ballad, a gospel hymn, or pure rock´n´roll, when he sang, people listened. However, there was more to Elvis than his music and movies. Throughout his career he was questioned by mobs of adoring fans and interviewed by thousands of inquisitive reporters. Repeatedly he was asked personal questions about his life, ranging from love and marriage to his musical style, from his religious beliefs to his family. He answered them all in a polite and forthright way. Elvis Speaks is a collection of Elvis´s words -- what he said on a variety of topics such as loneliness, performing in front of live audiences, how he felt about his fans, how he felt about being drafted into the army, music, love, and religion. The words are pure Elvis. They come from the heart and reflect the man behind the entertainer and beyond the gates of Graceland, the Cadillacs, the gold records, and the money. Elvis Speaks tells of a man who loved to entertain people and found heartache and happiness in a career that spanned nearly three decades.
English, Hardbound/Gebunden mit Schutzumschlag, 22.5x28 cm, 608 Seiten/pages, 2.8 kg ! über 600 Fotos aus den Graceland Archiven mit kurzen Kommentaren - Ein Monster Elvis is the greatest cultural force in the 20th century. He introduced the beat to everything, music, language, clothes, it´s a whole new social revolution´´ - Leonard Bernstein OK, so that was going too far. The man who conducted the New York Philharmonic and composed the music for West Side Story should have known better. Elvis simply didn´t ´introduce the beat to everything: but he was the first to acknowledge the roots of his music in blues, gospel, country, and all the other rhythmically based popular music that America had created through the first half of the 20th century. Likewise, the jive-talk language and sharp clothes that were adopted by Elvis and other early rock´n´rollers - and soon taken up by the newly identified generation of ´´teenagers´´ - weren´t invented overnight, but had their basis in the be-bop slang and zoot-suit fashions of big city jazz musicians in the 1940s. Having said that, Bernstein was right about Elvis being an incalculable cultural force. It´s hard now to appreciate the total impact Elvis had on what we loosely call popular culture, that melting pot of music, art, literature, attitudes, and manners that found its most vital catalyst and instigator for change in the America of the last century. And, like Louis Armstrong, Jackson Pollock, Scott Fitzgerald, cowboy films and boogie woogie, Elvis and his music were uniquely American; it just wouldn´t have happened, couldn´t have happened, anywhere else. In that media-driven century that has so recently come to a close, the century of the photograph, motion pictures, and television as well as records and radio, image was all important. The visual record of people and events that burned onto the mass consciousness was more potent than newsprint, more memorable even than the intimate voices of radio pioneers who gave us history as it happened over the airwaves. When his music exploded on an unsuspecting world in the early weeks of 1956, the first impression most people got of Elvis Presley, other than the almost hypnotic atmosphere of ´´Heartbreak Hotel´´, were the black-and-white photographs of the ´´Hillbilly Cat´´ in action. And in many ways the still camera, creating innumerable images frozen for all time, was the medium that defined Elvis as icon throughout the rest of his life. From the image that for millions was the first glimpse of Elvis, mouth open, legs apart it was clear that here was something different. Was he playing that guitar, or making love to it? Those trousers looked like they were going to split at any moment! Was he singing, or shouting? Was this a musical performance or some act of defiant celebration? Actually it was both — when that picture swiftly found its way around the world, the lines were drawn. Things were never going to be the same again. The early television appearances, beamed coast to coast across a stunned-into-silence America, certainly upset a lot of adult folk, and got the youngters on their toes, but these were mere flickering box-in-the-corner images compared to the real thing. Curiously, the combination of the records themselves and an increasing flood of photographs was far more potent propaganda for the rock´n´roll revolution. RCA Records soon caught on to this. Every new signing to the label would have the obligatory picture session for publicity purposes, but from the start they sensed that this kid from Tennessee looked different. The first time he hit their studios in New York City, there was a photoshoot that revealed the strange beauty of the guy, looking into that big black microphone like a million females would want him to look at them. From Arkansas to Australia. bedroom walls were soon covered with that look. Wallpaper manufacturers, along with big band crooners, righteous preachers, teachers, and parents, held up their hands in horror. Compared to TV, still in its infancy, the films were a different matter. Here was a chance for the mass of people, in and outside the US, to see him move for the first time. But his first film, Love Me Tender, was in truth something of an anti-climax as far as seeing the real Elvis was concerned. He played his part convincingly, and brought tears to the eyes of fans when he died at the end, but it was a never-ending chronicle of photographs that recorded the phenomenon that was