The Last Vegas Opening Night

[Little Darlin]

Another welcome upgrade.

cd_lastvegason.jpg

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

[Greybeard]

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.

Maybe they should have negotiated with the owner of the picture on the artwork, I know for a fact that the photographer doesn't know it's being used (he will soon). The original image was taken by John Herman. Also it is not from that Dec 2 show.

Shouldn't you compensate the photographer/ owner of the images used in these type releases as well as the owner of the sound recordings? These are the obstacles that legitimate releases like FTD have to address before producing any CD.

Even Charlie Hodge worked a deal with the photographer before selling that same image at his events. He did it with Herman's complete blessing, as opposed to these "Straight Arrow" folks. Makes the name "Staright Arrow" seems a bit of ironic doesn't it?

[deadringer]

Another welcome upgrade.

Upgrade is not correct term this time.... it wasn't released before.
D.

[Rock Legend]

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.

Maybe they should have negotiated with the owner of the picture on the artwork, I know for a fact that the photographer doesn't know it's being used (he will soon). The original image was taken by John Herman. Also it is not from that Dec 2 show.

Shouldn't you compensate the photographer/ owner of the images used in these type releases as well as the owner of the sound recordings? These are the obstacles that legitimate releases like FTD have to address before producing any CD.

Even Charlie Hodge worked a deal with the photographer before selling that same image at his events. He did it with Herman's complete blessing, as opposed to these "Straight Arrow" folks. Makes the name "Staright Arrow" seems a bit of ironic doesn't it?

Nonsense.... Did Mr. Herman ask for (and get) permission to take these photos? It was strictly forbidden to take photos during Vegas shows at the time. Did he ask for (and get) permission to tape shows?
Don't get me wrong, I'm happy that he did those things (illegally), but it seems awfully petty to whine about somebody using a photo 33 years later.

[ekenee]

Another welcome upgrade.

Upgrade is not correct term this time.... it wasn't released before.
D.

What? THe cassette tape format doesn't count?

It counts just like records count.

It's an upgrade just as stated.

[Greybeard]

.... Did Mr. Herman ask for (and get) permission to take these photos?

Well in all reality, yes he did have permission. His relationship with the Presley circle was quite a bit better than the average fan and they were fully aware that he was taking photos. In fact Elvis himself had quite a few of his (Herman's) photos in his possession and even autographed copies to John.

He only once was told to not take photos, and that was while standing on stage (back of the stage) in Dayton. These are some really interesting shots that have not been seen by the public.

Certain photographers were able to shoot pictures quite easily. They included among others Shaver, and Herman. Though none of these fan photogs were on the Presley payroll, they were trusted because of the professional way they conducted themselves. None of these recoginized fan photogs (Shaver/ Herman/ Heis/ Toli et al) were actual personal photogs for Elvis. Herman however DID have a personal relationship with Elvis, Elvis' father and most of the inner circle. Herman was not only able to take pictures on tour and Vegas, but in Elvis' hotel rooms, backstage and just about anywhere he had access. And believe me, he had access.

These images from Vegas were not taken with a zoom lens from a dark table in the balcony of the Hilton Showroom. These were shot ringside with Elvis looking straight into the camera knowingly, and sometimes even conversing with the photographer from the stage.

i have seen some incredible images that he shot. Incidents like this is why they don't "just appear" out on the internet for anyone to use at whim.

Look, this isn't the first time this type thing has happened, it just irritated me that it was specifically mentioned
that the producer could track down, at great care, the original recording of the show. Yet no such effort was put into the artwork used, that's all.

Mr. H could use a piece of the pie for his tremendous contribution to the world of images of Elvis that are available.

If it weren't for those few great photographers that shot some of these great images the world would have to make due with the images shot by Mr. Bonja at the Cols behest. No knock on Mr. Bonja, but he didn't take the best shots of Elvis in action, that was left to the true fans of the time. Time is not on the side of these guys (Mr. H is in his mid 60's in failing health). They could use a bit of the respect for their contbutions over the years.

Or are we that selfish and spoiled that we take the position of the images (and audio) is "owed" to you because you love Elvis more than they. These fantastic artifacts were obtained at great monetary cost to the amatuer photog fans who took them, and in some cases I'm aware of, great cost in their private lives (another story for another time)

Being one of those "old timers" I feel I need to speak up for them sometimes, if that offends anyone I am sorry. I respect their work and contribution to this wonderful world of Elvis.

[drjohncarpenter]

.... Did Mr. Herman ask for (and get) permission to take these photos?

Well in all reality, yes he did have permission. His relationship with the Presley circle was quite a bit better than the average fan and they were fully aware that he was taking photos. In fact Elvis himself had quite a few of his (Herman's) photos in his possession and even autographed copies to John.

He only once was told to not take photos, and that was while standing on stage (back of the stage) in Dayton. These are some really interesting shots that have not been seen by the public.

Certain photographers were able to shoot pictures quite easily. They included among others Shaver, and Herman. Though none of these fan photogs were on the Presley payroll, they were trusted because of the professional way they conducted themselves. None of these recoginized fan photogs (Shaver/ Herman/ Heis/ Toli et al) were actual personal photogs for Elvis. Herman however DID have a personal relationship with Elvis, Elvis' father and most of the inner circle. Herman was not only able to take pictures on tour and Vegas, but in Elvis' hotel rooms, backstage and just about anywhere he had access. And believe me, he had access.

These images from Vegas were not taken with a zoom lens from a dark table in the balcony of the Hilton Showroom. These were shot ringside with Elvis looking straight into the camera knowingly, and sometimes even conversing with the photographer from the stage.

i have seen some incredible images that he shot. Incidents like this is why they don't "just appear" out on the internet for anyone to use at whim.

Look, this isn't the first time this type thing has happened, it just irritated me that it was specifically mentioned that the producer could track down, at great care, the original recording of the show. Yet no such effort was put into the artwork used, that's all.

Mr. H could use a piece of the pie for his tremendous contribution to the world of images of Elvis that are available.

If it weren't for those few great photographers that shot some of these great images the world would have to make due with the images shot by Mr. Bonja at the Cols behest. No knock on Mr. Bonja, but he didn't take the best shots of Elvis in action, that was left to the true fans of the time. Time is not on the side of these guys (Mr. H is in his mid 60's in failing health). They could use a bit of the respect for their contbutions over the years.

Or are we that selfish and spoiled that we take the position of the images (and audio) is "owed" to you because you love Elvis more than they. These fantastic artifacts were obtained at great monetary cost to the amatuer photog fans who took them, and in some cases I'm aware of, great cost in their private lives (another story for another time)

Being one of those "old timers" I feel I need to speak up for them sometimes, if that offends anyone I am sorry. I respect their work and contribution to this wonderful world of Elvis.

You make some valid points -- one of the reasons John Herman may not have been contacted was because the photo source was unknown by the producers, or simply because it's never really been done in the past.

If you are willing, perhaps someone can contact you via PM for future reference on this type of thing?

[YDKM]

yeah i agree, but isn't the whole point that bootlegs are 'BOOTLEGS and thus by their nature don't have to pay for musicians royalties OR photos??

[drjohncarpenter]

Oh, that's sooo 20th century.

[Rock Legend]

Being one of those "old timers" I feel I need to speak up for them sometimes, if that offends anyone I am sorry. I respect their work and contribution to this wonderful world of Elvis.

Sorry, but your argument doesn’t hold water. Bootlegs by their very nature will always shortchange some people – the musicians, the songwriters, THE ARTIST…. So why should Mr. Herman be an exception to that rule?

When the Pittburgh bootleg was released in ’77, for which I’m sure Mr. Herman was compensated (maybe we can ask Vic Colonna?), did he then hand over the money to Vernon (who was strapped for cash after Elvis died)? Did he even have permission from Vernon to do this?

My comments are not meant as any form of disrespect towards Mr. Herman, I’m just challenging you to look at things from a different angle. Things are not always black & white.

[Greybeard]

When the Pittburgh bootleg was released in ’77, for which I’m sure Mr. Herman was compensated (maybe we can ask Vic Colonna?),

don't assume things you don't really know (LOL)
Most times in those days product was exchanged for the item needed.

Look I fully understand the world of bootlegs. And I also know that the only thing that I can do is state my feelings about this.

Vic would also tell you that being in such a business is exciting-until time comes to pay the piper.

People aren't always so upfront when they are trying to get what they want.

Example- and we were just conversing about this recently. When Hermans Super 8mm sound film of the Pittsburgh show (the close up version) which ran originally about 25 minutes first surfaced, early 1977. A "close" friend of JH's asked if he could just borrow it overnight to watch it a couple times. Feeling comfortable with the person JH said Ok. 24 hours later the film was returned as promised. In no time at all copies of the film began the rounds that, basically still continues today. JH never made a dollar on that spectacular piece of Elvis footage, until he sold the original print to a well respected collector. Others have made plenty. As a matter of fact the first disc version JH had was a VCD that someone at an Elvis Convention in Pittsburgh was selling. Bootlegged versions of bootlegs! And he had to trade for his own freaking film!

Some of us just believe in doing things the right way.

There is no argument here, just my opinion. I'm sure that some will see my point- others never will. That's Ok.

keep one thing in mind though- by doing things in such a way fans and collectors may see some interesting things, and even marginally better copies of some things you had might crop up eventually. And you will re purchase them.

But the doors to many of the vaults holding the rarest treasures get locked tighter and tighter each time someone gets taken advantage of. If you think you've seen or heard some amazing stuff- you can't imagine what you haven't (and may never) see.

Some may call this selfish, maybe so. The rules have been set by the people who create these products, and the ones who eventually even rip them off

Bootlegs by their very nature will always shortchange some people – the musicians, the songwriters, THE ARTIST…. So why should Mr. Herman be an exception to that rule?

With a screw everybody attitude like this, the real treasures get buried deeper and deeper- some never to see the light of day.
And that is sad.

[Greybeard]

drjohncarpenter wrote

You make some valid points -- one of the reasons John Herman may not have been contacted was because the photo source was unknown by the producers, or simply because it's never really been done in the past.

If you are willing, perhaps someone can contact you via PM for future reference on this type of thing?

Very true Doc, I would gladly help someone contact the right person.
As I said just voicing my opinion.

[Rock Legend]

Greybeard: I appreciate your comments, but you’re not really answering any of my questions. And your reaction to my query about the wheelings & dealings behind the Pittsburgh bootleg is decidedly evasive. Are you saying that he handed the tape over to Vic without getting anything in return? Did he get anything out of the other projects that he was involved in, like the FTD release of this tape? If not, then he must be a bit naive – and your story about the 25 minute tape seems to confirm that observation. Very unusual character trait for a police officer.

Your comments about him not wanting to share anything with other fans now that one of his photos has been used on a bootleg seems rather odd and a bit childish. Let’s face it, if he had wanted to share more stuff, then no doubt he would have done it in the past 32 years.

Back to my original question: did he tell Vernon that he was responsible for the Pittsburgh bootleg, and if so, did Vernon give his full blessing? And if John gained in any way from its release, did he then share it with Vernon? You claim that they were good friends, so I would love to hear more with regards to that angle.

[kelvin]

Getting back to the release.....does anybody know when it will be out?

[Johanesson]

Beautiful cover!
It's about time to get several sound samples,too.
Though the cover photo is from the closing show,he wore the same suit during the opening show,too. Maybe this was the best photo to use it on the cover. I've seen several pictures from the opening show,but none of those would fit onto the cover.

[Little Darlin]

Another welcome upgrade.

Upgrade is not correct term this time.... it wasn't released before.
D.

Are you saying that you haven't got this release Deadringer

761202os-02_f.jpg

Thanks for the cover Francesc

[Johanesson]

He meant that this still wasn't issued on real CD.
"The First Of The Last" is a CD-R,as far as i know.

[Little Darlin]

He meant that this still wasn't issued on real CD.
"The First Of The Last" is a CD-R,as far as i know.

Aaaahhh gotcha!!

[deadringer]

Another welcome upgrade.

Upgrade is not correct term this time.... it wasn't released before.
D.

Are you saying that you haven't got this release Deadringer

761202os-02_f.jpg

Thanks for the cover Francesc

I am not collecting cheapest homemade CDRs....

[elvisjock]

Being friendly and doing business together are decidedly different concepts.

Every Elvis concert ticket stated that commercial photography was prohibited. As a fan, do I think it's "right" that a photographer be properly compensated, or at least consulted and/or credited? Sure. But no one owes him anything, from a pure business standpoint.

[Greybeard]

I'll address a couple points and then I am done with this subject

And your reaction to my query about the wheelings & dealings behind the Pittsburgh bootleg is decidedly evasive. Are you saying that he handed the tape over to Vic without getting anything in return? Did he get anything out of the other projects that he was involved in, like the FTD release of this tape? If not, then he must be a bit naive – and your story about the 25 minute tape seems to confirm that observation. Very unusual character trait for a police officer.

I am not about to reveal anything I may or may not know about the original Pittsburgh Lp. I didn't mention anything about that. The "story about the 25 minute tape seems" is being misunderstood by you. I was referring to (clearly) film

When Hermans Super 8mm sound film of the Pittsburgh show (the close up version) which ran originally about 25 minutes first surfaced, early 1977. A "close" friend of JH's asked if he could just borrow it overnight to watch it a couple times. Feeling comfortable with the person JH said Ok. 24 hours later the film was returned as promised. In no time at all copies of the film began the rounds that, basically still continues today. JH never made a dollar on that spectacular piece of Elvis footage, until he sold the original print to a well respected collector

That was about someone ripping off his FILM, not the audio. That subject is a seperate issue that I, not being a party to it myself, am not about to make statements about subject.

As far as him sharing anything with Vernon, I would doubt that. Did anyone? Did Shaver, or Lichter, or Vic or anyone of the countless others. Nope. And the really big dollars weren't made by Herman or Heis back in those days. That's all I can add on that subject.

elvisjock wrote

Every Elvis concert ticket stated that commercial photography was prohibited. As a fan, do I think it's "right" that a photographer be properly compensated, or at least consulted and/or credited? Sure. But no one owes him anything, from a pure business standpoint.

I'm sorry my friend but that is where you are mistaken, although the concert promotors definitely opposed any actual movie filming, they actually encouraged fans to take still pictures. Announcements would even be made by Big Al to the effect (paraphrasing here)"If you have your 'Candid Camera' please take all the pictures you'd like". Again at least on tour this was normal. In Vegas I'm not sure- I never attended any Vegas shows myself.

As for my friend being naive....guilty as charged. Being a cop doesn't make you anything other than a person in a uniform. Friendships are formed, trust is given, things go awry. That is life.

My friend doesn't have internet access even to this day, he is unaware of most anything that is either released or said out in cyberworld. I take it upon myself to kind of look out for my buddy. Sorry, but being friends for over 35 years creates a bond.

I can only do so much, I can't speak for him only about him.

He has always treated me fairly, and I hope that I have returned the favor to him. That is what friends do.

At this point I will add that I hope the producer do well with this project, and I hope that it is a quality piece.
I'm sure all will enjoy it.

[Rock Legend]

Once again, your argument is flawed. You bring up the point of the 25-minute tape being a film – which is not the issue at all – even though I never said anything to the contrary. The point that I was making was that to me it seemed rather naïve to lend out a unique one-of-a-kind tape to another Elvis fan and then expect that the person in question would not copy it.

You don’t want to reveal anything about the compensation received for the recording, or the moral issues of a police officer being involved with illegal products, and to me it seems that this is because it would undermine your argument. You write that Mr. Herman knew Elvis and was friends with some of the people from Elvis’ inner circle, including Vernon, and yet you have no qualms about him betraying their trust by using the material that he was reportedly allowed to film & tape for illegal products – and probably for monetary gain.

And no, it’s not true that any filming or photography was allowed in Vegas – it was strictly forbidden.

Once again, I want to point out that I have nothing against bootlegs, but I went into this discussion because to me your take on the matter seems incongruous at best. Based on the above info, I would say that Mr. Herman is no better than those that you are now upset with.

[elvisjock]

I'll address a couple points and then I am done with this subject

And your reaction to my query about the wheelings & dealings behind the Pittsburgh bootleg is decidedly evasive. Are you saying that he handed the tape over to Vic without getting anything in return? Did he get anything out of the other projects that he was involved in, like the FTD release of this tape? If not, then he must be a bit naive – and your story about the 25 minute tape seems to confirm that observation. Very unusual character trait for a police officer.

I am not about to reveal anything I may or may not know about the original Pittsburgh Lp. I didn't mention anything about that. The "story about the 25 minute tape seems" is being misunderstood by you. I was referring to (clearly) film

When Hermans Super 8mm sound film of the Pittsburgh show (the close up version) which ran originally about 25 minutes first surfaced, early 1977. A "close" friend of JH's asked if he could just borrow it overnight to watch it a couple times. Feeling comfortable with the person JH said Ok. 24 hours later the film was returned as promised. In no time at all copies of the film began the rounds that, basically still continues today. JH never made a dollar on that spectacular piece of Elvis footage, until he sold the original print to a well respected collector

That was about someone ripping off his FILM, not the audio. That subject is a seperate issue that I, not being a party to it myself, am not about to make statements about subject.

As far as him sharing anything with Vernon, I would doubt that. Did anyone? Did Shaver, or Lichter, or Vic or anyone of the countless others. Nope. And the really big dollars weren't made by Herman or Heis back in those days. That's all I can add on that subject.

elvisjock wrote

Every Elvis concert ticket stated that commercial photography was prohibited. As a fan, do I think it's "right" that a photographer be properly compensated, or at least consulted and/or credited? Sure. But no one owes him anything, from a pure business standpoint.

I'm sorry my friend but that is where you are mistaken, although the concert promotors definitely opposed any actual movie filming, they actually encouraged fans to take still pictures. Announcements would even be made by Big Al to the effect (paraphrasing here)"If you have your 'Candid Camera' please take all the pictures you'd like". Again at least on tour this was normal. In Vegas I'm not sure- I never attended any Vegas shows myself.

As for my friend being naive....guilty as charged. Being a cop doesn't make you anything other than a person in a uniform. Friendships are formed, trust is given, things go awry. That is life.

My friend doesn't have internet access even to this day, he is unaware of most anything that is either released or said out in cyberworld. I take it upon myself to kind of look out for my buddy. Sorry, but being friends for over 35 years creates a bond.

I can only do so much, I can't speak for him only about him.

He has always treated me fairly, and I hope that I have returned the favor to him. That is what friends do.

At this point I will add that I hope the producer do well with this project, and I hope that it is a quality piece.
I'm sure all will enjoy it.

I'm not wrong. "Commercial photography" means you can't take pictures and sell them. You CAN take all the instamatic photos you want, as long as you don't sell them. The verbiage is on the back of my ticket stubs. He had no right to profit from the photos in the first place. He was also prohibited from recording or filming the show. As a fan, I am certainly glad he did, but I don't believe he's got an axe to grind.

[javilu]

I assume that Bootlegers paid the owner of the master tape to get the first generation recording simply because they could not steal it.
They stole the pic for the front cover because they could.
They are releasing an illegal product because they can.
if they had the moral attitude of tracking down the photographer and paying for using his photo then they would not be releasing an illegal bootleg, right? RIGHT??

[Johanesson]

I assume that Bootlegers paid the owner of the master tape.
RIGHT??

I think you're right!