'INSIDE ELVIS'

'Inside Elvis' features Arjan Deelen's interviews with Elvis' musicians, including James Burton, Bob Lanning, Scotty Moore, Jim Murray, Jerry Scheff, D.J. Fontana, The Sweet Inspirations, The Holladay Sisters, Glen D. Hardin, Johnny Christopher, Charlie Hodge, Duke Bardwell, Sherril Nielsen and The Imperials. Some of these interviews first appeared in "Elvis - The Man and his Music" but here all these in-depth, candid interviews are presented in complete, unedited form. This impressive 300-page book contains over 300 photographs from the collections of various high-profile collectors, and most of these are in color and razor-sharp. The artwork of the book was done by graphic artist Michael van Werven, who has made it a visually stunning work. Also included as an extra is a 29-track CD containing various rarities.   INSIDE ELVIS is a sensational publication - EIN's Piers Beagley wanted to know more....

I have had a few EIN readers wanting to know more about INSIDE ELVIS as the book seems to have slipped out rather quietly, perhaps with less fanfare than it deserved. Although I have been told that it has been given a neat review in the recent 'Elvis The Man & His Music'.

EIN: It has been almost a decade since you published your last book "Walk A Mile In My Shoes" which also featured some of your interviews. (And a damn good book it was too!) What can fans expect from this book compared to "Walk A Mile In My Shoes"?

Arjan Deelen: I did an interview with Jim Murray last year, which is one of the best I did. We sat in this cozy room, right by a fireplace, and we talked for two hours. That interview was special, and in fact, Jim himself told me that it was the best one that he did. He said: ‘I’ve told you things that I’ve never told anybody’. I’m proud of it, and it’s in the book – in unedited form. Then there’s my interview with Bob Lanning. Who could have thought that I would find him after all these years, interview him, and bring him back on the road? I remember that for years there were these discussions online, ‘Whatever happened to Bob Lanning? Is he still around?’. It was almost like he was some sort of a Bigfoot…. Nobody knew what had happened to him. It was a bit unusual, especially in this age of the social media. I still remember that first phone call after that long search, ‘Hi… I’m Bob Lanning. I hear you’re looking for me’. I still get goosebumps thinking about that moment. So yes, that was really exciting to be able to talk to the man himself, for the first time ever.  That interview is also very special to me.

EIN: Tracking down Bob Lanning after all these years was sensational. How did you feel when you first found out where he was?

A-D: Chills. Goosebumps…. I was in Poland at the time. I had tried virtually everything trying to locate Bob. There was no trace of him whatsoever, which struck me as odd. I contacted various Robert Lannings all over the U.S…. Nothing. It was frustrating. Then at one point I was listening to Elvis’ Las Vegas opening night show from January 1970. During the show, Elvis introduces Bob, and he adds, ‘He’s Roberta Sherwood’s son’. That was a clue. I started looking for information about her, and I found her obituary. In it, there’s the names of her three sons, including Bob. I knew that Bob was impossible to find under his own name, so I contacted the other two. One basically told me to buzz off, but the other one was curious. This was Jerry Lanning, who’s an actor, by the way. His initial reactions were a bit vague. He’d ask me questions like, ‘What do you want from him?’, and I answered that I had work for Bob. Several weeks passed, and nothing happened. I started to believe that this was yet another dead end. Until suddenly I heard from the man himself, while I was staying in a hotel in Stettin, Poland…. ‘This is Bob Lanning’…. I was stunned. At that moment, after a three-year search, it almost felt like hearing from Elvis himself. I can still feel the adrenalin rush of that moment…. That was pretty amazing.

EIN: And having seen your show "An Evening with Elvis' Friends and Musicians" I can confirm that not only is he still a fabulous drummer but also a great guy!

A-D: Indeed. Bob is a gem of a guy, and as you say, a brilliant drummer. His playing is very straightforward, no frills, no ego trips, just the best backbeat imaginable. He’s so solid… Bob is a fantastic groove player. Just listen to his playing on ‘On Stage – February 1970’. At times you can tell that Elvis wants to rush the tempos, but Bob stays right on the beat. It’s one of the reasons why ‘On Stage’ is one of Elvis’ best live albums. Just compare the same songs with the versions from August 1970, just a few months later, with Ronnie Tutt behind the drums. No contest really – the February ’70 versions win out every time. Now don’t get me wrong, I’m not trying to take anything away from Ronnie, who is a fabulous drummer. But perhaps he was more sensitive to Presley’s tendency to speed things up. And listening to some of the live recordings today, like for instance the Madison Square Garden album, a spectacular live show doesn’t automatically translate to a great listening experience at home, all these years later. But the ‘On Stage’ album has aged remarkably well, and I think that Bob can take some of the credit for that.

EIN: A two part question. Of all the Elvis musicians you have worked with, who has impressed you the most musically?

A-D: Oh, that’s a tough question. It would be hard to single out just one person, as most have impressed me one way or another. And there have been many musical highlights in our show. In recent years, we’ve been touring a lot together with Jim Murray of the Imperials. During the show, he sings ‘Walk With Me’, accompanied by piano only. His voice carries the whole song, and it’s both very moving and powerful. The way Jim sings it, it simply transcends a great musical performance. It’s profound in the sense that it tells us something about the whole human experience, I think. You really have to be in the room to experience this… I’ve seen people crying with joy, and he gets a big standing ovation almost every single night. So that’s definitely a highlight. But there are others, too. I especially remember songwriter Michael Jarrett performing his own song, ‘I’m Leaving’. There’s something about Michael’s voice, a warmth and a vulnerability, that touches your soul. I remember one night in particular where Michael was not feeling well, and he was experiencing heart fibrillation. Against our advice, he went on stage. We were all worried about him, and during the show I stood beside the stage, rooting for him. When he did his song, he put his entire body and soul into his performance. His tiny frame was shaking as he sang with that beautiful melancholic voice of his. I was both worried and in awe, if that makes any sense at all. It was like he was saying, ‘Well, if I’m gonna meet my Maker tonight, I better do it with a grand entrance!’. It was hard to keep the tears inside… Talk about a knockout performance! This was another experience that went far beyond ‘a great performance’, this was somebody digging deep into their soul and giving his all to the audience. The audience seemed to sense what was going on, and as the song ended, Michael was greeted with this huge deafening roar. It was unbelievable, and it’s something that I will never forget. Boy, that was powerful.

EIN:  Of all the Elvis musicians you have worked with, who has impressed you most with their insights or understanding of ELVIS the person?

A-D: There’s several that I could mention. I mentioned that interview with Jim Murray earlier. That really gave me a sense of what it was like to work with Elvis. But there’s others, too. One that stands out in my mind is Duke Bardwell. Duke has never been one to beat around the bush, so to speak. He’s very honest and direct, confrontational even at times. Duke is a hyper individual, and someone who will not be overlooked. It was easy to see why his relationship with Presley was rocky at times. If Duke doesn’t like something, he’ll make sure that you know about it. Within the tight confines of the Presley organization he was probably a difficult fit. Duke has way too much personality to work within such a regimented context. And even though Duke and I were at odds with each other at times, I grew to love the man. Something that annoys me is the narrative that Duke is a poor bass-player. He’s not. But I concede that he probably was a poor fit for the Presley show as it was in the mid-seventies. Duke always points out that playing the bass is not his forte, he is a guitarist first and foremost. And a singer. And it was as a singer that he really shone in our shows. Duke has a great singing voice. It’s like a good, homebrew coffee…. Warm and dark. And with a lot of soul. Duke was a great addition to our show, and for several years, he was the heart and soul of it. Duke would often have stories about Elvis, and he’s a great storyteller. He would remember the most minute of details. His precision and his eye for detail are unbelievable. We were all spellbound by his stories. It was the closest thing to actually being there. When Duke started telling his stories, you could almost sense Elvis in the room. It’s a pity that even today some of his stories cannot be printed, because even now they may still have implications for some. But who knows, maybe one day. But yes, Duke was the most insightful of them all.  

EIN: Isn't it funny how some people praise Col Parker (dear old Charlie Hodge) yet some hate him. How does that feel when people who knew Elvis and Parker so well disagree so vehemently?

A-D: It makes sense to me. In any working situation, and indeed any situation in our lives, some will have a positive view of you, while others may be less generous in their assessments. No surprise there. It’s true that some despised him, especially Elvis’ musicians, and with good reason. The Colonel was a crude and unkind man, and he loved showing the power that he had. He belittled people and showed them disrespect in various ways. But there was also a different side to him. He was very loyal and generous to his inner circle, and they loved the man. He made sure that they were taken care of. I met Colonel Parker once, back in 1987. I only wish that I’d had the perspective then that I have today. And I would love to have interviewed him. He was certainly a very interesting man, and the different viewpoints on him only add to his mystique.

EIN: In your interviews, sometimes you play bootlegged concerts to them that they have never heard before. It is a very clever way to bring back forgotten memories and stories. Sometimes they must be truly surprised by what they hear! How does this feel to you when find that special connection - and do you think an interview truly captures that moment?     

A-D: That’s true, and indeed it has triggered nice memories in some cases. I remember in particular James Burton’s big smile as I played him rare stuff, such as that rare one-off version of ‘Susie Q’ from 1975. You could tell that he loved hearing that. So that was a lot of fun. But there’s also one instance where I ended up regretting playing a recording. This was during my interview with Glen D. Hardin. We were talking about Elvis’ problems with medication, and I played him parts from the Las Vegas closing show in September 1974, as originally released on the ‘Desert Storm’ bootleg. It genuinely saddened him to hear that recording, and he had tears in his eyes as he listened to the ‘Strung Out’ dialogue. It hit him in a way that I did not anticipate, and I felt bad about it afterwards. Glen is such a kind soul, and he said that it was all right, but that he’d forgotten about the incident, and that listening to it for the first time since the event made it very real. What we have to remember is that these guys loved Elvis almost like a member of their families, and to hear a good friend in such a diminished state would put most of us in a funk, like it did to him. Even the next day he commented upon the recording, saying that it was incredibly sad to hear it again after all these years. In hindsight, perhaps I should have thought this through better, and I ended up feeling that this was an error of judgement on my part. We have to remember that these are real people with real emotions. I did apologize to him, and he did say repeatedly that it was all right, and that it was a part of the history. But we all learn from our mistakes, and I certainly learned from that one.

EIN: Your chat with The Holladays is a lovely addition to the Elvis legacy. How was it working with them, and where does that great American Studios photo (with Sandy Posey pg.64) come from, I don't remember seeing it before?

A-D: Yes, that was a fun interview, and again, a first. The Holladays provided some of the photos in the article, including that one. As for the shows, I was the first to bring them over and that was a cool thing to do. Of course that in itself is a gamble sometimes, because you don’t always know whether people have maintained their skills. But I think we made it work for the most part, and the year thereafter we added Carol Montgomery to add some fullness to the vocals. It wasn’t always easy, but I think it was okay for what it was. It certainly could have been worse.

EIN: Talking in depth about Elvis with these friends and musicians - whose lives must have changed so much when he died - was their anyone in particular who you felt was more deeply involved emotionally in Elvis' legacy, and perhaps later troubles, than the others?

A-D: I think it’s important to remember that these people were his musicians and backing singers, and even though he was on very friendly terms with them, he also kept them at arm’s length. They were not a part of the inner circle. The closest was probably Charlie Hodge, who actually was a part of that inner circle and who also lived with Elvis. He was close to Elvis, but he also had his own issues. Perhaps he was too close in some ways. I had some reservations about interviewing him, because Charlie has sometimes taken some liberties with the truth. But I think the interview that I did with him back in ’03 went rather well. He answered my questions in a fairly straightforward manner, and some of his insights were fascinating.  I don’t think I connected with him the way that I did with some of my other interviewees, but I probably got as close as one could to Mr Hodge. I did gain some respect for him. It was clear that he was not feeling well, and as I recall, he was vomiting on the toilet at one point. But nevertheless he went on stage and gave the audience his best. Joking, smiling and singing in the showbizz tradition that he loved. He died less than three years after that interview.

EIN: Of all the interviews over the 300 pages, what is your favourite Elvis insight?

A-D: That one is impossible to answer. I think several of the interviews in the book offer fascinating insights and a deeper understanding of the man behind the legend. Just read the interviews with for instance Ronnie Tutt, Jerry Scheff and Duke Bardwell. Their answers are always interesting and thought-provoking. These guys had a deeper understanding of what was going on, and I am grateful for the fact that they were willing to share their thoughts and memories with me. Another interview that I felt was quite memorable is the one that I did with Chips Moman and the Memphis ’69 band back in ’04. Chips was a very interesting guy, very perceptive. As you know, Piers, what makes any interview interesting is whether your subject has a strong opinion on matters, especially the controversial ones. In Chips’ case, that was no problem at all, he had opinions a’ plenty, and he was more than willing to share these with me. And a lot of the stuff he said was really interesting. Chips understood the music business like no one else, and his insights and viewpoints were totally fascinating. One touching moment occurred when we discussed Elvis’ death. Chips just looked at the floor, shook his head and said, ‘It was like being punched in the stomach’. That was such a real and earthy reaction to Elvis’ death, and you could tell that he was still sick about it. He felt that Elvis’ death was unnecessary, and that those who should have taken care of Elvis’ interests instead chose to capitalize on him as much as possible.

EIN:  I think the front cover photo of Elvis at SUN is perfect. It is such a sharp image and there is that real feeling that you can see through his eyes. For me Elvis appears to be looking at the photographer saying "I can't believe this is happening to me".  Who chose the photo?

A-D: Michael van Werven, the guy who did the artwork, came up with it. We had several possibilities. There was also a great ’69 shot that probably would have worked, but we decided to go for this one. The reason is pretty obvious to me. Just look at his face. That look of audacity. This guy is 21 years young, he owns the world, and he knows it. That day, December 4th 1956, he returned to SUN Records, and a lot had happened in just one year, and you can see it in his face. Things were happening for him in a big way, and he was enjoying life to the fullest. Perhaps the happiest period in his life. I love that image, and what it represents in my view, so we chose this one.

EIN: The design of your new book is truly beautiful. Who did the design for you?

A-D: Michael van Werven did the artwork, and he did a tremendous job. His design is one of the best that I’ve seen, and he really made my interviews come to life. The whole process took about a year, and I am so happy with the results. The book is absolutely gorgeous. I remember our preliminary talks, and almost right away I knew that he was the right guy for the job. What particularly caught my attention was his precision, and his eye for even the most minute of details. I knew that we would be a good team, since we are both somewhat particular about getting things right. We wanted this to be something for the Ages, so to speak. It was a pleasure to be able to work with someone as gifted and as dedicated to the job as Michael. He made all the difference.

EIN: The layout makes a real impact I think. How much were you involved in the overall layout?

A-D: Quite a bit, actually. You’re talking day-to-day contact for about a year. Exchanging ideas, trying different designs, experiencing setbacks and then trying again…. It was a long process. Both we’re both very determined and that made it work. And we’re both creative people with a lot of ideas, and the exchange of all these different ideas was a lot of fun. We work really well together, and I think we both kept each other ‘on our toes’. It’s one of those rare collaborations where the final results are magic.

EIN: How many rare or previously unseen photos are included?

A-D: There’s 300 photos in the book, or actually 301, as Michael told me. I think quite a few of them are rare. We were able to use photos from various collections, and I did the initial selection. I wanted the photos to reflect the contents. Michael did the final selection, as well as the photo restorations. Some of the photos are not as rare, but we included them because we needed them for the narrative.

EIN: It's truly sad that all too many of the Elvis musicians you have interviewed have died - and so many since your "Walk A Mile In My Shoes" book. What feelings does this raise for you?

A-D: Yes, that’s true. We’ve lost many of Elvis’ musicians, and some of them have taken their memories with them. I feel fortunate that I was able to do quite a few interviews, and record these memories for posterity. Some of these interviewees have now passed away, which underlines the fact that it’s a race against time. This book is about the people that worked with the man. This is a tribute to them. There have been so many books where some author wants to give us his version of events, even though said author probably never even met Elvis. I have tried to keep my voice and my opinions out of this book. It’s not about me, it’s about Elvis’ musicians and backing singers. It’s their voices that matter. During my interviews, I have endeavoured to be modest in my approach, and not put myself in the center of things as some interviewers do. But at the same time, I have not been afraid to ask pointed questions to gain a deeper understanding. And that’s because I, as a fan, wanted to understand. And I think that approach worked well.

EIN: I have got to ask you how it happened to be that Shaun "Sherill" Nielsen happened to be living in Denmark when you interviewed him? Having come from and lived in Southern USA, that was a real coincidence.

A-D: Yes, Sherrill lived in Viborg at the time, in the western part of Denmark. He was so kind to me. We had agreed on an interview, and when I arrived at his home, there was this huge brunch table awaiting me! He was the perfect host. A very lively man, talkative and charming, and with a nice sense of humor. Sherrill was ready for the interview, and I think he wanted to have a well-balanced record of his history with Elvis. I remember this as being one of my best interviews. We had a good chemistry. Sherrill shared a lot of interesting insights, as well as information that was new to me. As far as why he was living in Denmark at the time, he was married to a Danish woman. He moved to Denmark to be together with her. It also happened to one of my favorite guitarists, Link Wray, and also to me of course. Something about those Danish women…. Ha ha.

EIN: How has the book gone down at home and did you have a launch party for your book?

A-D: We did a book presentation in Holland right around Christmas, and that was wonderful. We had a nice and intimate evening; Bob Lanning was there, and I interviewed him, and the Sweet Inspirations were also there, and they sang a couple of gospels. The CD that comes with the book was delayed unfortunately, and that in itself caused some problems. We finally received it one month after the book was already out. The book is a steady seller. Mostly I’m happy to have it “out there”. It’s a quality effort; it’s one of those books that you simply need to have in your collection as a serious fan and collector, right next to the Guralnicks and the Jørgensens. This book is much more than just a bunch of nice pics, the interviews give you a deeper insight into the man and his music.

EIN: As FTD have worked out, it's always great to get a bonus Elvis CD with a new book. How much were you involved in the track selection for the Inside Elvis CD and what do you think are the highlights for collectors?

A-D: Yes, I was involved and we did try to make the effort to come up with something different. Of course, after all these years it’s hard to find something really spectacular, but I think there’s a couple of cool rarities on there, like for instance the ‘Viva Las Vegas’ acetate. We contacted various collectors and tried to get rare stuff. Luuk Bonthond from Holland has a couple of interesting things, and he kindly gave us permission to use these. I think the CD plays quite well, and actually it reminds me a bit of those old bootlegs from the seventies, which quite often were a real hodgepodge of rare tracks. It’s a fun CD, and a nice little extra.

EIN: Personally I find it hard to know whether the 1956 Texas State Fair recordings are genuine or not. There is so much audience noise - a bit like the 1957 live Canadian snippets that we have - that they could be genuine or faked. What are your thoughts?

A-D: Truthfully… I don’t know. I have listened to these recordings various times, and like you, I can’t make up my mind. Of course the sound quality is quite poor, and that doesn’t help. The information that we have is in the booklet, and the rest is up to the listener. It’s interesting to note that both these tracks are listed on Keith Flynn’s recording session page. Make of that what you will.

EIN: While Elvis' legacy seems to have taken a dip over recent years with the general public I feel that SONY's new plans along with Baz Luhrmann’s new movie will cause yet another resurgence. Your thoughts?  

A-D: We’ve seen a number of similar projects through the years, and somehow it usually ends up being a disappointment. We’ll see. And whatever Sony is planning is immaterial in the real world, because the whole record industry is dead as a dodo. Nobody is buying music anymore. Moreover, I think the public have become confused with regards to Elvis and what he represents. It seems to me that both EPE and Sony have tried too many different approaches, depending on whatever their latest PR-teams conjured up, and I think it has only created confusion for the consumer. One day they want to try and reach a younger audience with radical remixes like ‘Viva Elvis!’, and the next they want to target a much older audience with the Royal Philharmonic Orchestra albums. It’s the same with their touring shows, and actually it’s the same with everything they do. It all comes across as a bit desperate to me. My view is that they should just focus on consistency and authenticity, and let Elvis’ original music speak for itself.

EIN: What next for Arjan Deelen?

A-D: We have another ‘Elvis The Concert’ tour coming up in April and May. For each tour, we refresh the setlist completely, and this time even more than ever. It's a very cool mix of classic hits and lesser-known gems. Our focus is on the music. No white jumpsuits, no ego-trips…. We want to share the joy of Elvis' music with our audiences. In my view, the impersonators, or the so-called ETA's as they call themselves these days, have done a lot of damage to Elvis' name and reputation. Initially, I wanted to create a show that would explain to my children why I love Elvis' music. That's now 10 years ago. For me it's satisfying to see that the concept works, and that audiences come back time and again. And it's so exciting to see so many young people at our shows. And people are dancing and singing along to the music, and I really believe that they go home with a fresh perspective on Elvis and his music. To hear this music in a live setting, with a band that really does it justice, I think it makes all the difference. We will be doing a bunch of shows in Denmark, Holland, Sweden, Finland and Belgium this spring, so all I can say is: come and see us! For more info, I can be contacted here: deelen@elvis.dk (my e-mail since 1998!).

Please note that the low-res personal scans and photographs used in this review do not show the true quality of the images.

Interview by Piers Beagley.
-Copyright EIN March 2020
EIN Website content © Copyright the Elvis Information Network.

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INSIDE ELVIS CD tracklist 1. The Truth About Me (Original USA Cardboard Disc Version)    2. Treat Me Nice (Undubbed Movie Master)    3. Treat Me Nice (Overdubbed Movie Master)    4. Don't Leave Me Now (With Count In)    5. Interview With "Uncle Buck" (Ron Lipe)    6. My Wish Came True (With Count In)    7. That's When Your Heartaches Begin (Demo Recording)    8. That's When Your Heartaches Begin (Informal Recording)    9. That's When Your Heartaches Begin (Master)    10. Interview By Mario Delagarde    11. Such A Night (Original Mono Single Master)    12. Flaming Star (Binaural Master)    13. Black Star (Alternate Take 5)    14. Mama (Composite Stereo Master)    15. Stop, Look And Listen (Take 7)    16. Am I Ready (Take 5 & 6)    17. Home Sweet Home (Gladys Presley Home Recording)    18. When The Saints Go Marching In (Home Recording)    19. Crying Time (Live August 1970)    20. Crying Time (Live September 1970)    21. Sherill Nielsen     Danny Boy    22. Sherill Nielsen     Walk With Me    23. 1981 The Original Elvis Presley Medley    24. Love Me Tender (Radio Spot)    25. Viva Las Vegas (Acetate, Movie Version)    26. Hound Dog (Live October 11, 1956)    27. Heartbreak Hotel (Live October 11, 1956)    28. 'Jailhouse Rock' Promo    29. Press Conference - Interviewer Bob Chase 1957

'ELVIS: The 1972 Press-Conference - The Way It Was and How It Is Today': It is almost 50 years since Elvis held his Madison Square Garden 1972 press conference in the Mercury Ballroom at the New York Hilton. Elvis is no longer with us but his spirit lives forever. Elvis fans always discover something quite magical when they get the chance to “Walk-a-mile-in-his-shoes” or at least stand in the same rooms and places that Elvis did. Graceland, when not overrun by crowds, feels very special indeed. Standing in the quiet you can almost feel the spirit of Elvis still inhabiting his home. The feeling in Memphis’ Sun Studios can bring fans to tears. After his 2017 visit to the Las Vegas International / Hilton Hotel, EIN contributor Arjan Deelen recently returned to New York and the Mercury Ballroom, home of Elvis' famous 1972 'M.S.G' press conference. "The image is one thing, and the human being is another”… a well-known Elvis quote from his press-conference at the Mercury Ballroom in the New York Hilton, on June 9th, 1972. At the time Elvis gave us a brief glimpse of the pressures that he was living under being Elvis, even adding, “It’s very hard to live up to an image, I’ll tell you”. “First of all, I plead innocent of all charges!”. Go here as Arjan Deelen revisits Elvis’ New York press-conference - together with photographer Phil Gelormine (Spotlight, Source;ArjanDeelen/ElvisInfoNet)

'Elvis Unleashed' EIN exclusive Review: The publicity stated... Experience the King Like Never Before With 'Elvis Unleashed'. Elvis Presley returns to big screens across the globe this fall with the new music special, "Elvis Unleashed" featuring previously unseen footage on movie theater screens of Elvis as he filmed the iconic "68 Comeback Special." The two-day cinema event, which includes outtakes and performances that reveal a new side of the King. "Elvis Unleashed" captures the spontaneous moments and stories behind the legendary special, and sheds new light on Elvis as a cultural icon. Each screening will include a new 30-minute segment with LA writer Randy Lewis in conversation with actor Dennis Quaid, rising pop/country artist Jade Jackson and the esteemed director of the "68 Elvis Comeback Special," Steve Binder, to discuss Elvis's life and legacy. But does the cinema-event really live up to all the publicity, is there really anything new to enjoy? The answer is that, "the material is amazing and essential viewing, you can tell that Elvis knew that a lot was at stake – he simply works his ass off". While the US and Australia screenings were cancelled EIN contributor ARJAN DEELEN saw this movie-event in Copenhagen last night - and kindly sent us his on-the-spot review... he notes, "All fans deserve to see this footage".. (Spotlight/Reviews, Source;ArjanDeelen/ElvisinfoNet)