Unpacking ‘Elvis in Viva Las Vegas Sessions’: A Detailed 3-CD Boxset Review

Jonh Luke1 day ago

0 0 15 minutes read

As a dedicated fan and collector, receiving a new FTD (Follow That Dream) release centered around the iconic “Viva Las Vegas” era of Elvis Presley’s career is always an exciting event. The period surrounding the filming and recording sessions for this classic movie is rich with legendary music and fascinating interactions, particularly between Elvis In Viva Las Vegas and co-star Ann-Margret. This review delves deep into the “Elvis: The Viva Las Vegas Sessions” 3 CD Boxset, presented in a clever slipcase designed to evoke the look of a vintage tape box. While the packaging design is indeed cool and the slipcase a nice touch, some users have reported difficulty in extracting the discs; fortunately, this wasn’t an issue for me, but investing in protective CD sleeves could be a wise precaution. Minor production errors exist, such as a typo listing “What’d I Say” as “What D I Say” and “You’re The Boss” multiple times as “You Re The Boss,” but these are small points in an otherwise substantial release.

The accompanying booklet is a highlight, boasting a generous 28 pages (contrary to a fake sticker claiming 24). It’s filled with stunning photographs, including a particularly striking shot of Ann-Margret on page 22. Engaging trivia is scattered throughout, such as learning that “Today Tomorrow & Forever” was inspired by Franz Liszt’s “Liebestraum.” The booklet features a well-penned article about the movie by Alan Hanson (dating back to 2008) and beautifully restored posters and paperwork related to the film and its releases.

elvis movie viva las vegas

Historical tidbits abound, revealing that Viva Las Vegas was shown in several European countries before its U.S. premiere. The movie’s two-month filming schedule made it Elvis’s most expensive film production. The booklet also touches on the daily clashes between Colonel Parker and director George Sidney, largely due to Parker’s efforts to minimize Ann-Margret’s screen time. It’s suggested that three duets were initially planned but reduced to just one due to Parker’s intervention. The inclusion of various covers and sleeves for the “Viva Las Vegas” EP and the “Viva Las Vegas/What’d I Say” single is fantastic. A compelling write-up by the late Stuart Coleman details how 15 songs were considered for Elvis and/or Ann-Margret, with “You’re The Boss” deemed surplus and “The Climb” being a last-minute addition when the soundtrack was found to be one song short. Coleman notes the missed opportunity for a full soundtrack album and offers an intriguing comparison: despite the “Beatlemania” hype surrounding A Hard Day’s Night, which followed two months later, the unique pairing of Elvis and Ann-Margret generated more movie theatre rentals. While the booklet is rich in visual and historical context, it notably lacks discussion about the actual recording sessions presented on the discs – a minor but noticeable flaw. The EP sleeve and 45RPM artwork restorations by Jimmy Carpenter are commendable.

Disc 1: Masters and Early Takes

Starting with Disc 1, the organization places remixed masters first, followed by “Bonus Songs” and then “First Takes.” The remixed masters sound superb. The title track, “Viva Las Vegas,” remains as exciting as ever with stunning sound quality. Personally, I’ve always had a preference for how some of these songs were mixed, preferring drums centered rather than music on the left, Elvis center, and backing vocals on the right – but this is purely subjective. “Yellow Rose Of Texas – The Eyes Of Texas” medley, though not a masterpiece, is a wonderfully catchy guilty pleasure that sounds great here. “The Lady Loves Me” has been a favorite since seeing the film; listening closely, I noticed Ann-Margret’s vocal subtly shift from the right ear towards the center for a fraction of a second, hinting at an animated session! “C’mon Everybody” is another favorite, though I’ve always preferred the movie version’s energy over the record version. The movie version is thankfully included on Disc 3. The record master sounded slightly uncertain to me, lacking the full commitment Elvis gives in the film version. As a kid, I always wondered where the movie’s ending went on the record, later learning it wasn’t part of the session and its lesser sound quality was due to being added post-session. “Today, Tomorrow & Forever” is a song I admit I’d somewhat forgotten over the years due to the sheer volume of Elvis material, but this set reignited my appreciation for its beauty.

elvis in viva las vegas

“The Climb” is a fantastic track where Elvis participates in the background rather than taking the lead – he must have had a blast during this session. “What’d I Say” (featuring the late Glen Campbell on guitar) is a classic, only slightly marred for me by the noticeable yelling from the ladies (The Carol Lombard Quartet). The always beautiful “Santa Lucia” appears here with what I believe is its best sound quality yet. Following this is the rocking “If You Think I Don’t Need You,” another movie favorite, although it was shortened in the film. It seems FTD didn’t have access to the movie version (reportedly with a guitar overdub) or the bongo overdub of “Viva Las Vegas” or the sax-overdubbed movie version of “I Need Somebody To Lean On,” as they are not included.

The master of “I Need Somebody To Lean On” features Elvis’s vocal more prominently than I recall, which is a welcome change, and it fades out slightly later than the original master. “Night Life” is an underrated, catchy tune with Elvis in fantastic voice backed by great saxophone work, sounding superb on this set. It’s a shame the unedited master wasn’t included. “Do The Vega” – certainly no holy grail, but I’ve never found it as problematic as some others. It’s catchy and fun, much like the “Yellow Rose” medley, nothing groundbreaking but enjoyable, especially the instrumental break that kicks it up a gear. The final remixed master is “You’re The Boss,” and the energy between Elvis and Ann-Margret is palpable – pure vocal chemistry! They sound like they’re having the time of their lives, in multiple ways. Overall, the remixed masters are well-done.

Moving onto the sessions, which are the core of this set, the “First Takes” section is sequenced somewhat oddly. For instance, “The Yellow Rose Of Texas – The Eyes Of Texas” is listed as take 7, not a true “first” take. Some have suggested this should be interpreted as “First Complete Takes,” but that logic also falters as “Viva Las Vegas” Take 1 is incomplete.

The session starts with guitar strumming, a sound engineer announcing, “Here we go El, take 1,” leading into the very first take of “Viva Las Vegas.” It follows the demo arrangement and has a simple charm, but breaks down halfway through. Elvis requests a playback: “Just play that back, so I can hear that.” Unexpectedly, we jump to take 7 of the “Yellow Rose Of Texas – The Eyes Of Texas” medley. This version lacks the master’s banjo/guitar intro, instead featuring an army march, making it quite interesting. The whistle is more prominent, Elvis sounds enthusiastic (even more so than the master), backing vocals are more involved, and Elvis shouts “One more time!” He experiments with vocalizations towards the end, delivering a sweet “at night and early in the morn..” before the track fades out as The Jordanaires cough, prompting Elvis to humorously note, “blew my head up!, I mean it really confused me, we better do the last part” before the fade.

“The Lady Loves Me” take 1 is a false start after the “she loves me” line. “Hold it,” Elvis says. Take 2 follows, a great version with smoother lines than the master, although Ann-Margret sounds less convincing singing “He’s one man I could learn to hate.” She changes “In A Moonlight te-de-tet” to “In A Tombstone te-de-tet” and sings “Would you like to make a bet” instead of speaking it. We then get the familiar take 3 of “C’mon Everybody,” which includes the “Elvis ending” – perhaps this take inspired its use in the movie?

Disc 2: Exploring the Outtakes (Part 1)

Disc 2 dives further into the session outtakes. It opens with saxophone work and an engineer asking for the slate number, leading into take 1 of “Night Life.” This take features a distinct saxophone sound different from the master. Elvis’s vocals are excellent, but the song breaks down after the guitar solo when Elvis misses his cue, saying, “Okay.. that’s enough.” Take 3 follows, sounding great with the band and Elvis in sync. It also features a great guitar solo, and the saxophone seems more prominent in this mix. Elvis flubs a lyric after the solo but continues. The take ends with Elvis remarking, “We don’t happen to have these words.” Takes 4-8 are mostly intros or false starts, but take 8 features lovely guitar work and sees Elvis and the band gelling well – it might be my favorite take so far.

movie with ann margret and elvis presley

Takes 1-5 of “C’mon Everybody” follow. Take 1 is similar to later takes and closer to the movie version, breaking down after the whistle line. Elvis jokes about needing something else in the track. Take 2 breaks down after the finger-snap line, with Elvis and the engineer exchanging humorous remarks. Take 4 includes an off-mic comment from Elvis about someone struggling. Take 4 breaks down again with Elvis saying he swallowed a frog. Take 5 is the master, sounding great, though its inclusion here alongside Disc 1 feels redundant. A fun revelation on this unedited master is the partial blues ending (“I done told you one time now baby..”) after the song finishes.

Takes 3-7 of “If You Think I Don’t Need You” include false starts and breakdowns, with Elvis and the engineer making humorous comments (“ain’t had a wink o’ sleep,” “somebody goes off!”). Take 7 is a complete take featuring a fantastic Boots Randolph saxophone solo and a slight lyric change (“if you think you don’t need me” instead of “I don’t need you”) that Elvis feels makes more sense.

“I Need Somebody To Lean On” takes 3-8 are featured next. Takes 3-4 are false starts. Take 5 is a beautiful complete take with fantastic piano, sounding more desolate and lonely than the master – I prefer it. Takes 6-8 continue the session, with take 7 breaking down due to a musician’s mistake and take 8 being a previously released, still beautiful version.

Take 2 of “Do The Vega” is presented; it’s similar to take 1 but Elvis seems more confident with the lyrics – perhaps my favorite version after hearing it here. We then get instrumental takes of “Santa Lucia” (takes 1-2), which are interesting, showing the backing track before Elvis overdubbed his vocal (take 3 was the master track). Take 2 is complete and differs from the master track with earlier/different guitar playing and backing vocals.

“Viva Las Vegas” take 2 sounds different thanks to the new mix. How they arrived at this arrangement after the demo-like take 1 is unclear – likely missing dialogue. Its placement here rather than with take 1 on Disc 1 seems odd, perhaps due to running times, though removing the repeated masters could have freed up space. This take fades late, catching the band falling apart.

ann margret and elvis viva las vegas

Takes 1-7 of “The Climb” (excluding the master Take 3 on Disc 1) follow, featuring various breakdowns and retakes with comments on tempo. Takes 1-4 and 5-9 (including the master) of the “Yellow Rose Of Texas – The Eyes Of Texas” medley reveal more breakdowns, lyric confusion, and discussion about the half-tone modulation confusing Elvis. The unedited master (take 9) is a joy to hear without the fade-out.

Takes 3-6 of “The Lady Loves Me” showcase more humorous exchanges between Elvis and Ann-Margret (“She Loves Me, she loves my knot!”). Take 6 is a great version with Ann-Margret’s singing being “just a bit more delicate” and a sweet lyric change (“here’s one gal you can’t forget”).

Takes 4-10 of “You’re The Boss” continue the dynamic. Takes 4-8 are false starts and breakdowns, filled with sexy tension, laughter, and Elvis forgetting lyrics (“ain’t had a sleep o wink?”). Take 9 is another long but incomplete take, breaking down due to Ann-Margret coughing, leading to Elvis humorously saying, “Leave it in!” Take 10 is a complete, cooking version. Disc 2 closes with an instrumental take (take 6) of “Today, Tomorrow And Forever” (referenced in the booklet as instrumental take 10), a beautiful display of musicianship.

Disc 3: Movie Versions and More Sessions

Disc 3 opens with “Movie Tracks.” “C’mon Everybody” (movie version, take 7 with overdubs) is great to finally have in high quality, though the blues ending’s dip in quality suggests it came directly from the movie. The movie version edits of “Today Tomorrow & Forever” (vo take 10, edited) and “The Climb” (take 9, edited) are also included. “Santa Lucia” (vo take 6/M, movie version) is beautiful, with Elvis’s voice seemingly more delicate than the ultimate master. Having all the takes for this song is appreciated.

elvis viva las vegas

We then get outtakes of Ann-Margret’s song “Appreciation.” Her false starts are cute (“mother brought me.. forget it..”). While the song works better in the movie, it’s valuable to have these outtakes. Take 3 breaks down, followed by pick up take 2 to complete the song. It’s fun to finally hear Ann-Margret’s session material. “My Rival” (Ann-Margret) is likely taken directly from the Blu-ray.

The remaining outtakes follow. “Night Life” takes 9-13 (M) continue to impress; Elvis delivers on every take. Take 10 is fantastic, featuring a great guitar solo and Elvis enthusiastically singing. Take 11 is also great with a slightly different solo. Takes 12-13 are rehearsals and the take preceding the master, just as good. Elvis notes, “Shouldn’t have gotten cooled off.”

“If You Think I Don’t Need You” takes 8-13 (M) provide more session insights. Take 8 has softer drums and Elvis, with a fun lyric change (“I’ll do like you want me… I’ll be your slave”), but breaks down. Takes 9-10 feature more breakdowns with Elvis humorously messing up lyrics (“sleep o wink,” “swink of sleep”) and exclaiming. Take 11 breaks down due to instruments falling apart. Take 12 breaks down with Elvis laughing at his mistake. Take 13 is the master, repeated from Disc 1.

“I Need Somebody To Lean On” takes 9-19 (M) reveal varying piano and guitar styles in the intro takes (9-14). Take 15 is a complete, slicker but still beautiful performance, arguably better than the master. Takes 16-19 continue, with breakdowns and Elvis’s humorous reactions. Take 19 precedes the master, featuring a slight pause on the line “help me forget…..all those worries on my mind.”

elvis in viva las vegas

“Do The Vega” takes 3-7 (M) include false starts and mistakes by the drummer and Elvis (“Chick a chance?? hell”). Take 6 is a brief intro rehearsal. Take 7 is the master, not significantly different from the remixed master on Disc 1.

“Viva Las Vegas” takes 3-7 (M) offer more attempts at the title track. Takes 3-6 are false starts or breakdowns, with Elvis commenting on timing issues and band members falling apart. The unedited master (take 7) is a joy to hear ending naturally rather than fading out, capturing the “That’s it..cut” moment.

“The Climb” takes 8-9 feature groovy takes, with take 9 being the unedited version used for the movie edit. “C’mon Everybody” movie version takes 6-7 (M) are the versions without blues ending or overdubs. Take 6 breaks down, and take 7 is the movie master version without overdubs.

“The Lady Loves Me” takes 7-9 showcase more interactions. Take 7 breaks down due to a guitar player going off-chord, leading to discussion and Elvis humorously suggesting Billy play the organ. Take 8 is close to the master but with different mannerisms and a breakdown at the key change. Take 9 precedes the master, sounding great and including the engineer’s dialogue (“Yeah!, just watch ‘violet’”) previously heard on other FTDs but sounding best here.

“You’re The Boss” takes 11-14 continue the sexy sessions. Take 11 breaks down with Elvis losing pace. Take 12 is complete and “delicious,” with lovely organ and cute dialogue at the end (“Tell me about it” followed by Elvis’s “yeah baby”). It ends without a fade-out. Takes 13-14 feature more breakdowns and humorous exclamations (“Godda*n I’m sorry…”). Take 14 is complete and another “delicious” take, ending with Elvis holding the note “hmmmmmmmmmmmmm.” The engineer asks for one more, but the track fades.

ann margret and elvis viva las vegas

The final “Santa Lucia” outtake (take 5) is very beautiful with a tamer guitar, working well. The last disc closes with the complete take 10 of the movie version of “Today, Tomorrow & Forever,” a stunning version with a delicate vocal. The set concludes fittingly with Elvis’s words: “I’m afraid that’s it.”

Conclusion: Final Thoughts on the Boxset

Overall, the “Elvis: The Viva Las Vegas Sessions” 3 CD Boxset is a substantial release with a wealth of material to explore. While it’s a lot to absorb, the experience is consistently engaging and never boring. The boxset excels in providing fun interactions, showcasing the playful interplay between Elvis and Ann-Margret, featuring a stunning booklet, offering excellent sound quality, and presenting everything beautifully with commendable restorations of historical artwork.

However, it does have its minor shortcomings. The booklet, while visually rich, could have benefited from more detailed commentary on the sessions themselves. The inclusion of masters on Disc 1 that are then repeated within the session takes on subsequent discs leads to unnecessary repetition and slightly confusing organization. Some decisions regarding take numbering and grouping also seem a bit odd.

Despite these small flaws, I wholeheartedly recommend this set for any fan of Elvis Presley, the Viva Las Vegas movie, or classic recording sessions. It’s a treasure trove of historical and musical insight. FTD has once again delivered a high-quality release. I eagerly anticipate what they will bring us next! (Note: The CD baggies shown in some images were purchased separately).

Buy ‘Elvis: The Viva Las Vegas Sessions‘ 3-CD boxset

This release is a strictly LIMITED EDITION. Due to manufacturing costs, there will be no reprint.

Front cover of the Elvis Presley Viva Las Vegas Sessions 3-CD boxset

Track Listings

FTD 158 (506020-975122), BAR CODE: 506020 975122-1

Disc 1:

Soundtrack

Viva Las Vegas 2:27
Yellow Rose Of Texas / The Eyes Of Texas 2:57
The Lady Loves Me 3:46
C’mon Everybody 2:21
Today, Tomorrow And Forever 3:28
The Climb (planned record version – take 3) 2:44
What’d I Say 3:06
Santa Lucia 1:15
If You Think I Don’t Need You 2:07
I Need Somebody To Lean On 3:05 Bonus Songs
Night Life 1:52
Do The Vega 2:25
You’re The Boss 2:49 First Takes
Viva Las Vegas (take 1) 1:48
Yellow Rose Of Texas / The Eyes Of Texas
The Lady Loves Me (takes 1-2) 4:14
C’mon Everybody (take 3) 2:48
Today, Tomorrow And Forever (takes 1-3, 5 & 4) 5:46
What’d I Say (takes 1-2) 4:00
Santa Lucia (vo take 1) 1:23
If You Think I Don’t Need You (takes 1-2) 3:16
I Need Somebody To Lean On (takes 1-2) 3:30
Night Life (take 2) 2:08
Do The Vega (take 1) 2:48
You’re The Boss (takes 1-3) 3:34
Today, Tomorrow And Forever (2012 takes 1-2, duet) 5:45

Inside view of the Elvis Viva Las Vegas Sessions CD boxset packaging

Disc 2:

Outtakes

Night Life (takes 1 & 3) 4:09
Night Life (takes 4-8) 3:11
C’mon Everybody (takes 1-2 & 4-5 / M) 4:36
If You Think I Don’t Need You (takes 3-7) 5:09
I Need Somebody To Lean On (takes 3-5) 3:58
I Need Somebody To Lean On (takes 6-8) 4:42
Do The Vega (take 2) 2:41
Santa Lucia (track, takes 1-2) 1:55
Viva Las Vegas (take 2) 2:50
The Climb (takes 1-2 & 4 -7) 6:43
Yellow Rose Of Texas / The Eyes Of Texas (takes 1-4) 3:58
Yellow Rose Of Texas / The Eyes Of Texas (takes 5-6 & 8-9 / M) 5 : 33
The Lady Loves Me (takes 3-6) 4:51
You’re The Boss (takes 4-8) 4:42
You’re The Boss (takes 9-10) 4:32
Today, Tomorrow And Forever (2012 take 6, instrumental) 3:34
Santa Lucia (vocal overdub, take 2) 1:20
Santa Lucia (vocal overdub, take 3) 1:20
Today, Tomorrow And Forever (movie version, vocal overdub 2016 take 8) 2:38
What’d I Say (takes 3-4 / M) 5:47

Booklet pages and CDs from the Elvis in Viva Las Vegas Sessions FTD boxset

Disc 3:

Movie Tracks

C’mon Everybody (movie version, take 7 with overdubs ) 2:30
Today, Tomorrow And Forever (movie version, vo take 10, edited) 1:25
The Climb (movie version – take 9, edited) 1:38
Santa Lucia (vo take 6 / M, movie version) 1:14
Appreciation (Ann-Margret, take 3 & pickup take 2) 4:37
My Rival (Ann-Margret) 2:11 Outtakes
Night Life (takes 9-10) 2: 56
Night Life (take 11) 2:10
Night Life (takes 12-13) 2:46
If You Think I Don’t Need You (takes 8-10) 4:22
If You Think I Don’t Need You (takes 11-13 / M) 4:15
I Need Somebody To Lean On (takes 9-15) 7:16
I Need Somebody To Lean On (takes 16-19) 5:12
Do The Vega (takes 3-7 / M) 4:25
Viva Las Vegas (takes 3 -7 / M) 5:06
The Climb (take 8) 2:53
The Climb (take 9) 2:53
C’mon Everybody (takes 6-7 / M, movie version) 2:34
The Lady Loves Me (takes 7-9) 6:37
You’re The Boss (takes 11-12) 3:23
You’re The Boss (takes 13, 15 & 14) 4:09
Santa Lucia (vocal overdub, take 5) 1:26
Today, Tomorrow And Forever (movie version, 2016 vocal overdub take 10 / M) 2:46