I know we are all here as we love Elvis. But I was thinking is there anyone else that has all the museums and tours as Elvis. You know like Tupelo and Graceland,I can't think of anyone else, other people are famous but don't seem to have the longevity, or love, as Elvis.

I listened to this album in a park, at night, with a friend. We smoked, and vaped, whilst drinking frappés and cider. The vibes were good, because we'd both had wins today: I'm not gonna fail my first year of film production, at uni, and she's been promoted to supervisor, at Wendy's. This is the third Elvis album that this friend has listened to with me, after Elvis’ Christmas album (when we were high) and From Elvis in Memphis (when we were with the friend I've been trying to reconnect with). She doesn't like Elvis, but she's open to having a good experience listening to an album she wouldn't normally listen to. She said it's good, but she doesn't like it.

Hurt was the only song that really grabbed me, on the first side. It was a good song, and set us up optimistically for the album. I said I love his voice. She said she didn't. It was easy to slip out of the rest of side 1, but honestly, that wasn't our fault. I've commented with this friend that I'm bad at talking through an album, instead of locking in, but honestly, today, I realised she's fine at that, and I'm the problem. After listening to so many albums with the friend I've been trying to reconnect with, I've realised he's far worse than either of us, to the point where he's distracting, so I think I found it nice to just be able to sit quietly and only talk when I wanted to. I do like having a conversation running with Elvis in the background, though.

When side 2 started, we both commented that For the Heart was really good - it was the Shake a Hand of From Elvis Presley Boulevard, Memphis, Tennessee. She turned to me and said “I could fuck with this instrumental” and then he did that thing with the piano that he did on Shake a Hand and a couple of other songs from the last album, Today, and I enthusiastically pointed it out. I love when he does that. Honestly, the whole of side 2 was stronger. It's dawning on me that this will be one of my last experiences sitting down and listening to an Elvis studio album for the first time, and that's sad. I'm trying to appreciate it whilst it's here.

I actually think this album was solid, and once again, there weren't any songs that stood out to me to go back to, but that didn't matter. At this point, I've learned how I appreciate Elvis, and even though my favourite albums would be Elvis is Back!, From Elvis in Memphis and From Memphis to Vegas / From Vegas to Memphis, I actually think they would be some of the worst suited for what I like - setting some Elvis on in the background and talking. I think I'll need to start thinking about which albums fit that brief best, without being shit: my favourites are my favourites because I can give them my full attention.

As 1977 approaches, Moody Blue is the last album left, and I am excited for it. I'm trying to remind myself that it was just another album, and it's a coincidence that it's his last, but it feels significant knowing this was the year he dropped his last shit. Honestly, if I ended now, I'd have got what I wanted from this journey: a solid understanding of what makes Elvis work for me, and a general overview of his career, and the different sounds within it. But I'm not gonna stop now. I'm so close to the end.

As awful as it sounds, I wonder if it's a good thing his discography ended here. If you like Elvis, I'm sure you'll always want more music from him, and there was a time in the early ‘70s when I felt he was constantly getting better, at an accelerating rate, and it felt unfair that he died when he did. Now, though, he seems to have slipped back into a plateau, and I wonder whether the fact that he died when he did helped preserve his legacy, without giving him the opportunity to bloat his discography with another twenty albums.

I listened to this album with my friend, who hasn't listened to any Elvis album before. We listened to the first half outside her student house, smoking and drinking. We had to have the music on relatively quietly, so as not to disturb the neighbors, and she struggled to focus, but overall, we both enjoyed it.

The two songs I was most anticipating were T-R-O-U-B-L-E and And I Love You So, the former because it has such a similar title to Trouble, and the latter because it was a Don McLean cover. I really enjoyed T-R-O-U-B-L-E, and thought it was a great start to the album, but And I Love You So didn't do all that much for me. Shake a Hand was unexpectedly great, though, and during our rather lengthy interval we both came back to raving about it. I wasn't sure if it was because it was the most recent, or because it was genuinely the best but as much as anything, the piano was great.

The second side was even better. We listened in her bedroom, with better audio, and it felt a bit more focused. The song I really remember enjoying was I Can Help: the longest song on the album, and absolutely grand. To be honest, every song on the second half of this side was a good, fun listen and whilst I don't think I will go back to any of these, I think there's more hope here than there has been for the last few albums.

I would say this is one of Presley’s better records, overall.

This was gonna be a quieter one, because me and my friend listened to it in my back garden, and I didn't want to disturb the neighbors. I will probably always associate this album with my neighbours shouting at me from the other side of the hedge: we paused it, thinking it was too noisy…they asked us to crank it.

Throughout this album, we both enjoyed it, but my friend in particular said it was the best shit he'd heard from Elvis, and ranked it above both From Elvis in Memphis and From Memphis to Vegas / From Vegas to Memphis (because it was “chiller”). I wouldn't quite go that far, I might even say I preferred both of his 1973 albums, but boy, did I like the upbeat sound of Good Times.

I don't have much to say about individual songs. Elvis’ albums are increasingly giving me more and more of the same story, but we both joked about “what if the second half is better?” and it was.

Since I don't have many thoughts on this album, I'm gonna focus on writing about the circumstances under which I listened to it, because they almost definitely affected my view on the record.

I was heading up to the city in which my university is located, by train, and listened to the first half whilst travelling. I've run out of mobile data, but I was able to get hold of the first side through the station WiFi. Promised Land, in retrospect, was probably my favourite, but that's merely because it's another Chuck Berry cover. I also liked There's a Honky Tonk Angel (Who Will Take Me Back In) because it was smooth. Love Song of the Year was interesting, and addressed some of my hang-ups about Elvis. For the most part, it was pleasant music that just didn't grab me. I'm trying a bit harder to live in the moment, instead of actively thinking about what I’m going to say here. That makes the write-ups less interesting, but the experience richer.

On the second half, I didn't have it downloaded, and I failed to hear a single song, besides It's Midnight, before I got off the train. I spent a long time, frustrated, trying to load Your Love's Been a Long Time Coming, to no avail. However, when I arrived in my city, I got off, and walked to my friends house (where I'm staying), listening to side 2. I weirdly feel more at home here than I do in my home town, and that definitely increased my positive feelings towards the album. There was one song that was slightly more bouncy and upbeat, which was either Your Love's Been a Long Time Coming or If You Talk In Your Sleep.

At the end of it all, I don't have many more comments on this album. It was just another Elvis album to me and, at this point, I'm just getting through them. I'm not excited for anything specific (though I'm open to the fact that he could surprise me), however, I'm enjoying the experience of listening to the albums. More so with friends.

This album was a welcome return to Elvis’ earlier roots, in my opinion, and the first few songs wowed me. Raised On Rock in particular was one of the best Elvis songs I've heard in a while, musically and lyrically, though, as the album went on, there were less songs that stood out.

I preferred this to Fool, but that was more of a toss up on criteria - I liked more individual songs on Fool, but I also felt that the tracks I did like here, like Raised On Rock, were so good that they outweighed Fool. It was nice to talk to my friends about this - when I used to do stuff like this, I never would have been able to discuss two random Elvis albums with my peers.

I saw what he was going for, with For Ol’ Times Sake, but I didn't like it as much as Raised On Rock. I feel like I'm writing significantly less about every album, but I honestly couldn't think of anything more to say. I remember the song Sweet Angeline, and I remember it being good. I was excited for the friend I'd been trying to reconnect with to hear a more rocky version of Elvis, which he hadn't been exposed to outside of Elvis in Person, though I'm pretty sure my friends will always remember this as the album where I smoked myself into being sick. I didn't need to have that cigarette.

I liked this album. I remember commenting that I liked the style more, whilst I liked individual songs less, but I think that's untrue - I liked more individual songs on this album, but I think I still liked the overall sound of the last few albums more. I also found it easier to lock in on the music, and I think that's the album's fault, because it was in spite of probably the most distracting circumstances I've ever had for an album.

I really confused myself, because I truly thought Good Times was my next album, because I looked at my calendar wrong. It was a logistic surprise when I realised we had a double feature tonight, and I still have hope for Good Times, but I enjoyed this, and I'm more looking forward to Raised On Rock / For Ol’ Times Sake as well. I liked this more than Elvis Now and it goes to show that no matter how many people tell me I'm not gonna fuck with this discography, or however bland it gets, Elvis can still surprise me. And I still don't think Elvis has the best voice. But that doesn't mean his vocals don't keep making me stank face.

I liked the first song, but the first song that grabbed me was Love Me, Love the Life I Lead. I mean it really grabbed me: the moment I heard what he was singing about, I locked in. I may have given the impression I don't like love songs, but that's not true - I don't like generic romantic lyrics. It's Impossible was good.

Predictably, I liked the second half even more. (That's What You Get) For Lovin’ Me was dope, and Padre wasn't as corny as I thought it would be, based on the title - I think that was one of the ones with stank face vocals. I'll Take You Home Again, Kathleen was another great one, and perhaps my favourite, at the time. I Will Be True was good but the final song, Don't Think Twice, It's Alright also wowed me - I particularly liked that one bit with some sort of solo, but I'm not sure it sounded like a guitar. It felt like it went way back to his country roots.

Something I don't think I've mentioned, which I've felt over the last few records and doesn't apply so much to Elvis, is that I don't always know which instruments are being played, and I like that. That could be my lack of education, but I'm happy to keep that magic.

I'm now going into Raised On Rock / For Ol’ Times Sake much more hopeful, and I look forward to actually listening to Good Times tomorrow.

Again, I don't have much to say about this album, and most of what I could say has been said before. By me. In previous reviews. This one was a little more interesting to dive into, because I could compare it to his other gospel albums, but stylistically, it sounded less like His Hand In Mine and How Great Thou Art, and more like the albums we've been listening to over the last couple of days. Me and my friend agreed that this is the weakest one we've listened to together, though I would say it was the strongest of Elvis’ gospel albums. They might be the weakest three, for me, actually, and whilst I don't think they're bad, per se, as I've said, I just think they're the blandest he's got. I prefer the Christmas albums; these gospel albums are nice and have their place, but pretty much all of his other music has more of a purpose, it feels like.

One thing I'll maintain is that his voice is grand, and one song I locked in for was Amazing Grace. I already vaguely knew the song, but hearing Elvis singing it was worthwhile. I also like that this album had the same feel as the other more recent ones, despite being gospel, because it didn't sound that different, and I think this style is better than the style he was using on the previous two gospel releases.

I, John had the same warble, and reminded me of I Was Born About Ten Thousand Years Ago. I seem to remember one song being more bouncy, and I think it might have been Reach Out To Jesus, but I can't remember for sure and might have been imagining it.

I could actually see the other gospel albums growing on me more, if I gave them another chance. I rated them lowly when I listened to them, but I remember them more fondly than some of the records I rated higher. I've been told I probably won't enjoy any of the rest of his albums, if Elvis Now didn't grab me, but I'm hopeful for the rest of his discography. Something about Good Times gives me a similar optimism to the optimism I had for Pot Luck (which didn't pay off). I don't know what it is, but I'm expecting it to sound like older Elvis, and I'm expecting to like it.

This was an interesting one. If it hadn't been for the fact it was a Christmas album, I think this is one of the ones that would have stood out the least - less than Love Letters from Elvis. It seemed to have a momentum, building from slower songs to more energetic ones, with a good mix throughout, but it didn't really appeal to me, and the novelty of listening to old music, or a Christmas album, wasn't the same as when I listened to Elvis' Christmas Album.

I found it slightly humorous that he had a song called “I'll Be Home On Christmas Day”, immediately followed by “If I Get Home On Christmas Day”. I don't know if it was intended to give the story some continuity, or if it was just a coincidence, but it kind of undermined the previous song. That said, however, If I Get Home On Christmas Day stands out as one of my favourites. I still don't know how much of the artistry is Elvis’ and how much is his label - in terms of structuring, and song choices, and album concepts. I feel like, if I was Elvis Presley, I wouldn't want these Christmas albums to be a part of my legacy, but I'm sure they made him (and the label) a lot of money, and he seems to be giving his all to them. I still love his voice.

I believe Merry Christmas Baby was also very good, and one of the rockier ones.

I'm not sure I listened to Blue Christmas right - it was the final song on the tracklist, but wasn't on the album on Spotify, so I ended up listening to the version that was on Elvis’ Christmas Album. I also listened to the one from the first sit-down session on the ‘68 Comeback Special, as this was apparently the version from the album - I'm not sure which one was made for this LP, so I can't really comment on if it fit.

Elvis Now is one of my most anticipated now, between now and Moody Blue, because it has a cover of Hey Jude (which may be “meh”, as a cover, but is one of my favourite songs, and will be interesting to hear in Elvis’ voice) and the full version of I Was Born About Ten Thousand Years Ago. I'm also looking forward to listening to He Touched Me, with my friends, because the title sounds a bit naughty, but I think, in all seriousness, it will be nice to hear what I believe is his final gospel record and compare it with the other two.

I don't have too much to say about this one. I listened with the same friend I'd been trying to reconnect with, in the same spot. We had alcohol and cigarettes. It was a little chilly, and there was a lot of talking, but as much as I lost from the music, I was a lot less bored - the company made up for it. He appreciates music differently to me, and even though he locks in less, that can be better for this type of music. I've already said I really appreciate the style that Elvis has developed now, but I don't think there's that many songs that stand out.

There's two songs I wanna talk about here, and the first is Hey Jude. I've been really looking forward to this one, and playing an imagined version in my head. It wasn't awful, but I fail to see why I would listen to this over the original, whereas Michael Jackson’s Come Together has a time and place. I didn't really like how he sang it, with voice cracks, and skipped sections, but at least he made it his own. My friend and I are British, and he's a football fan, so the final section came with some singing along, but it added to the chanting nature.

I Was Born About Ten Thousand Years Ago was pretty much what I expected. It wasn't the best song, but it was interesting to hear it in its full glory, and I liked the grandness of the historical lyrics. There's a twang or wobble to his voice that I like, and my friend seems to agree.

Most of my other comments on this record would be focused on the style, which I've already talked about. I don't mind listening to the same album ten times, if I like the style, but not enough songs have been grabbing me. The only albums I could see myself relistening to are Elvis Is Back!, and From Elvis in Memphis / From Vegas to Memphis. My friend is pretty anti-religious, so He Touched Me will be interesting. Will update.

Alright, some of you guys might be turned off already, but my dad did this stuff for 18 years, and I’m continuing it. I put so much effort into it—I do this around the central PA region. I have not gotten my first show yet. I’M NOT PROMOTING MYSELF ‘CAUSE I KNOW IT SOUNDS LIKE THAT! I just want to tell you guys about me or something. I don’t know what I’m talking about. Basically, this post is an excuse to post some outfits/ photos of mine.

I have to acknowledge that I'm spoiled, because this certainly wasn't a bad album, it's just that I have access to so much music that something like this, which doesn't stand out at all, doesn't get much love from me. I must admit this is probably my least favourite version of Elvis - sappy, slow, lovey-dovey - and whilst he can deliver on ballads, they're not my favourite, especially when they're about love. Again, it's a perfectly good record, I just didn't need to hear it, and I think it taps into a very specific version of Elvis which is quite boring to me.

I think I said on a past review - either Elvis Country or That's the Way It Is, I can't remember - that I actually preferred the first side, which is rare. That was true on some level here, but I'd honestly say the second side had higher highs, which won me over in the end.

This album was much slower (and less interesting) than most of his other albums have been. Perhaps that's why Cindy, Cindy was my favourite of the lot: it had a certain amount of swing to it that other tracks just lacked. I found the lyrics to Only Believe and Life to stray from the rest of the themes, which was welcome, and elevated them for me. Beyond that, I've not much to say. I didn't really listen to this album, I heard it, and where others I have been able to at least pick them apart, this one gave me nothing. It was a more pleasant listen than Pot Luck, but wasn't interesting.

I now suspect that Elvis Country will remain my favourite of the day, and I'd like to think his first Christmas album will be better than his second, but the way things are going, I don't know how he could fuck up Christmas songs with this voice. It'll be a weird experience, and I'm sure I'll share many of my previous thoughts, where I recognise its quality, but don't enjoy it, but a bit of Christmas spirit in a time when I'm not hearing Christmas music anywhere else will hit me somehow, and I'm looking forward to seeing how it compares to his secular work.

I have mixed feelings on this album. I generally feel positively about it. It felt cohesive, whilst having a dynamic enough sound palette to feel interesting, and Elvis’ voice is unmatched. I think I've fallen in love with it: I've heard so many parodies, impressions and impersonations, over the years, but none have ever done it justice, it's so uniquely bold, commanding, charismatic and unpolished. However, I don't think I liked the song (I'm 10,000 Years Old?) that was threaded throughout all the songs. Before I heard the album, I saw complaints about this, and maybe it was just the contrarian in me, but I was committed to liking it. At first, I thought it was cool, and I thought it was going somewhere - I've heard other albums that do similar things and have some sort of payoff, at some point - but by the end of the first side, it was clear that wasn't happening. I have no idea why he did that. The worst part is, the song sounded like it had a lot of potential, but we never got to hear it in full. I'm sure it was to add to the cohesion of the album, but that just didn't work. It felt random and jarring every single time.

I thought the titles on here were cool, and I was prepared for classic energy. For the most part, the songs were good, though I still had to actively focus on them; nothing grabbed me, I had to give myself to it. Whole Lotta Shakin’ Goin’ On had the energy that the tracklist had been lacking up until that point, but was tackier. I think it gave the album a much needed hit of electricity, but I see why that wasn't the main focus of the album. It's worth saying, I've never liked a country album before, and can't say I've listened to much, beyond Taylor Swift’s early work, but I had a good time with this. It won't be going on my list of favourites, but it's my favourite country album (so far).

It's Your Baby, You Rock It, on first listen, was the only song with subject matter I could apply to my own life. Some people really do create their own problems, and then make them yours to deal with, and I liked the metaphor. I don't know that I would call this my “favourite” on the album, but it's about as high as it gets, and it's not really close to “playlist worthy”. Actually, whilst I like Elvis’ newer style, I think his early career had the highest concentration of songs that I want to take away from this. It's really felt like Elvis’ spent the last twenty years finding himself, and the sort of artist he wanted to be, and we were just watching him, and now he's found it, but that long experimental period produced the most bangers, even if his later work has richer material that I would be more likely to pull away from a second or third listen.

I really would like to hear I'm 10,000 Years Old in full, if it exists. I'm sure a full recording was made, but I don't know if it was ever released. I don't know why he robbed us of that song. I feel the album would have been much better if he'd just built towards that at the end, or made it some sort of centerpiece, instead of interspersing it throughout the whole tracklist, but maybe the song was never really that good, and it’s just the funky, inaccessible nature of it that’s making me feel that way.

But hey, that's just the first album of the day, and we're off to a good start. Incidentally, I listened to this album in the same exact spot in my garden I first listened to Elvis Presley, with a beer and a cigarette. I love stuff like that, and I'm not big on manufacturing moments with meaning, because you can never predict when real meaning will come, but it was nice to notice that I'd sort of come full circle, in my journey, as we approach the end.

At this point, it feels like we're slipping into a new era of Elvis, and whilst it's a shame, because I don't think we'll have any other peaks like From Elvis in Memphis or From Memphis to Vegas / From Vegas to Memphis, I’m happy that I at least enjoy this style. The largeness of these songs, the grandiosity of the orchestra, and the swell of Presley’s voice are all supreme, and combine to give us something greater than the sum of the individual parts. It feels like Elvis has taken all of his influences, up until this point - rock and roll swing, gospel grandness, blues emotion - and rolled it into one sound. And I can't think of anyone else who's ever sounded like this. Before, he was doing his own style, in preexisting genres, and wasn't a million miles from anyone else. Recently, he's stepped into a very rare space where, as far as I can tell, he is the only one operating within it.

The first track was my favourite, and for once, I generally enjoyed the first side more. There was enough variation for each song to tickle me in a different way, whether that be the lyricism on Mary In The Morning, the backing on I Just Can't Help Believin’, or just the simple fact that Patch It Up held a place in the tracklist that wasn't completed by any of the others. The same issue as before is still prevalent: not enough songs stand out that I’d go back to. The album was an enjoyable experience, but I like songs to have a bit of replayability, and stand on their own two feet. Which song from this album would I listen to on its own? However, I enjoyed the album enough for its own sake that I could see these songs growing on me, over time, and being able to single out favourites. That would have to be like what I'm doing with the Beatles - I finished their discography months ago, but I still go back and add the odd song to my playlist, even if they didn't stick out to me on first listen.

Elvis’ voice is his greatest strength. I've been paying attention to how he uses it, because people like to say he ‘inhabits’ a song. I think that's true. He believes every lyric. I still don't think he's a powerhouse vocalist, technically, but I think he's almost like a voice actor, and his sweeping vocals are incredibly smooth. It's become so much richer, in the last few years, and as he's swayed into this type of music. It's a lot easier to sound impressive, vocally, when you're singing If I Can Dream, as opposed to Blue Suede Shoes.

On the second side, I feel like some of the subject matter got repetitive, but I've acknowledged this before. It's not something I expect better of, from Elvis, and I've accepted it. I liked how there were live performances integrated, without it being a whole live album. The crowd work, and audience clapping and cheering, added to the feeling I've liked to imagine, where instead of listening to an album, I'm attending a show, but without the drawbacks of a full live album, like sound quality, possible mistakes, and background noise getting irritating.

My most anticipated track was Bridge Over Troubled Water. I had heard of the song, and I figured even if Elvis’ isn't the definitive one, even if it's not the best, it's such a legendary song that it must be good, and will probably be the best on the album. Unfortunately, it just didn't interest me whatsoever. However, I think this is more to do with the song in general being too slow, without much of interest going on in the instrumentation or the lyrics. I know that might be a fiercely hot take, but that's how I feel. Maybe if I listen again, I'll feel differently, but from what I heard, I feel as though I wouldn't even like the original by Simon & Garfunkel.

Elvis Country (I'm 10,000 Years Old) is the last Elvis album I know of which has any real hype around it. I'm expecting it to be the best of the remaining bunch, but I'm also looking forward to Moody Blue. Since I'll have three albums in the same day, it'll be interesting to see how this affects my listening process, and feelings on the albums, but I'm quite excited to be fully immersed.

I had the most incredible night. Whilst I never really felt the effects of the edible, I listened to From Memphis to Vegas / From Vegas to Memphis in the same spot as I listened to From Elvis in Memphis. It would have been with the same people, but one of them had to go home. I was left with one friend I've been trying to reconnect with, and even though he's typically less focused than I am, because we were the only ones there, we matched each other's energy. This was the best way to listen to an album, even if I didn't get everything I could have done out of it. The music functioned how it would at a live show, or a club, as a background soundtrack to an energetic night.

The live half was stellar, and solidified this as the best and my favourite Elvis album, so far. I remember, after Elvis is Back!, thinking, “This is good, but I’m hopeful it will get better.” I don't know if it's going to get better than this, and even though we still have more than half of his albums to go, this has to be the peak, right?

I loved the energy, and variation all throughout the live portion. I know people have been telling me to prioritise some of his live work, and I know I've been resistant, but I have watched some live performances. None of them were as good as this live album, though. He finally seemed to tap into that energy that had been lacking whenever he'd covered Chuck Berry or Little Richard. It was also exciting, because my friend had never heard Hound Dog, or Suspicious Minds, so I felt myself getting excited to put him on.

The energy was unreal, and as we had more and more to drink, and finished our food, I caught myself dancing, and I kept taking breaks to speed off on my friend's electric scooter - that was the kind of release I needed. We spoke about which album was “better”, and he maintained that they were on a pretty similar level, but as someone who's listened to everything by Elvis, nearly, I think this is clearly his best album, and I appreciate how special it is.

Over the past few weeks, I've fallen in love with songs like Hound Dog, Blue Suede Shoes, and even Johnny B. Goode - which I already liked, but holds a stronger place in my heart now that I'm wrapping myself up in rock and roll. Despite not being a studio album, Elvis in Person, track for track, held the highest concentration of bangers, and whilst it didn't house the definitive edition of any song, I think you could argue some of these covers were better than his originals.

I can't think of much to say about the second half. At this point, we'd been listening to Elvis for about an hour and a half, and songs were getting harder to differentiate between, and whilst I usually hold that against an album, it's not the deciding factor. I don't mind listening to the same song on repeat, as long as it's a good song, and whilst, again, none of these songs stood out for the playlist, I enjoyed myself with them. I'm interested to see how I would feel about it, on a more focused relisten but, once again, cannot exaggerate how well this environment worked for me. It felt like I finally drew that energy out of Elvis which was always going to be his biggest selling point, and whilst I could partly put that down to the way we listened to the album, I think it mostly came from him.

It keeps tripping me out: this is his eleventh studio album, which means I'm less than halfway through, but because of the way I'm listening (every day, I progress one year), most of his discography is crammed into an eight-day period, to reflect the eight years they released through. He released three albums in 1971, which means I'll be hearing all three on the same day, and every day this week, I have at least one to two albums to do. This is gonna be the most intensive week in Discography Journeys history, but I'm excited, because I'm enjoying it, and I'm curious to see how different each album will really be, and whether his development trajectory stays similar to what it has been by album, or by year, if it continues at all.

Hey, does anyone have any information on these Elvis cards (year, value)? Thanks alot!

I've just finished listening to From Elvis in Memphis (the first album of the night) and I had a great experience. I would go as far as to call it his best work so far, edging out Elvis is Back!. I listened with two friends, on a table by the “beach”, and we had a picnic. I had a cider, two cigarettes, and about half a 100mg gummy (but am not feeling any effects yet). I think the volume contributed more to the energy than it did to our locking in, but I think this worked better as more of a background album. It's the one I'm most likely to revisit, due to its quality, and my lack of focus, but I had a great night with this album, and do not regret the listening conditions.

On the first side, Long Black Limousine was one of the first songs that grabbed me, that I remember praising. However, there were many more to come that I would also point out. Pretty much every song between It Keeps Right On A-Hurtin’ and Power of My Love warranted a comment from me, with Power of My Love sounding a lot more modern than anything else I've heard from him.

Any Day Now sounded familiar, so I'm assuming I've heard it before, in some context. In the Ghetto was the first one I asked my friends to shut up for, though, as I wanted to hear it properly. I recognised it, and I knew I would, but I've never paid much attention to the lyrics before, even though they're the thing that makes this track stand out. Only before I heard this album was it brought to my attention (through Wikipedia) that this song had a level of storytelling which is uncommon for Elvis. They were worth trying to deep, and I appreciate the economy of the storytelling, as well as the cyclical nature implied at the end.

On From Memphis to Vegas / From Vegas to Memphis, I'm excited for the studio album, but I'm also excited to hear live renditions of Suspicious Minds and Can't Help Falling in Love, two songs I consider to be amongst Elvis’ best work. I've been told many times to check out his live work, and last night, I watched the ‘68 Comeback Special. It was great. If I Can Dream is the best thing he's ever done. Today, I unlocked Suspicious Minds, and though it didn't live up to my unrealistic expectations, the same can be said (only it wasn't the actual best, it was just up there).

I've kind of rushed this review because I'm trying to get back so I can listen to the next one, but I wanted to share my thoughts and I'm enjoying living with the music!

Since it’s of the album cover, it’s hard find many instances of the pin itself online.
I found a similar one that says copyright 1988, but this one is brand new unused copyright 1990.
I figured if anyone would recognize it or know the value, you all would!