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Music / Having Fun with Elvis on Stage

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A Talking Album Only!

Having Fun With Elvis On Stage is the seventh live album by Elvis Presley, released in 1974. It is often considered Elvis' worst record - if not one of the worst of all time. While other concerts show that Elvis could be funny on stage this album is not a proof of that. It's a concert album without any actual music, just Elvis... talking. If that weren't bad enough all of it is cobbled together from different concerts with all context removed, so you have no clue what he's talking about. As a result a lot of "jokes" fall flat or are nothing but repetitive improvised conversations that just go nowhere and are often Cut Short abruptly.

Yet Elvis wasn't the one to blame. The record was a ploy by his manager, Colonel Tom Parker, to make money off him by releasing an album RCA Records had no rights to (although RCA eventually reissued the album anyway; it even made the charts). Elvis himself was both angered and ashamed by the album's release and personally made sure it was withdrawn from the market, making it one of the rarest albums in existence for Elvis collectors (at least in the original release on the Boxcar label; thanks to the RCA version actually making the charts, there are plenty of copies from that release in circulation). Bile Fascination has also attracted many fans of curiosities to this Old Shame; it received the #1 ranking among the albums listed in the 1991 book The Worst Rock n' Roll Records of All Time (edging out Metal Machine Music and Self Portrait).


Understandably it has never been (officially) released on CD, even though RCA did reissue the album (along with every other Elvis LP) in the year or so following Presley's death.


Side One

  1. "Side A" (18:06)

Side Two

  1. "Side B" (19:00)

Troping Fun With Elvis On Stage

  • Album Filler: A prime example. The whole record just sounds as if someone just listened to a series of concerts, cut out all the songs and just threw all the boring banter with the audience together. The majority aren't even jokes. For instance, there is a monologue where Elvis tells an anecdote about his early career without any punch-line to it. Most of the time we hear him just tune his instruments, try out the microphone and announcing songs that are never heard. The overexcited crowd interrupts him a lot, whereupon he tells them to be patient or hands them out kisses or scarves, which is charming, perhaps, but not exactly amusing in its own right. But the most atrocious part about this album is its repetitiveness. We often hear Elvis say the same kind of comments and jokes to the crowd over and over again.
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  • Arc Words: You can create a Drinking Game around the amount of times Elvis repeats one of these phrases:
    (...) I'll be over there in a minute, honey!
    (...) You want a scarf?
    (...) Well, well, well,...
    (...) I love you too, honey
    (...) You know what I can't do? (hits the piano a few times)
    (...) I can't stand up!
  • Artistic License – History: Elvis jokes that this song note  goes back to when he first started recording:
    Back in 1927, I thought it was!
    • Elvis may be referring to "Are You Lonesome Tonight?" which actually does date to 1927, though he often used the same joke to refer to pretty much any song he recorded in the 1950s.
  • Buffy Speak: Rather than label it as "spoken word" or "Elvis in his own words" or something like that, it's touted on the cover as "a talking album only."
  • Compilation Album: This is, in essence, just a collection of stage conversations, though none originate from previously released live recordings.
  • Deliberately Monochrome: Elvis on the cover.
  • Covers Always Lie: Not only is the record painfully unfunny, a lot of it is technically not even a joke, just Elvis saying random things in interaction with his audience. Half of the time he is clearly just rambling, before deciding his jokes are falling flat or his story isn't going anywhere.
    • Averted in one respect: it is clearly stated on the cover that this is "a talking album only."
  • Cut Short: Every time Elvis prepares to sing it is edited out to make way for even more stage conversations. There is not even an attempt to do it subtly.
  • Face on the Cover: Six images of Elvis.
  • Fangirl: A lot of edits just have Elvis hand out kisses or scarves to his overexcited fans, or tell them he "loves them".
  • Improv: All of it is improvised.
  • Live Album: A concert album with the actual musical performances edited out.
  • Makes Just as Much Sense in Context: Basically, every single quote from this album counts ("Looks like my horse just left"; "I got my tiger...right next to the eagle"), since it's just a jumbled-together collection of Non Sequitur quips.
  • New Sound Album: This is certainly a unique album in Presley's catalogue.
  • No Title: There are no individual tracks on this album and no titles either.
  • One-Book Author: This was the only record ever released by Boxcar Records, a label that Colonel Tom Parker started specifically to produce this album. The Boxcar name has been revived for various Elvis bootleg albums over the years.
  • Real Life Writes the Plot: On Side A Elvis is heard talking about his early career for four minutes.
  • Recorded and Stand-Up Comedy: The album falls more into this category than actual music, yet even calling it humor is quite a stretch.
  • So Unfunny, It's Funny: A lot of stuff might actually be more enjoyable if we could hear the full unedited concert.
  • Spoken Word in Music: There are no songs, just Elvis talking to his fans. Sometimes one can hear him humming, briefly quote some lyrics or singing "Well...", only to have the start of a song abruptly edited outnote  .
  • Squee: We hear a lot of excited girls screaming and wanted to be kissed by Elvis and/or receive a scarf by him.
  • The Unintelligible: One of the major problems with this record is that Elvis' banter is often difficult to make out, due to him slurring his delivery or the audio quality being particularly bad. It doesn't help that it usually isn't clear what is going on. People in the audience shout things back at him, but this is often so faint that you can't understand what they say either.