In this extra beefy episode, Ryan and Justin get together to discuss and rank Elvis's major live albums, from 1969's "In Person" to the posthumous "Elvis in Concert"

For Song of the Week, Justin explores the history and original Mexican song "La Golondrina," behind "She Wears My Ring," which Elvis recorded in 1973 and released on 1974's "Good Times" album.

Ryan then goes for the biggest SotW he's ever tackled on the show, looking into the iconic "You've Lost That Lovin' Feeling," including Elvis's concert performances across the 1970s, and the story of the original by The Righteous Brothers.

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Timestamps: (Just in case - this one's pretty big!)

Intro & News: 0:00

Main Topic: 9:10

She Wears My Ring: 1:21:35

You've Lost That Lovin' Feeling: 1:49:10

After spending a little time mulling over the post-release feelings surrounding "The Colonel & The King," Justin and Bec give their thoughts on the newest Elvis box set from Sony Legacy, Sunset Boulevard, which encompasses recordings and rehearsals done between 1970-1975 at RCA's Studio C in Hollywood. The duo reflect on the the successes and shortcomings of this era of box sets that seems to be drawing to a close.

From Elvis in Nashville, Back in Nashville, Memphis and Sunset Boulevard mark a period where producer Ernst Jorgensen and mixer Matt Ross-Spang have seemingly reinterpreted Elvis's multi-track studio work in the 1970s through a more "rockist" lens; that is to say, one that promotes and emphasizes the perceived authenticity or purity of raw material recorded in-studio by Elvis and a core rhythm band without additional backing vocalists, strings and horns.

Despite great, modern-sounding re-mixes, these box sets have also marred by inconsistent mix decisions that contradict the claims that you're only hearing what Elvis heard in the studio - selectively leaving some overdubs, removing contributions from musicians that were physically in the studio with Elvis, and much more. It's a thought-provoking discussion about what the goals were, what value these sets have added, and whether they have helped us understand Elvis's creative process any better.

For Song of the Week, Bec picks a childhood favorite, the sweet ballad "A Boy Like Me, A Girl Like You" from the Girls! Girls! Girls! soundtrack. Then, Justin uses "Good, Bad But Beautiful," an instrumental intended for Elvis to finish, to explore the fascinating circumstances of sessions, publishing, and release schedules that led to its recording at Stax in July of 1973... and Elvis's rejection of the Clive Westlake-penned song (later done by Shirley Bassey) at a late September 1973 session at his Palm Springs home, less than three weeks after having attempted to fire his manager.

This is one you won't want to skip... because there's a special Elvis Week surprise in this Song of the Week segment, courtesy of our good friends Jamie and John over at the EAP Society.

Baz Luhrmann has released a teaser promoting the world premiere date of September 6, 2025, for "EPiC: Elvis Presley in Concert" by dropping newly restored clip of Elvis's 1970 rehearsal performance of "Oh Happy Day." Gone is the grainy, washed out video, in are pristine, sharp film, vibrant colors... but also new audio!

Elvis's vocal track sounds better than it ever has, which implies a new source & substantial clean-up, but the instrumentation screams "overdub." What is EPiC even going to be? Gurdip and Justin are on the case to discuss this tiny Elvis Week tease from Baz and his team.

Check it out for yourself on Luhrmann's social pages: https://www.instagram.com/p/DNQUuK4p9KZ/