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In order to be able to listen to the samples you must install Flash Player 9 or newer version. A second CD is also included, a remixed and re-mastered rehearsal show edition of the early “dress rehearsal” show. In January of 1973, I was invited to see the original TV broadcast at the RCA Records studios in Hollywood along with English Disco club proprietor Rodney Bingenheimer, entertainment reporter Justin Pierce from The Hollywood Press and photographer Ellen Berman. Rodney attended all Elvis 1969-1972 Las Vegas openings and we both went to the November 1970 Presley concert at the Inglewood Forum and the November 1972 Elvis show at the Long Beach Arena.
The late, great Grelun Landon, who then headed press and artist information for the RCA label, arranged a college seminar viewing with assorted Presley entourage members, RCA executives, and music reviewers.
Landon, a Colonel Parker confidant, subsequently asked me to come back to his office in the near future so I could pick up tickets for an upcoming April 1973 Presley appearance at the Anaheim Convention Center and then share an elevator ride with Colonel Parker. In our last conversation I told Grelun I would write about our Presley-themed incident one day. The original recordings on disc one were engineered by Dick Baxter and Al Pachucki, while Larry Schnapf served as director of audio. This new Legacy Edition was produced by Rob Santos and Ernst Mikael Jorgensen, who along with Roger Semon, have been the directors of RCA’s Presley catalog for over two decades. The second disc’s 22 tracks were mixed by Steve Rosenthal and Rob Santos at the Magic Shop, New York, N.Y.
Accompanying the two-CD set is a booklet with rare photos and a new liner notes essay written by BBC presenter, producer and musician Stuart Colman. Aloha From Hawaii via Satellite was broadcast to more than 40 nations, and broke viewing records in Japan, the Philippines, Korea, Hong Kong and Australia.
The single from the concert, Elvis’ version of James Taylor’s “Steamroller Blues,” debuted in April and reached the Top 20, selling in excess of 400,000 copies, #10 in Cashbox and #17 in Billboard. It was not generally known at the time that the Friday evening (January 12th) dress rehearsal had also been recorded as a backup. Aloha From Hawaii wasn’t the first global satellite broadcast; that was rudimentary arts magazine known as Our World. In early 1973, Elvis Presley was performing at one of the highest peaks of his career, and this new expanded soundtrack proves it. Aloha Co-producer Ernst Mikael Jorgensen suggests in his essential research guide, Elvis Presley: A Life In Music (St. The repertoire on this 2013 Aloha product contains “See See Rider,” “Burning Love,” a rendition of George Harrison’s “Something,” a stellar reading of “You Gave Me A Mountain” made famous by Marty Robbins, a couple of Jerry Leiber and Mike Stoller tunes, “Love Me” and “Hound Dog,” “Blue Suede Shoes” and “I’m So Lonesome I Could Cry,” display Elvis in top vocal form.
In Stuart Colman’s liner notes, he writes, “It didn’t take long for the plaudits to roll in. Danish record executive, producer, author and Presley catalog guru Ernst Jorgensen has been a seminal force in the revival and inspection of Presley’s body of audio work for a decade. HK: In preparing this expanded re-release of the original landmark event, what sort of reactions and initial observations came to you?
This was recorded by RCA staff engineers and because of Elvis’ producer Felton Jarvis’ illness, RCA’s A&R person Joan Deary oversaw the recording project. In reviewing concert tapes of Elvis post ’68 Comeback Special, what strikes you most about his live shows and band that we hear on this 1973 endeavor? Normally Elvis would chat a lot on his shows, especially in Las Vegas, but this is a very tight show, with as many songs as you could squeeze into the time frame of the show. Since Elvis had just recently released a live album (from Madison Square Garden) it was important to include new repertoire — especially for the record release.


Is there anything you can offer in terms of the restoration process as far as assembling tapes and the full concept you have edited and compiled? We certainly know he did — he went there often for both filming of his movies and later for his holidays.
Can you offer some observations about Elvis doing this revolutionary TV broadcast as opposed to his live shows.
Can you compare and contrast the Elvis New York City Madison Square Garden 1972 live recording with this 1973 live recording in Hawaii? There are only seven months between the two events, so I think it’s hard to talk about growth — both represent challenges to Elvis (he didn’t think New York would like him), so Aloha is possibly only a step up in the circumstances of the show — the magnitude of a worldwide live broadcast — that he could deliver a flawless performance under that kind of pressure. We have worked on the ambition that we can always get the sound closer to what the original intent was by using the right equipment, analyze flaws coming from digital transfers — and we believe we have gotten better at — the goal is to hear the same on the CD as you hear on the original master tapes.
Can you provide some reflections about the Elvis’s early and mid-‘70s live and studio catalogue?
I saw five or six Presley shows in California during 1970-1976, and with the exception of the last one his voice sounded great.
I think all journalists and many fans basically wanted to still see Elvis as a rock ‘n’ roll artist, where Elvis himself strived for a bigger musical stance including ALL the music he loved — in many ways I think in his own mind, he may have felt that the summer of 1970 — the making of That’s The Way It Is, was his own crowning achievement: The repertoire, band, the freedom to perform exactly what he wanted to. Elvis’ life story is fascinating – it’s in some ways a tragedy, and yet it’s full of glorious moments of achievement.
Los Angeles native Harvey Kubernik has been an active music journalist for 40 years and the author of 5 books, including “This Is Rebel Music” (2002) and “Hollywood Shack Job: Rock Music In Film and On Your Screen” (2004) published by the University of New Mexico Press.
In 2009 Kubernik wrote the critically acclaimed “Canyon of Dreams The Magic and the Music of Laurel Canyon” published by Sterling, a division of Barnes and Noble. He is also the joint author of “That Lucky Old Sun,” done in collaboration with Brian Wilson of the Beach Boys and Sir Peter Blake, designer of the Beatles’ “Sgt. Without limiting the generality of the foregoing, Artist shall not earn any monies (except for mechanical royalties) in respect of any exploitation of any LP or Masters for which Company is not entitled to be credited with, or does not earn, a royalty.
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I wish he was around this century to have read the extensive liner notes I penned for the Elvis Presley ’68 Comeback Special box set Aloha From Hawaii Via Satellite: Legacy Edition marks the first time that both shows performed by Elvis, as released separately in 1973 (the original double-LP Aloha From Hawaii via Satellite) and 1988 (the CD The Alternate Aloha), have been coupled together in one package.
Nor did Elvis want to duplicate much of his then-current M-G-M theatrical release, Elvis On Tour, filmed in March-April 1972, the Golden Globe award-winning film that turned out to be the final motion picture of his lifetime. Aloha From Hawaii via Satellite, the double-LP containing all 24 songs from the broadcast, was rush released to arrive in stores the first week of February, 1973. Fifteen years later, in June 1988 (more than a decade after Elvis’ death), the show was finally issued on CD as The Alternate Aloha.
But it was the first of its kind to be transmitted in color and the first to be recorded for release in Quadraphonic Sound.
Next was a further renaissance in his career with the Dennis Linde-written hit single “Burning Love.” This was followed by Elvis On Tour, a road documentary.
Viewing figures from the Far East broke all records, and the media reaction to Elvis having made television and entertainment history was one of respect and admiration. He has overseen and co-produced Presley boxed sets, including The King of Rock ‘n’ Roll From Nashville to Memphis, Walk a Mile in My Shoes, and Platinum: A Life in Music, all nominated for the Grammy Award while exceeding sales of over a million copies.


Some of these had already been incorporated in the repertoire back in August (but not recorded) and some were added during rehearsals. Did the technical preparation or collaboration take on a bigger undertaking as it was a new technical forum for broadcast.
As far as quality, performances, tape results, and the growth of Elvis still as a stage performer. How has the Elvis catalogue benefited from the CD formats as much of his early work was out on 45s and album vinyl.
I think in general the reporting and documentation overlooked some real gems and great band playing. I did write a story in ’76 for Melody Maker suggesting Elvis retire from the world of touring owing to obvious health issues I witnessed on stage. How do I see Time-to-live (TTL) for a DNS record under Unix or Linux operating systems using command line options? Conversely, Artist will be entitled to royalties for all forms of exploitation of any LP or Masters for which Company is entitled to a royalty based upon the recording services of Artist.
A Master shall not be deemed delivered hereunder unless and until it is technically and commercially satisfactory to Company and, if applicable, to the Distributor under the terms of the Distribution Agreement. At the same time, the show that The Alternate Aloha was based on has been completely remixed from the original multi-track tapes.
Presley’s fondness for Hawaii had first been demonstrated in March 1961, when he raised $62,000 with a concert at the Bloch Arena, toward the funding of the USS Arizona Memorial. Sumner & The Stamps, The Sweet Inspirations, and Kathy Westmoreland, all collectively augmented by The Joe Guercio Orchestra. No solo performer other than Elvis Presley could have headlined such an undertaking, and for that matter no entertainment enterprise other than RCA could have pulled it off. The Quadraphonic double-album of the show was released the first weekend in February, and it dominated the charts, reaching #1 on both the pop and country charts in the United States. The list of songs for the rehearsals is quite extensive, and with an eye to unreleased songs, it was also a question of flow in the program that Elvis was very aware of.
The master tapes from his recording career seem to be in perfect shape and easy to transfer.
Tapes were recorded on different equipment, with various technical issues, but in general the tapes are brilliant. But this ‘73 concert collection presents an entertainer and not just the rocker most everyone, especially reviewers, still wanted him to remain. Artist shall, upon Company’s request and at Company’s expense, execute and deliver to Company any assignments of copyright (including renewals and extensions thereof) in and to the Materials as Company may deem necessary to effectuate the terms of this Agreement, and Artist hereby irrevocably appoints Company as Artist's attorney-in-fact for the purpose of executing such assignments in Artist’s name.
The double-LP immediately sped up the charts, taking the #1 spot in Billboard’s May 5th issue, knocking Pink Floyd’s Dark Side of the Moon out of the top spot. Now that might seem a bold claim, but outside of Elvis himself and the managerial smarts of Colonel Parker it was the technical leadership of the “Victor Talking Machine Company” that enabled the finished article to be presented in such a hi-tech manner. Due to demand and the possibility of a long shelf life, the albums were eventually released in standard two-track stereo. It was always of the utmost importance for Elvis’ manager, Colonel Parker, to do something for Elvis that maintained that his artist was on another level than any other performer. One of the key factors to the success of the venture was the little-trumpeted fact that Elvis had done the show for charity.



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