Elvis At 3am, Sahara Tahoe Lake Tahoe 1973
Elvis Presley
Released: 23 Feb 2024 on Memphis Recording Service (2) – MRV40005073
Reviewed September 2024 by Jack Brown.
Part of a line of Elvis live concert releases from the ever-reliable Memphis Recording Service (MRS) label. This is their first full-length release of 2024, & the first to focus on material recorded in 1973. This CD double pack contains two shows from Elvis’ second stint at Lake Tarho Navada from May of 1973. His first season, July/August 1971, had gone very well & so it’s no surprise the King was back for another season, he would do five in total, sort of. This set contains the Midnight Show from May 12, & the 3am show from a few hours later on May 13th. This was a special show Elvis had put on for Mother’s Day, with proceeds going to charity, supporting a hospital that his mum had been a patient of. Both of these recordings were captured on Soundboard. Both shows have been releases before. The 3am show first as a decent-sounding audience recording, then officially by the Follow That Dream (FTD) collectors label as Takin’ Tahoe Tonight back in 2003, this time coming from a reel-to-reel soundboard source. The May 12 MS had only first come out recently on the FTD triple-pack From Vegas To Tahoe, again from a soundboard source, a couple years back. So what’s the point of this release I hear you (or should that be nobody) ask. Well soundboards were recorded in mono, but with the help of computer software & AI, the engineer Studio D (Elvis’ keen fans will see what’s been done here) has remixed both shows to stereo. The software, Digitally Extracted Stereo (D E S) allows the various elements, instruments & vocals, of mono recordings to be deconstructed. Then they can be reconstructed into a stereo-mix, this software is getting better all the time. This isn’t the first MRS release to employ such technology. From their first post-comeback live release,
The First Engagements, back in 2021, MRS has adopted this approach for every surviving soundboard of an Elvis show from 1969-1972. They get to a new year once the 50yr copyright rule has expired. The results seem to be getting better, & more ambitious, with every release. By the time we get to 1977, the mixes should be perfect & of mul-track quality. Only a shame the same cannot be said for Elvis’ performance. Thankfully, in May of 1973, Elvis was still putting on committed & entertaining shows.
Background; 1973 was not the easiest year for Elvis. Yes it had started with the triumph of Aloha From Hawaii, but problems quickly began to surface. Aloha was an artistic & commercial success, though Elvis’ performance was sedate. Rather than resting from the 14 January performance, Elvis found himself back at the Hilton Hotel in Las Vegas to open his usual winter season 12 days later on January 26th. He intended to do a setlist similar to Aloha, but this appears to have been abandoned after the opening night performance. Elvis, having been transmitted to much of the world via satellite only less than two weeks previous, can’t have been thrilled to be back to playing the same stage to the same casino crowd, comparatively small compared to Aloha. This would have presented no challenge to him, so it’s hardly surprising he got a little board at times. As was often the case in Vegas, he quickly caught the flu & had to cancel a few shows. This quickly turned to laryngitis which resulted in Elvis having significant vocal problems throughout the rest of the season. Rather than resting his voice, the gravy train went on, Elvis genuinely didn’t like letting audiences, many of whom had travelled internationally, down by cancelling shows. Against doctors’ advice, he performed a dinner show on February 15th. After 7 numbers, his voice gave up on him & he had to leave the stage for 20-minutes. He did return to apologize & close the show. However, not wanting to let the crowd go away feeling short-changed, he did perform 5 more songs, albeit with a croaky voice. Things got worse when, during the midnight show on February 18th, a group of drunk South American fans invaded the stage & appeared to try & attack Elvis. The fans were quickly restrained, Elvis himself karate-chopped one fan off the stage smashing a table in the process. However, this incident left Elvis shaken & very angry. Fueled by his upcoming divorce, his increasing reliance on prescription medication, & his belief Pricilla’s new partner Mike Stone was trying to stop Elvis from seeing his daughter Lisa Marie, Elvis exploded. He ordered a hit out on Mike Stone. The Memphis Mafia played along, & thankfully after a few days Elvis came to his senses & called the whole thing off, not your brightest idea EP. With the idea of murder abandoned, & the season closed, Elvis took a break. The rest seemed to do his voice some good. The April tour seemed to have stronger performances, & this continued into the May Lake Tahoe residency. Audio-evidence suggests crowds went away happy & were treated to well-performed shows, yet some of the reviews didn’t reflect that. Despite the two strong performances on this CD, Elvis had to cancel his last four days due to having difficulty breathing, the drugs were really starting to have a negative impact on the singer’s health. He would make up for those cancelled four days at the end of 1974, hence there being sort-of five Tahoe seasons. There were also seasons in May of 74, & a final one in April/May 1976.
Audio-Quality; as stated previous, Studio D has worked his magic on these mono soundboards & the results are impressive. The issue with D E S is making believable stereo remixes, as instruments & vocalists have a tendency to wonder across the soundstage, making the whole thing sound a bit of a mess. However, as the review in the Elvis Information Network stated, the reverb of the showroom is quite forgiving. For the most part, the remixes are realistic, & at times sound almost as good as professional RCA multi-track recordings. The instruments are well separated, James Burton’s electric guitar nicely placed, & Glen Harden’s piano, placed nicely on the left. Ronnie Tutt’s caveman drumming leaning towards the right of the soundstage. Elvis’ vocal is dead-center, with the backing-vocalists placed to the right. The D E S isn’t perfect. For previous releases, Elvis & his backing-vocalists haven’t been separated quite so much. With the separation on these recordings becomes a problem. It might be due to the fact that Elvis’s vocal was quite low in the mix of the original recordings, but the separation isn’t perfect. This creates some unfortunate phasing in Elvis voice when he is singing with the back-up vocalists, & when Charlie Hodge joins in with his harmony-vocal. I’m also not entirely sure why Charlie Hodge wasn’t placed in the same position as Elvis, it’s a harmony-vocal after all. However I am no expert in D E S & stereo reconstruction, & it is entirely possible placing all vocalists closer together would have caused similar, if not greater problems. Please don’t let these criticisms put you off. I only noticed the issue after several times of listening on headphones, on loudspeakers it isn’t as noticeable. Plus this has to be weighed up against all the positives of these new stereo mixes. Studio D has breathed new life into the rather flat sounding soundboards. The band packs a greater punch, there is greater audience response, & reverb gives you a more live-concert feel, compared to the dry soundboard tapes. As stated above, Elvis’ vocals, especially on the 3am show, were low in the mix. On this release, Elvis’ vocal has been raised to the correct, & more realistic, level. This gives him more power & clarity. On the 3am FTD release, I mistakenly assumed Elvis was giving a lackluster show due to how quiet his voice was, this stereo remix has proven to me that I was completely wroing. I see no reason while I’ll be going back to the mono versions, except for reference purposes & reasons of comparison.
The Music:
May 13 3AM (CD-2):
Yes this is CD-two, but as it’s the main attraction of the package, hence the title, let’s review it first. What’s surprising is how awake Elvis is, considering this was his third show of the night, having already done both dinner & midnight shows. I agree with the Elvis Information Network, Elvis is up for fun & it has the feel of a closing night performance. Compared to the rather sedate & professional mood of the Aloha broadcast, Elvis is positively loose as the proverbial goose tonight, or should that read this morning. The soundboard tape is complete & of good audio quality. From the 2001 theme introduction the sound improvements are obvious. The orchestra rings out on the left, & Ronnie’s symbols come crashing in on the right.
C C Rider;
Elvis most likely knew this song from the Chuck Willis 1957 version, it was in his personal jukebox at Graceland after all. He first started performing it, in the middle of his shows, during his second Vegas residency in February 1970. Then it was dropped from the setlist for almost two years. Then from the 16th of January 1972 opening show, again in Vegas, it became his opening number. It would stay like this, with few exceptions, until the very end & would become sort of a calling card for the start of his shows. Elvis’s voice, although sounding a little tired *it was his third show after all) sounds pretty strong & we’re off to a good rockin’ start. On the original FTD release, you could barely hear Elvis in certain passages, now his voice rings out clear. James Burton does his great guitar solo on the left, & back-up singers are placed nicely on the right. The song has a good ending, where Elvis sounds awake & ready to rock.
I Got A Woman;
Elvis had been singing this Ray Charles 1954 classic since the Sun days. He recorded it for his first RCA session in early 1956. From his return to live performing in 1969, it became his most common second song for shows. By this point, again with few exceptions, it would be his second concert number till the very end. The song starts off fairly sedately, but then builds up to a strong second half, it all rocks along nicely. We get a verse of Amen before Elvis gets his base-singer, J D Sumner, to do his dive-bomb routine. This must be heard to be believed. It was probably fun while you were at a show, but after the 211th time of hearing it, it does wear thin & becomes rather tiresome. Thankfully, although he makes J D do it twice, it isn’t as drawn out as in later performances. Here you feel it’s more about putting on a bit of fun for the audience, rather than simply killing time.
Help Me Make It Through The Night;
After bidding the audience a ‘good morning’ Elvis launches into the Kris Kristofferson number. It was first a hit for Sammy Smith, after Connie Smith (no relation) refused to initially sing it as she found the lyrics too suggestive, big mistake & she admitted this was a regret of hers. UK fans will probably know it through versions by Gladys Knight & the Pips & John Hoult. Elvis tried this track out during his winter Vegas stint in early 1971, & would record it later that same year. However, the studio recording always sounded a little lifeless, with Elvis sounding fairly disinterested, though he must have liked the song. Usually, the song fared much better for Elvis in a live setting & tonight is no exception. The piano rings nicely on the left with Elvis in the middle. He does get distracted at times by fans, but gives a strong & committed performance, especially during the bridges, I really enjoy his vocals on the second bridge. Interestingly he changes the end lyrics to ‘help us make it through the night, we don’t want to be along’ a nice touch.
Steamroller Blues;
James Taylor is not an artist you would normally think of when thinking of Elvis covers, yet this track became a live favorite from Aloha onwards. James actually wrote this song as a bit of a joke, after seeing one-to-many white Blues acts on the coffee-house circuit. However, Elvis didn’t seem to get the joke &, like he did with Jailhouse Rock, sang it deadpan & straight. This created one of the great bluesy performances of the last few years. He first tried it out during the August 1972 Vegas season, but they hadn’t sorted out & got the arrangement together. By Aloha, they’d got it together & the track had a slow dirty-blues tempo. During the Vegas season, probably due to Elvis’ desire to get through shows quicker, the track got a little too fast, still fun, but too fast. However, it had slowed a little by May of 73 & had got comfortable in my favorite tempo for the song. It now sounded sleezy & dirty. James is giving great guitar licks on the left, & Elvis delivers a powerful vocal in the middle. The brass is positioned well & Elvis gives us a gritty ending. A show highlight.
You Gave Me A Mountain;
the first big vocal ballad of the night. This Marty Robins song, that Elvis heard through the American hit version by Frankie Laine became one of his favorites. First introduced during the winter Vegas season in January 72, it is often said this song spoke to Elvis, who’s marriage had just broken up at the time. It became an on & off regular on the setlist until the very end. The song, about a man who’s suffered a lotta hard luck; mum died giving birth to him, dad subsequently blamed him for said mum’s death, been banged up for something he didn’t do. & to top it all off, his wife’s had enough of him & has taken his son away from him. It’s ridiculous really, yet Elvis makes the song sound sincere & a little bit heartbreaking, which only goes to show what a masterful singer that man really was. This is a strong performance; the choruses been delivered with the right amount of vocal power. There is a little of the vocal-phrasing it told you about during the louder passages between Elvis & the backing-vocals, but this doesn’t stop the enjoyment. Again, Glen’s piano track is placed nicely on the left, which means you can really listen to what he was playing.
Love Me;
we now get to the oldies but goodies. With every year, Elvis seemed to grow less & less interested in the 50s classics, he clearly wanted to move on from them. However, he realized that was what a lot of the crowd wanted to hear so he would reluctantly sing them, albeit with minimal effort. However, in 1973 there weren’t too many oldies, & Elvis could still give good performances of them. So, let’s see what we’ve got here. This was said to be one of Elvis’ favorite songs. Written by Lieber & Stoller in 1955 & cut for his second album, imaginatively called Elvis. Again, the song was written as a Hillbilly joke, but Elvis sang it straight & sincere, making it a ballad highlight of the second LP. In this version, Elvis is showing off how loose he feels & is having fun. He tells James to behave, forgets what he’s singing, & even gives us some Peter Sellers impression. It’s short & sweet & good fun.
Blue Suede Shoes;
Very quick run-through of this Carl Perkins classic. Nothing remarkable to say about it really, a workman like performance, though I do like the growl he puts in towards the end. The growl can often make or break an average performance of this song for me.
Rock Meddley; now we get a medley of RnR tracks;
Long Tall Sally: Elvis had cut this Little Richard classic for his second Long Player. He gives a decent performance here. Again, during Charlie’s harmony vocal during the chorus, we do get some digital artifacts on Elvis’ vocal, also a harmony vocal on the right channel just sounds a little bit strange.
Whole Lotta Shakin Goin on; Elvis cut a funky version of this track in September 1970 & it appeared on his Country album, cleverly called, you guessed it, Elvis Country. Tonight, he’s clearly enjoying singing this track & delivers a strong rockin vocal, just a shame it wasn’t a full-length version, but oh well.
Your Mama Can’t Dance; this early 70s hit for Loggins & Macina, yes Kenny Loggins of Footloose fame, must have caught Elvis’ eye, or rather ear. During one reading of the chorus, Elvis cuts loose, has some fun, & gets the giggles due to a sort-of rude lyric change, listen to the track to find out.
Shake Rattle & Roll; again, just a chorus of this classic Elvis cut for his first Long Player. He’s still got the giggles at the start. He then gives us another short run of a verse & chorus of Whole Lotta Shaking, bringing this loose fun medley to a satisfying end.
My Way;
The second real vocal challenge of the show. Elvis had been performing this Sinatra song, penned by Paul ‘Diana’ Anka, throughout his summer 72 Vegas season. After Aloha though, the track had pretty much been dropped. I’m not sure he’d performed it at all since the January 26th Vegas opening night, though like many things, I could be wrong. Elvis vocal sounds perfectly alone smack dab in the middle of the soundstage. The sweeping violins are positioned perfectly. He does forget the words, singing the last verse twice instead of the second. He also has to hum the line ‘when there was doubt’ as he clearly couldn’t remember it & obviously didn’t have a lyric sheet to hand as in later performances. Yet it is still a stunning version & a true concert highlight. Elvis’s vocal being raised really shows off his power ending *& adds greater emotion & longing to the song. during the bridge, & the build-up at the end, there is some unfortunate vocal phrasing due to the blend of Elvis & his backing singers. Still great though.
Hound Dog;
since returning to live performing, Elvis never really seemed to know what to do with one of his greatest sellers. By 73, he was doing a slow/fast version. The slow part sounds bluesy, funky & dirty, with some Great wah wah guitar curtesy of James. The fast point is run through without much effort. Thankfully it’s over quickly so doesn’t slow down the pace of the show. The crowd as always lap it up.
What Now My Love;
British audiences would likely know this song from the belted-out 1962 version by Shirley Bassey, whom Elvis met, or the 1966 Folk-Rock offering by Sonny & Cher. Elvis had introduced this into the setlist in his summer festival in Vegas the previous year. It was a song he believed in & was passionate about singing, likely as it showed off his powerful voice. Elvis here gives a committed performance; however, the tempo is a bit faster than normal. Being the third show, the band were playing fast tonight, you couldn’t really blame them. It still has a great power ending & is very enjoyable.
Suspicious Minds;
By 1973, performances of this Mark James song, which gave Elvis his first stateside number one in years, could be hit or miss. The tempo had got faster, & sometimes Elvis would be just going through the motions. This version is pretty unremarkable, although the band give it all they’ve got & really go to work for the ending. Elvis gets a little distracted, saying he’s caught in a weird ol trap. This performance does show the issue with separating Elvis & Charlie on this mix, with the vocals being quiet on the original source. Elvis stops singing part of the chorus so Charlie’s left on his own. He should be on the right in this mix, but for a brief moment, only briefly, he ends up where Elvis should be in the Centre. For most people this won’t bother them in the slightest, & the positives of these new mixes far outweigh the negatives. We next get the band introductions, which in 1973 are still thankfully short & sweet. They are loose tonight, with Elvis poking good natured fun at some of the players. He would never have had the confidence to crack so many jokes during Aloha, yet this fun side was far more realistic on many Elvis shows.
I’ll Remember You;
This track, written by Kui Lee in 1964 was one of Elvis favorite songs. It’s one of mine too. Recorded in the summer of 1966 & first coming out as a bonus track on the Spinout soundtrack. Elvis started adding it to the setlist in 1972, & it was a regular throughout much of 1973. Initially I didn’t like this version. Elvis is not focused & goofs around, completely ruining the sentiment & beauty of the lyrics. However, over several listens, I have come to really enjoy this version, as I now accept it for what it was, Elvis having fun. He changes the line endless summer, to long after this long morning is through. He’s horny instead of lonely, & something gets him during the pause before the last verse. He then cannot contain himself & laughs, not too dissimilar to his famous version of Are You Lonesome Tonight, to the song’s conclusion. The crowd love it, & I now do too. I’d love to know what tickled him though, alas we’ll probably never know. If you were at this performance, unlikely
I know, answers on a postcard please.
I Can’t Stop Loving You;
Another Elvis live regular, he rocked up this Don Gibson song. James gives great licks & the brass are well placed in the mix. Elvis still has the giggles during the first half but gives a real power ending. Another loose, but highly enjoyable performance.
Bridge Over Troubled Water;
probably the highlight of the whole show. Elvis’s voice was starting to sound a little sore earlier, during Suspicious Minds, but this doesn’t stop him from giving us a sensational version of this song. As the years rolled on, from his original performances in 1970, the vocals got more & more OTT, but somehow it all worked. Elvis always seemed to love singing this one, & we’re even treated to a repeat of the final verse. The ending is really good & it becomes another highlight of this already fun show. Interestingly, the D E S technology, on both run through’s of the final verse, struggles to pick up the word friend. Checking the FTD release, Elvis probably sings it, but if he does, it’s barely audible. Whereas the soundboard sounds a bit flat & dry, this mix has real life to it, giving us a more realistic feel of what being there must have been like.
Funny How Time Slips Away;
Elvis first asked for The Impossible Dream, but the orchestra, not the one Elvis normally used being the Tahoe in-house orchestra conducted by Elvis’ usual conductor, didn’t know it. He then suggests For the Good Times, but that too it rejected. Instead, he goes for the old Country song, Funny How Time Slips Away. He often performed this in arena shows, as he would have the houselights brought up so he could see the audience while singing it. However, it wasn’t performed all too often during his casino engagements. This version has a more laid-back feel. Elvis has some fun with the audience & gets a bit of the giggles, but still gives us an enjoyable performance, laid back & cool daddio.
It's Over;
this track, written by Jimmie Rogers, the pop singer not Blues or Country, was a set regular in 1971 for Elvis. However, it was performed rarely in 72 & had been dropped after being done for Aloha. Elvis first again asks for Impossible Dream, but his conductor Joe tells us he can’t do it. After a moment’s hesitation, Elvis settles on It’s Over, instructing Ronnie to take the drum lead. Again, Elvis forgets a couple of the words but gives a lovely performance. His voice is quieter during certain passages, which gives this version a really tender feel. As always, he holds the final notes & the ending is powerful.
Faded Love;
straight after It’s Over concludes, Elvis busts into a verse of Release Me, which must have caught the exhausted band off guard. He gives up after a verse however, as the key is way too high for him, & then suggests the old Bob Wills classic Faded Love. He was fond of this track, having cut it for the 1970 Country album in Nashville. However, despite rehearsing the song, Elvis only performed it four known times live, all in 1973. The first was on the 15th February where he lost his voice, it was the first song he sang when he decided to carry on with the show. This was the second time. The band, as stated were playing fast, struggle to find the correct tempo for Elvis. First, it’s too fast, then it’s too slow, but eventually it settles into the correct shuffle. Elvis leads the band, telling Charlie when to come In & telling James to do his solo, which I really enjoyed. It’s another highlight, a really enjoyable fun performance, & the only one we have on soundboard.
Can’t Help Falling In Love;
His usual concert closer. A fine version brings this really fun & entertaining show to an end. Elvis is in a great mood, gives us strong vocals despite it being his third show of the night, & the atmosphere is really fun. One for repeat listening.
May 12 Midnight Show (CD-1)
I again agree with the Elvis Information Network, this show is the appetizer to the main course of the 3am show. Being earlier in the day, Elvis’ voice isn’t quite as tired, & it could be argued he delivers better vocals on this show, however it lacks the fun of the 3am show. Saying that, it is a great bonus disc & is still a performance worth revisiting & listening to. The original release from a couple years back on FTD was quite hissy. Elvis was quite low, though not as bad as the other show, in the mix with dry vocals. MRS have got rid of the tape hiss, probably with use of Nosie reduction. Some may not like this, as removing hiss can remove some of the top end frequencies of recordings. However, I compared Steamroller Blues on both sets, this mix blows FTD out of the water for me. Anything that is lost is far outweighed by what is gained. This show has a more live concert feel & packs a real punch. As many of the tracks performed are the same, we’ll go through them quickly, highlighting unique performances not on the other disc.
Again, the soundboard tape is complete, so we get the 2001 build-up. The mix here is very close to the mix on the other disc, Ronnie’s crashing symbols on the right of the soundstage. Then we’re off into a decent CC Rider. Elvis does his usual Well Well Well routine before I Got A Woman, joking ‘We’ve got three shows to do tonight’ before laughing. ‘it’s gonna be weird singing Blue Suede Shoes at 5 o clock in the morning I tell you’. I Got A Woman rocks along nicely. Elvis then cutely asks a favor of the audience ‘take the ribbon from your hair’ starts a good version of Help Me Make It Through The Night. Elvis jokes around with his vocals a little, but it’s all in good fun & the bridges are delivered well. Steamroller Blues isn’t as powerful as other versions, or the version found on CD-2, yet it is still a really enjoyable version. Also with this new stereo mix, the band just cooks & kicks some serious arse. A while back I compared the FTD & MRS versions of Steamroller through a pair of decent headphones. The MRS version totally blew FTD out of the water, more than I was expecting. There was far more base presence for one thing, & the slinky brass is placed very well in the mix. You Gave Me A Mountain is another strong version, with Glen’s piano tinkling nicely in the left speaker. Then to the oldies, Love Me is decent, Blue Suede Shoes, aside from a nice growl from Mr Presley, is unremarkable, & the medley isn’t as strong as the other performance, though it rocks along nicely & is fun. We now come to the first exclusive song:
I’m Leavin’; This was a track Elvis seemed particularly fond of. It was cut in 1971, & though only being a minor hit, top 4- in the States & just outside the top 20 UK, it is quite well regarded amongst fans. It was a regular on the setlist when the single was released in 71, but dropped for all of 1972, despite being rehearsed. Elvis had caught the itch for the song again by 73 & this is a strong version. A folky type low key tune, with melancholic lyrics, it fitted the type of ballad material Presley liked to record at the time. His vocal was a little weak & subdued on the studio master. Like Help Me Make It, this song often fared better in a live setting. This is another strong version, where Elvis delivers strong vocals. However, some of the digital artifacts mentioned previously are present, especially in the bridges. Still enjoyable though. Afterwards we get a throw-away slow/fast Hound Dog, then a very well performed What Now My Love. During Suspicious Minds Elvis gets the giggles & starts mucking around. The emotion of the song is somewhat lost, but it’s still good fun. The intros are short & again a little loose, Kathy has a weird mind according ot Elvis, & Chalie is employed to laugh with Elvis. I may have to consider again my comments above, whilst this is not as much fun as the 3am show, Elivs is still in a loose & fun mood, & far more up for it than he was in Aloha, fun that is. Although he warns that hes gonna laugh through I’ll Remember You, it’s actually a very well sung & sincere version. Americans had seen the Aloha special, so righlty applaud when he mentions itprior to the song’s performance. Then we get a powerful I Can’t Stop Loving You, sang pretty straight with a power ending, followed by a lovely Bridge Over Troubled Water. We get an unusually extended, not sure why, piano intro which is a rather lovely touch. Then we are treated to a strong performance from Elvis, alas no reprise here. Before he closes the show, Elvis treats us to the other exclusive track of this disc: A Big Hunk O’ Love; This classic rocker, recorded in his final pre-army session in June of 58, & a US no.1 & UK no.4 (what were we thinking) in the UK. Elvis started performing this track at the opening show in January of 72, & it was one of the oldies that was given a really strong arrangement, complete with a nice brass chart, & one in which Elvis treated with more respect. This is a decent version, he does forget the word ‘charms’ & gets the giggles because of it, but it’s still a fun rockin’ way as he heads for home. We then get a short & sweet thank you from the King, before a routine Can’t Help Falling In Love, or as Elivs sings Can’t Help Falling In Heat with you, before Elvis heads up to his room for a short rest before the 3am fun. A nice touch is we get, along with the full closing vamp, an advertisement for Elvis suvineers in the hotel lobby, with all the proceeds going to charity. Well that’s what the cornol had us believe anyways, no I’m sure they did.
Conclusions:
This is a really good double-pack. Both shows are entertaining, especially the 3am show. The audio remixing works well, despite my above statements. The pros far outweigh the cons. I can’t see any reason to go back to my mono FTDs now I have this. Elvis fans, particularly fans of these shows, should get this.
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