Though he did no studio recording that year, 1974 was Elvis’s busiest since his return to live performing. In addition to his two Las Vegas engagements, he did four full tours. Elvis’ exhaustion and loss of focus was apparent midway through the year. At the end of his late summer Las Vegas engagement, he rambled on for a half an hour, trying to explain away his divorce, his health problems, and rumors of his drug abuse. Along the way, he revealed details of his financial settlement with Priscilla, insulted her current boyfriend, described his liver biopsy in graphic detail and threatened anyone spreading rumors of his addiction with extreme physical violence. At one point on the recording, he even yells “fuck you” at a heckler.

After taking September off, Elvis hit the road again. Things quickly went from bad to worse. The monologues tapered off, but only because we was so out of steam he could barely talk. Reports have him staggering in and out of limousines, forgetting the lyrics to songs he’d sung for years, and doing whole shows hanging on to his mike stand, almost motionless. He apologizes to the audiences, says he’s recovering from one of the many illnesses he claimed to have during these months. But in truth, two decades of drug abuse were finally taking their toll.

After the end of the fall tour, Elvis canceled his January engagement in Vegas and checked himself into a hospital. It’s interesting to note that Elvis’s savvy management was able to spin their artist’s difficulties into salable product. During the summer of 1974, they released an “all talking” album made up entirely of some of the less objectionable ‘tween song patter from that year. Ironically, “Having Fun With Elvis On Stage” sold no worse than than any of his other albums from the period.

I originally made this compilation for a co-worker who’s a freak for The King. Though I didn’t let on that this was Elvis at his worst, she probably wouldn’t have noticed. After all, to quote Elvis’ second favorite book (after the Physician’s Desk Reference):

“Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always preserves.”
– 1 Corinthians 13:2

Happy birthday, Death Of Elvis! See you next year!

Download “Elvis Sings And Talks On Stage”

The Dovells worked the live circuit for more than a decade, orignally as a quartet, then as a trio, then finally as a duo. In the early 70s, in an attempt to forstall the inevitable metastasis into an oldies act, remaining members Mark Stevens and Jerry Gross hit on the idea of transforming the act into a comedy routine and moving the show into the lounges of Lake Tahoe and Las Vegas. Their 1976 album, “The Dovells Live On Stage” is a document of that unfortunate decision.

Don’t get me wrong: I love the music on this record. Their opening hunk, “Rain On My Parade/”How Sweet It Is” is a properly exhilarating call to action. The renditions of “MacArthur Park” and “Try A Little Tenderness” have a very pleasing sleaziness to them. And it’s always great to hear the old hits done in that chipper oldies-circuit style. The Dovells also employ the popular medley format extensively. Their divorce medley — which weaves together “You’re Having My Baby”, “You’d Better Sit Down Kids”, “With Pen In Hand” and “Daddy Don’t You Walk So Fast” — is an absolute model of the style.

But as comedians, they are worse than a washout. They are not merely unfunny — they are downright painful to witness. For some inexplicable reason, they decided it would be clever for Mark Stevens to affect a flamboyant gay stereotype as his onstage persona. At the time, this may have seemed daring and “racy” in some circles. But it has not aged well.

Apparently, laff-getting gay caricatures were not uncommon during the heyday of show lounge culture. This is not the only record in my collection to feature such “humor.” But the jokes about bondage and cross dressing are not even remotely amusing. When Mark reveals that he takes Mydol for headaches, and Jerry calls him sick and tells him to “sing like a man,” one can’t help but cringe. They offer an apology at shows end: “I’m not really that way…I have a lot of gay friends,” etc. But it’s too late — the damage is already done.

Of course, any time an artist needs to apolgize for a performance, it might be time to consider retooling the act. This album doesn’t appear on any Dovells discography that I’ve ever seen, so it may not be something the group is proud of. The duo probably pressed a couple thousand (on their own Dovco label) to give away or sell at shows to help defer travel expenses, then forgot all about it. But The Dovells’ shame is our gain, and Bostworld is proud to offer this album in all its offensive, hairy-chested, jumpsuit-wearing glory.

These days, it’s getting tough for acts on the oldies circuit. Bookings are drying up as casinos hire talent agents too young to remember most of the old groups. Lucky for The Dovells, gay-bashing is as popular as ever. Perhaps the time is ripe for a return to form.



Download “The Dovells Live On Stage” now!

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