'The Last Vegas Opening Night' - import CD delay: Straight Arrow label announced its 12th release near the end of December; a double CD with the famous December 2nd, 1976 Opening Night. Some fans are asking, "Why is this release delayed and will it ever see the daylight?". The answer is very simple: Straight Arrow is here to give you the best possible quality. We originally intended to use a 1978 first generation copy for this release, simply because we figured that the original tape was no longer around or could no longer be traced. But then, as the project was almost near completion, our search for the original tape finally paid off, and we got in touch with the person who recorded the concert and owns the original 120-minute master tape. The sound fidelity and overall quality of this tape is FAR superior to any copy in circulation, and unlike these copies is also 100% complete! The negotiations took some time, but we came to an agreement, and the Straight Arrow team is now working its magic on the original tape. We can assure you that you will be impressed when you hear this; one of the King’s finest ’76 concerts in a remarkably clear and dynamic sound. The person who recorded the show also wrote the liner notes, a unique eye-witness perspective from a person who was THERE and describes the show in fascinating detail.
Tracks: CD1: 01. Also Sprach Zarathustra - 02. C. C. Rider - 03. I Got A Woman / Amen - 04. Love Me - 05. If You Love Me (Let Me Know) - 06. You Gave Me A Mountain - 07. Jailhouse Rock - 08. It's Now Or Never / Are You Sincere (excerpt) - 09. All Shook Up - 10. (Let Me Be Your) Teddy Bear / Don't Be Cruel - 11. Dialogue / Don't Be Cruel (excerpt) - 12. And I Love You So - 13. I Just Can't Help Believin' (by request / last live version) - 14. Fever - 15. Softly As I Leave You - 16. Polk Salad Annie. CD2: 01. Band Introductions - 02. Early Mornin' Rain - 03. What'd I Say - 04. Johnny B. Goode - 05. Drum Solo (Ronnie Tutt) - 06. Bass Solo (Blues - Jerry Scheff) - 07. Piano Solo (Tony Brown) - 08. Electric Piano & Clavinet Solo (David Briggs) - 09. Love Letters - 10. School Day - 11. Celebrity Introductions (Vikki Carr, Glen Campbell) - 12. Hurt #1 - 13. Hurt #2 - 14. Hound Dog (with false start) - 15. Hawaiian Wedding Song (with false start) - 16. Dialogue - 17. Blue Christmas - 18. That's All Right, Mama - 19. Bridge Over Troubled Water - 20. Introduction of Vernon Presley - 21. Can't Help Falling In Love - 22. Closing Vamp. Approx. runing time: 101 minutes (News, Source:SA)
How a 417-land kid gave Elvis Presley a piece of his mind… and then found himself on the road with The King.
By Jeff Houghton
I’ve got a pair of tickets to see Elvis Presley and Hank Snow at the Shrine Mosque tonight for the 13th caller,” announced Springfield radio DJ Jim Stanley. “They have a dress rehearsal and sound check this afternoon. You can’t go to that, but I’ve got tickets to the show tonight.” Johnny Wilkinson, 9 years old at the time, had been left at home for the first time ever that weekend and heard all he needed to hear. He didn’t care about making the show that night. He needed to find his way into the Shrine to speak to Elvis in person. Wilkinson didn’t know it yet, but the circumstances that came together that Saturday in 1956 would prove to be life-changing.
“The minute my folks rounded the corner at Grand and Weller, I got on my bicycle and rode all the way down to the Shrine Mosque, parked my bike, and went up to the second floor where the dressing rooms were,” says Wilkinson. “I’m looking to the right and the left; nobody there. Then in the very last dressing room on the right, there he was. I thought, ‘Okay Wilkinson, here’s your chance, are you going to do it or not?’ So, I knocked on the door. His hair was neatly combed and brushed. He had a on a pair of Levi’s. His boots were shined, and he had a red-and-white checked Western-style shirt.”
After exchanging some pleasantries, Wilkinson told Elvis why he was really there. With his characteristic boldness, present even at 9, he said: “There’s a reason I come looking for you today. I come to tell you that you can’t play guitar worth a damn.”
Wilkinson had watched Elvis enough on television to determine that he was a better guitar-player than Elvis. Taken aback, Elvis pointed to his Gibson guitar in the corner and told Wilkinson to show him how it’s done. Wilkinson had been playing since he was 5 and managed to impress Elvis with a couple of songs before Elvis’s bodyguards came in, putting an end to the impromptu child-to-musician guitar lesson. Wilkinson left that day, but not before Elvis predicted that he would see him again. In most cases, a story like this might be told by a man reminiscing about the one time he met Elvis Presley. But for Wilkinson, this was just the start. Elvis’s prediction had been right.
“The young man on the rhythm guitar - he makes records for RCA Victor - his name is John Wilkinson. Also one of my closest friends.”
Elvis Presley, Las Vegas, August 21, l970.
A Chance Encounter
Wilkinson now lives in the same home he grew up in, but he’s been just about everywhere else in the 40 years between. He returned to Springfield just a few years ago, and his playing days are over due to a stroke in 1989, which forced him to exchange his guitar for a cane. The screaming fans are gone, but in their stead he has two equally adoring dogs, Pugsley and Sammy. To meet Wilkinson now, there are just hints to his rock ’n’ roll past. His sideburns and mustache remain, as well as his gold necklace featuring Elvis’s band name, TCB, with its characteristic lightning bolt. Yet, most telling are Wilkinson’s stories, rich with detail that could only come from someone on the inside of landmark moments in music history.
Wilkinson with Elvis.
After first meeting Elvis, Wilkinson continued to work on his music. “Springfield was a crossroads for just about every country singer there ever was,” says Wilkinson. “I’d watch them on TV or when they played the Shrine Mosque. I learned guitar by watching and listening. I’d hear them play a guitar chord, I’d come home and find that chord on the piano, and then I’d take that knowledge to a guitar.”
Soon after graduating from Greenwood Laboratory School, Wilkinson left for Los Angeles to pursue music. “When I got out to L.A. in late ’63, I haunted every club,” says Wilkinson. His hard work paid off as he was soon discovered, playing for such varied groups as folk singers New Christy Minstrels and the Greenwood Country Singers, to Jefferson Airplane, among others. Wilkinson developed a reputation as a great studio musician. So, when Jethro Tull had to pull out last-minute to open for Jefferson Airplane at Whiskey A Go Go, it was Wilkinson they called to fill in. He got his band together, and they headed down to the club. Walking in, he noticed a roped off area to the right of the stage, but he didn’t think much of it. Wilkinson remembers after his show, “I was down in my dressing room changing out of the show clothes into my regular civvies, and I looked in the mirror and this huge form filled my dressing room, and I thought, ‘Uh-oh, I’m in trouble. I dated somebody I wasn’t supposed to, or I kissed somebody’s wife that I wasn’t supposed to.’ I turn around and this guy says, ‘There’s a man that wants to see you right now.’ I follow him up by the roped-off area, and there’s Elvis.”
Astonishingly, Elvis remembered Wilkinson from years earlier. “He looked at me and said, ‘Are you the same Johnny Wilkinson who told me I couldn’t play guitar worth a damn?’” says Wilkinson. The two old acquaintances sat and talked at the club before driving to Elvis’s home in Beverly Hills.
Getting to Know Elvis, on and Offstage
It wasn’t until four years after that encounter that Elvis called on Wilkinson again in 1968. After a couple of phone calls, the first of which ended with Wilkinson hanging up on Elvis thinking it was his friends prank-calling him, Wilkinson went back to Elvis’s house to jam. Elvis asked him to be his rhythm guitarist, but Wilkinson expressed some hesitations, as he was more of a folk picker than a rock ’n’ roll guitar-player. “Elvis pulled out a piece of paper, wrote something on it, handed it to me, and it was a money figure. He said, ‘Now will you be my official rhythm guitar player?’” With eyes wide, Wilkinson explains in a way only he can, “I looked at it and said, ‘You bet your ass.’”
For the next nine and a half years, Wilkinson traveled the world as a member of the TCB Band, compiling inimitable experiences and seeing an Elvis few people got close to. “He was a wonderful guy,” he says. “Don’t ever let anybody tell you different. He had his faults like everybody else. But he was a wonderful, nice, caring, compassionate and giving person. Outside of my own father, he was probably the most compassionate, giving and caring guy I ever met in my life.” He hasn’t forgotten the time in Memphis when Elvis saw a woman on the sidewalk longingly staring into the showroom of a Cadillac dealership. Elvis jumped out and bought the woman a car on the spot. Wilkinson also remembers Elvis as a prankster who once shot a water pistol at him while playing electric guitar, accidentally sending 1,200 volts of electricity through his body.
Over the years, Wilkinson developed a friendship with Elvis, making his death in 1977 that much more devastating. “Even to this day, Elvis’s death still hurts me,” he says. “I’m sorry he’s gone, not just because he was my employer. He was my friend. He was like the brother I never had.” Wilkinson thought about quitting music altogether after his friend’s death, but he managed to continue playing before meeting Terry, his wife of 27 years. When he did eventually quit music he picked up a “regular job” managing Radio Shacks in the Los Angeles area. Wilkinson says proudly: “To this day, I still have the record of having the best bottom lines of any Radio Shack on the West Coast.”
Wilkinson has the unique capacity to speak with the same pride about the ordinary things in his life as he does the extraordinary. He is as equally fond of telling about his 60-year friendships from Greenwood Laboratory School, as he is about telling of the time that the band had to race off stage to a nearby limo to escape rabid fans. Reflecting on it all, Wilkinson says: “If everything just all of the sudden ended today, and I dropped over dead, I would not have a regret in the world. I wouldn’t change a single thing. I’m happy.”
Certainly Viva Las Vegas is one of the most remembered of Elvis Presley’s 3l theatrical films. That’s due to two factors. The first is the pairing in the lead roles of Presley and Ann-Margret, two of Hollywood’s hottest film commodities in 1964. The second is the film’s theme song, which through the years has served as the unofficial anthem of the booming entertainment center in the Nevada desert.
While not considered a critical masterpiece, Viva Las Vegas is a classic in its presentation of its two energetic, young musical stars. Everything else in the film is secondary to the screen rapport between Elvis and Ann-Margret. With camera angles accentuating the attractive physical features of both, it is difficult for the average viewer to focus on other aspects of the movie.
When reviewers considered Viva Las Vegas on its release in 1964, however, they were obliged to look beyond the film’s stars in forming their assessment. Their appraisals varied, and so the movie received mixed reviews.
Variety’s review appeared on May 20, 1964, and the New York Times printed its analysis the next day. Variety’s reviewer, identified only as “Tube,” acknowledged that the “sizzling co-star combination” guaranteed box office success for the film. On the screen, however, "Tube" judged Viva Las Vegas to be a “pretty trite and heavy-handed affair, puny in story development and distortedly preoccupied with anatomical oomph.”
The Times calls it a pleasant, musical romp
For the Times, however, Howard Thompson gave the picture a pleasant, if not glowing, review. “Coming on a balmy day, with no pretensions of art,” Thompson wrote, “’Viva Las Vegas,’ the new Elvis Presley vehicle is about as pleasant and unimportant as a banana split. And as fetching to look at, it might be added. By now, after some rocky beginnings, the Presley movie formula has leveled off to a series of musical romps that are extremely easy to take.”
The difference between the two reviewers was that Variety’s still operated under the impression that Presley should be making more serious films, while Thompson at the Times understood that Elvis and his Hollywood handlers had come to the realization that light, musical comedy was the star’s box office niche in pictures. So, while “Tube” kept looking for dramatic substance in Viva Las Vegas and found only a “hackneyed yarn,” Thompson sat back and allowed the unassuming and visual narrative to have its way with him.
“This time Metro-Goldwyn-Mayer happily teams him with Ann-Margret, a perfect musical foil with her galvanized dancing,” Thompson noted. “The story … as directed by George Sidney, tools along rosily.
“All this, from the pen of no less a writer than Sally Benson, unfolds against the stunningly picturesque background of the famed desert resort, photographed in excellent color. Miss Benson’s script snugly combs the entire area, from the neon-spangled clubs, casinos and hotels to Boulder Dam Lake. And the picture winds up with a wing-ding of an auto race across the countryside. Whatever it isn’t, ‘Viva Las Vegas’ remains friendly, wholesome and pretty as all get-out.”
Auto race one of most exciting passages ever put on film
Even “Tube,” who seemed disappointed with most of the film, was impressed with its car race sequence. “This depiction of an auto race is one of the most exciting passages of its type ever put on film,” the Variety reviewer gushed. “The driver’s eye-view position in which the audience is placed as the cars whoosh over the swoops and dips of the desert highway engenders a genuine sensation of giddiness in the spectator—much like that generated by a roller coaster ride in Cinerama.”
One puzzling element of the race sequence involves the fate of Cesare Danova, Elvis’s romantic and racing rival in the film. Danova’s character, Count Mancini, receives sympathetic play through much of the film, but when he apparently dies in a horrific crash near the story’s end, no one seems to care beyond a “that’s-a-shame” shrug from Elvis as he drives on to victory.
Elvis and Ann-Margret share musical spotlight
Of course, with two versatile musical talents available, Viva Las Vegas is packed with song and dance numbers throughout. Elvis sings seven solo tunes, and Ann-Margret performs two songs, along with showcasing her dancing talent several times. The two also combine for a vocal duet and a couple of dance numbers. It was the only time in Presley’s film career that he shared the spotlight with a performing talent of comparable ability. Reluctantly, this Elvis fan must admit that Ann-Margret held an edge over him in their musical performances in Viva Las Vegas. Choreographed dancing was never Elvis’s strength, and while he was lively enough on his feet in this film, he couldn’t quite match his co-star’s energetic dancing style.
Variety parceled out the performing kudos as follows: “Neither EP nor A-M fares too well histrionically, but then this isn’t the kind of vehicle that demands high-powered emoting … A few of the musical specialties have some merit and sparkle. The title tune gives Presley his meatiest and most commercial sounding material. His co-star’s best number, although not her most sensually torrid, is the ‘My Rival’ routine in which she laments the competition of his would-be profession. They pair up most successfully on ‘The Lady Loves Me,’ which has the earmarks of a fairly popular wax entry.”
Too much emphasis on female physical assets, says Variety
For other reasons, though, Ann-Margret received some scolding from “Tube.” He thought the starlet’s physical assets were overstressed in the film:
“Any excuse to stare at a derrierre in motion seems good enough for director George Sidney and cameraman Joseph Biroc. The provocative pulchritude of Ann-Margret and assorted other chicks and chorines makes the sexy scrutiny downright pleasurable to the male eye, but there is a certain lack of tastefulness or subtlety about the film’s obsession with peeping at anatomical contours and epidermis simply for the sake of peeping.” Of course, norms for such arousing displays in films have changed in the past 45 years. Today the worst that can be said about Ann-Margret in Viva Las Vegas is that she was just too darn cute.
Elvis and Ann-Margret shared no classic romance (at least on-screen) in Viva Las Vegas. In fact, the stubbornness of their characters was more reminiscent of a volatile teenage romance. The only real amorous stretch in the film was the day the two starry-eyed young lovers spent together flying, waterskiing, and nightclubbing. It was enough, though, to link the two young entertainers together in the public consciousness for decades to come. There will always be speculation concerning the personal relationship between Elvis Presley and Ann-Margret, but Viva Las Vegas will always be ready to testify to the magic they created together on-screen back in 1964.— Alan Hanson (June 2008)
Vanmorgen ontvingen we het trieste nieuws dat Lamar Fike is overleden. Lamar was het zwaargewicht binnen de Memphis Mafia. Hij verzorgde de verlichting tijdens de optredens van Elvis in de seventies. Omwille van zjn gewicht noemde Elvis hem "Buddah", en ook wel 'The Great Speckled Bird". Hij hing al in 1956 rond bij het huis aan Audubon Drive waar Elvis toen woonde tot Gladys hem eindelijk binnen liet. Lamar was bij Elvis tijdens zijn dienstperidode in Duitsland. Daarna bleven Elvis en Lamar close tot 1962, waarna hij manager werd van Brenda Lee. Enige tijd later vervoegde hij zich opnieuw bij de Elvisclan. Hij speelde na de dood van Elvis een wat onduidelijke (en onbegrepen) rol als raadgever bij het controversiële boek van Albert Goldman. Lamar Fike kampte al een tijdje met zijn gezondheid. Moge hij rusten in vrede, onze gedachten gaan uit naar Lamar's directe familie en vrienden.
I have the unfortunate task of officially sadly announcing the passing of Lamar Fike as authorized by his cousin Tommy McDonald who was very close to Lamar and was with him daily in his hospital room in Arlington,Texas. Lamar passed away very peacefully last night, Friday, January 21.
Lamar had been hospitalized since last October 14th and then transferred to the physical therapy wing of the hospital. Unfortunately he did not improve and was sent back to the hospital about a month ago.
Outside of Red West, Lamar was with Elvis the longest and he remained close to him until Elvis' passing. Lamar was also very close to Elvis' mother.
Lamar's wishes to be cremated will be carried out and the Brown,Owen,Brumley Funeral Home, Ft. Worth are handling his funeral. A memorial service will be held in Mart, Texas, one of Lamar's boyhood homes at a date to be announced. He was born in Cleveland,Mississippi on November 11,1935.
Those of us in the Memphis Mafia who remained his friend are greatly saddened by the loss of yet another member of our close group. May G-d Bless his Soul and may he Rest In Peace.
PS: This is the official announcement, his family has asked that it you hear anything else from anyone else do not believe it.
In de loop van de maand maart verschijnt het nieuwe fotoboek van JAT: Speedway. Wederom een hardcover boek van een honderdtal bladzijden boordevol foto's uit deze Elvisfilm met Nancy Sinatra. Als extraatje wordt er een promo-CD bijgeleverd. Zodra de prijs bekend is hoort u meer van ons. Hierboven vindt u alvast de covers.
We kunnen op 15 februari 2011 weer nieuwe titels van het FTD collectors label verwachten. De titel van de eerste cd is nog niet helemaal zeker en de lay-out onder voorbehoud, maar we weten wel dat het gaat om een concert van 26 augustus 1969 uit LasVegas. De foto's van Ann Moses zijn gebruikt in de lay-out van het boekwerkje (12 paginas). Zij was correspondent voor de NME en Tiger Beat en gezegend tijdens deze magische periode uit Elvis zijn carriere aanwezig te zijn.
01 Blue Suede Shoes 3:06 (Carl Perkins) 02 I Got A Woman 2:44 (Ray Charles) 03 All Shook Up 3:50 (Otis Blackwell/Elvis Presley) 04 Love Me Tender 3:04 (Vera Matson/Elvis Presley) 05 Jailhouse Rock / Don't Be Cruel 2:23 (Jerry Leiber/Mike Stoller) / (Otis Blackwell/Elvis Presley) 06 Heartbreak Hotel 4:56 (Mae Boren Axton/Tommy Durden/Elvis Presley) 07 Hound Dog 1:35 (Jerry Leiber/Mike Stoller) 08 Memories 2:42 (Billy Strange/Mac Davis) 09 My Babe 4:23 (Willie Dixon) 10 Mystery Train / Tiger Man 3:39 (Junior Parker/Sam Phillips) / (Joe Hill Louis/Sam Burns) 11 Monologue 8:39 12 Baby, What You Want Me To Do 3:29 (Jimmy Reed) 13 Runaway 2:58 (Max Crook/Del Shannon) 14 Inherit The Wind 3:06 (Eddie Rabbitt) 15 Yesterday / Hey Jude 4:35 (John Lennon/Paul McCartney) 16 Introductions 4:35 17 In The Ghetto 3:04 (Scott 'Mac'Davis) 18 Suspicious Minds 7:48 (Mark James) 19 Can't Help Falling In Love 2:10 (Hugo Peretti/Luigi Creatore/George Weiss)
Paul Lichter kondigt zijn nieuw te verschijnen boek Elvis In Vegas aan. Paul Lichter heeft inmiddels al heel wat titels op zijn naam staan, kijkt u even mee: 1. Portrait Of A Legend 1975 Gold Collectors Edition 2. Portrait Of A Legend 1977 Red Memorial Edition 3. Elvis In Hollywood 1975 coffee table edition 4. Elvis In Hollywood 1975 hardback (very rare 500 copies) 5. Elvis The Legend Lives On 6. The Candid Elvis 7. Elvis TV Years 8. Elvis The Boy Who Dared To Rock coffee table edition 9. The Definitive Elvis - The Boy Who Dared To Rock hardback edition 10. Elvis Presley Memorial Book Of Days 1977 11. Elvis Presley Memorial Book Of Days 1978 12. Elvis Presley Memorial Book Of Days 1979 13. Elvis Presley Memorial Book Of Days 1980 14. Paul Lichter's Elvis Memories Are Forever book & 33 1/3 record album marketed through TV by Crane & Norris 15. Paul Lichter's Elvis Memories Are Forever coffee table book 16. Elvis A Portrait In Music 17. Elvis Memories A Love Story Golden Anniversary Edition 18. Elvis Memories A Love Story Deluxe Collectors Edition 19. Elvis Behind Closed Doors standard edition turquoise leather cover with stamped gold Elvis silouette 20. Elvis Behind Closed Doors Deluxe Graceland Edition (note: first printing featured a lavender leather cover, next 17 printings a deep purple leather) 21. Elvis All My Best 22. Rebel Heart 23. Magic Moments 24. EP In Concert 25. From The City Of Brotherly Love To The Big Apple 26. Thank You Very Much 27. Millennium Elvis - As Good As It Gets/Larger Than Life 28. Elvis Immortal (contributed photos) 29. Charro (JAT Productions - contributed photos) 30. Tickle Me (JAT Productions - contributed photos) 31. Viva Las Vegas (JAT Productions - contributed photos) 32. Paul Lichter Presents Elvis in Las Vegas
Dit keer is er in de serie van deFTD vinyl releases (180 gram 2- LP set) gekozen voor het uitbrengen van het album 'How Great Thou Art'. Het album bevat alle originele masters en vele outtakes. Een leuk extraatje is het nummer 'Beyond The Reef'dat informeel werd opgenomen tijdens de sessies. Het betreft hier een overdubde versie.
Side 1 01. How Great Thou Art (3:02) (Stuart K. Hine) 02. In The Garden (3:11) (Charles A. Miles) 03. Somebody Bigger Than You And I (2:27) (John Lange/Hy Heath/Sonny Burke) 04. Farther Along (4:06) (Arranged by Elvis Presley) 05. Stand By Me (2:29) (Arranged by Elvis Presley) 06. Without Him (2:30) (Mylon LeFevre) 07. How Great Thou Art - takes 1 & 2 (3:30) (Stuart K. Hine)
Side 2 01. So High (1:59) (Arranged by Elvis Presley) 02. Where Could I Go But To The Lord (3:38) (James B. Coats) 03. By And By (1:52) (Arranged by Elvis Presley) 04. If The Lord Wasn't Walking By My Side (1:38) (Henry Slaughter) 05. Run On (2:23) (Arranged by Elvis Presley) 06. Where No One Stands Alone (2:44) (Mosie Lister) 07. Crying In The Chapel (2:28) (Artie Glenn) 08. Somebody Bigger Than You And I - takes 14 (fs), 15 & wp 5 (4:39) (John Lange/Hy Heath/Sonny Burke)
Side 3 01. Run On - takes 1 & 2 (4:52) (Arranged by Elvis Presley) 02. Stand By Me - takes 9 & 10 (4:20) (Arranged by Elvis Presley) 03. So High- take 1 (2:15) (Arranged by Elvis Presley) 04. By And By - takes 1, 2, 3, 4 (fs), 5 & 7 (4:28) (Arranged by Elvis Presley)05. By And By - takes 8 & 9 (2:34) (Arranged by Elvis Presley) 06. Beyond The Reef (3.11) (J. Pitman)
Side 4 01. If The Lord Wasn't Walking By My Side - take 1 (1:53) (Henry Slaughter) 02. Without Him – take 1 (3:04) (Mylon LeFevre) 03. Somebody Bigger Than You And I - take 12 (2:42) (John Lange/Hy Heath/Sonny Burke) 04. In The Garden - takes 1-3 (5:02) (Charles A. Miles) 05. Run On- takes 3- 6 (5:02) (Arranged by Elvis Presley) 06. Where No One Stands Alone - takes 2, 3 & wp 5 (3.45) (Mosie Lister)
Herdenkingsdienst voor Myrna Smith in LA op 29 januari 2011
Herdenkingsdienst voor Myrna Smith in LA op 29 januari 2011
I wanted to give you all a great big THANK YOU from the bottom of my heart for all that you did for my mother. Not only when she was ill, but all the support you gave her during the years of touring, as well as, listening and purchasing her music. Many of you followed her closely and she loved you for that.
My mother was a wonderful lady. My life with her will never be forgotten. I have watched my mom from day one of her time with Elvis and the people from Graceland, showing many people what a great entertainer should project. My mom, although had friends by her side all the way to the end, always understood our special relationship. I will always love and respect my mother for who she is and what she became. Her grandson had the opportunity to sit with his Grandmother long before she became too ill and shared with her his aspirations to follow her entertainment footsteps.
Thank you all for the respect while the family was grieving and we appreciate your well wishes and condolences. I have included the memorial information below and would love to hear from you or see you there.
For people who cannot make it to the memorial, we will be taking all emails and posting them at the memorial for people to read. We may even read a few there.
Sincerely, Martin Smith
Myrna's Memorial: First Christian Church of North Hollywood 4390 Colfax Ave. North Hollywood, CA 91604 818-763-8218 (please send flowers directly to the church) Please RSVP at email@example.com Time: 11:00 AM - 1:00PM Date: 1/29/2011 Refreshment will follow. We appreciate the fans that had done so much for Myrna and a special thank you to Carole Drexler who has been a valuable friend of the family. Bron:EIN
Sony Music will release Elvis Is Back!: Legacy Edition(2-CD) on
March 1st. This is an odd but interesting release as it combines both Elvis'
classic album, Elvis Is Back with his second, non movie, secular album
released after he returned from the army, Something For Everybody. This
upgraded CD features the original LP tracks as well as the 12 songs
chosen for singles for each respective album, and every track is sublime. Both
CDs highlight how the addition of the single releases (It's Now Or Never, A
Mess Of Blues, Are You Lonesome Tonight? and His Latest Flame, Little
Sister, Good Luck Charm) of the time would have benefited each album if
some or all had been added. It was customary to not include singles on albums.
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