Elvis Sings Memphis, Tennessee CD set

posted by Tygrrius @ 10:20 AM

I've written a review of the latest Follow That Dream Records release, Elvis Sings Memphis, Tennessee, for Elvis Australia. Check it out here.

Fear Itself

posted by Tygrrius @ 12:30 PM

Fear Itself
Airs Thursdays at 10 PM Eastern, NBC

I've lately been checking out NBC's summer series Fear Itself. As a longtime Twilight Zone and Alfred Hitchcock Presents fan, I'm always drawn to anthology series with a mysterious or supernatural edge. As the title suggests, Fear Itself is a horror series. So far, episodes have run the gamut between psychological horror and more commonplace blood & guts fare.

Brandon Routh (Clark Kent/Superman in Superman Returns) appeared on last week's installment, "Community." This thriller was about a homeowners' association gone wild, controlling every aspect of those who live within its gates. As someone who feels homeowners' associations are slowly taking away the freedom of American homeowners, this episode played on one of my personal fears.

Routh did a great job in his role as a husband trying to combat the association. Given Routh's undeniable resemblance to Christopher Reeve, however, I found the episode's final moment to be chilling and perhaps even unintentionally distasteful. Despite Routh's great work, this won't be an episode I'll watch again.

Though Fear Itself has been uneven so far, I think it's a great premise for a series and I hope NBC will keep this one around. Rating: 7 (out of 10).

Get Smart (2008)

posted by Tygrrius @ 9:36 AM

The Get Smart television series made its debut on NBC in 1965, about a year before the premiere of Star Trek on the same network. Perhaps it's appropriate, then, that the new movie version of Get Smart has made its debut about a year before the premiere of the new movie version of Star Trek.

Call me old-fashioned, but my three favorite TV series aired most of their new episodes in the 1960s. Get Smart fits snugly into that third spot for me, right after Star Trek and The Twilight Zone. I was born in the mid-1970s, so I have only known these shows in reruns. (My fourth favorite series, however, breaks that 1960s convention. It's Lois & Clark: The New Adventures of Superman from the 1990s.)

This year, I've started making my way through the Get Smart series on DVD. I'm in the middle of the second season right now, relishing each episode. It's great watching them in sequence, and hearing Barbara Feldon (Agent 99) introducing each one. With Star Trek bumped until next year, Get Smart was my most anticipated movie of the year. Would I be disappointed?

Much like 2009's Star Trek, 2008's Get Smart faces the obstacle of audience reluctance to accept new actors in iconic roles. Who else but Don Adams could play Agent 86, Maxwell Smart? Who else but Barbara Feldon could play Agent 99? Who else but Edward Platt could play the Chief?

Another potential strike against the film is the history of attempted Get Smart revivals. After the series was cancelled in 1970, Don Adams returned as Agent 86 in The Nude Bomb, which was released to theaters in 1980 but poorly received. Notably, Agent 99 never appeared or even received a mention in the movie.

A 1989 TV-movie, Get Smart, Again, fared better and reunited the surviving cast, including Adams and Feldon. In 1995, FOX aired a new sequel series, Get Smart, which also featured both Adams and Feldon, with Smart now the Chief of CONTROL. The series also featured Andy Dick in an uninspired performance as 86 and 99's son, Zachary. The low-rated series lasted only seven episodes.

Now it's 2008 and Get Smart is back in theaters again. Steve Carell, who generally I've found overrated in previous projects, stars as Maxwell Smart. Anne Hathaway, who generally I've found underrated in previous projects, co-stars as Agent 99.

There are really only three key questions to address in reviewing this movie.

1.) Does the re-casting work?

The re-casting works, absolutely. Steve Carell is Maxwell Smart. I believed it from the moment he first appeared on screen until the very end of the movie. Carell makes brilliant choices throughout the film in portraying the character. Most importantly, he is not imitating the legendary Don Adams. Had he made this mistake, the Get Smart movie would have merely been a spoof of itself, aping the TV series that supposedly inspired it. Think Starsky & Hutch, The Dukes of Hazzard, or most other recent film adaptations of classic TV series. Carell's performance is the main reason why Get Smart does not fall into this trap. If Carell had tried to imitate Adams, I would have hated this movie.

Meanwhile, Anne Hathaway proves that she can not only handle comedy, as expected, but that she is also a kick-ass action hero at heart. Hathaway's performance may in fact be the best of the entire movie, reminiscent of Rene Russo in Lethal Weapon 3.

Alan Arkin appears as the Chief and brings the same sort of effective counter-balance to Carell's antics that Platt brought to those of Adams. The father/son-like relationship between the two characters survives the transition to the big screen as well.

2.) Is the movie good?

Get Smart is not a good movie, it's a great one. From the instant it begins until the credits roll, it is non-stop action and comedy that rarely takes a breather. I was expecting a movie like this to drag at times, or, worse, to have revealed all of the best moments in the previews, but it turned out even better than I ever hoped.

When KAOS, the international organization of evil, takes out nearly all of the agents of CONTROL, the international organization for good, the Chief is forced to promote one of his favorite but bumbling analysts, Maxwell Smart, to agent status. The newly named Agent 86 teams up with veteran Agent 99 and together they must unravel KAOS' plan to strike the United States. Dwayne "The Rock" Johnson turns in an effective and typically charismatic performance as Agent 23, one of the few survivors.

Most of all, the movie is non-stop fun. That's what I'm looking for in a movie like Get Smart.

3.) Does it feel like Get Smart?

Most of the time, Get Smart indeed feels like an updated version of the TV series. Over forty years have passed and society has changed in many ways, though. Certain things are bound to feel different. One of the main changes is in the relationship between Agents 86 and 99.

On the TV series, the sexual chemistry between the two characters was instant but understated. In early seasons, Max even seems totally oblivious to 99's subtle affections. In the movie, there is an instant sexual tension between the two, but this time it is Max who quickly falls for the aloof 99. The turnabout works, but definitely feels different from the series.

Does the re-tooling of 99 as an action hero go too far? For me, it works and is one of the best updates of the movie. It feels like a natural progression of the barrier-breaking strides started by Feldon and her interpretation of the character in the 1960s.

There are also some great nods to the TV series in this film, none of which I will give away here. Some are subtle while others are obvious. All are in great taste and do not take away from the film at hand.

* * *

Nothing will ever replace the TV series, but the new Get Smart movie serves up two hours of entertainment that complement the show. My suggestion is to go in without pre-determined expectations of what a Get Smart movie "must" be. Just go in to watch a fun movie and you won't be disappointed.

Story: 8 (out of 10)
Performances: 10
Visual Style: 9
Effects: 8
Music: 9
Overall: 9

Indiana Jones and the Kingdom of the Crystal Skull

posted by Tygrrius @ 7:50 AM

It's been an extremely busy seven days for me, but I finally had a chance to see Indiana Jones and the Kingdom of the Crystal Skull yesterday afternoon. Though I was certainly looking forward to it, I was not exactly hyped about this movie. I think it was mostly the preview trailers. I found them to be ineffective and uninspired. I was worried the movie would play the same way.

Fortunately, the movie itself turns out to be a totally different story. First of all, director Steven Spielberg banked some major points with me early on for opening the film with an Elvis Presley song. Kingdom of the Crystal Skull takes place in 1957, so Elvis' 1956 hit "Hound Dog" fits right in.

Russian KGB agents manage to infiltrate the infamous Area 51. Within a warehouse of US government secrets and treasures, including the Ark of the Covenant, they release the captured Indiana Jones (Harrison Ford) and order him to show them the location of a mummified body he assisted the US military with ten years earlier.

This is the first glimpse of the older Indy, for it's been 19 years since his last movie, Indiana Jones and the Last Crusade. I was in my early teens back then. I remember that Last Crusade was just a movie for my friends and I to see on a whim as the school year was winding down while waiting for Star Trek V: The Final Frontier to be released the following week.

In fact, the preview for Star Trek V that preceded Last Crusade made me so excited for that film that I had a hard time concentrating on the Indy movie at first. Eventually, of course, the film drew me into the world of Indiana Jones. By the end, I was a big fan.

And to think, Star Trek V would be even better! Well, I had chicken pox by the time Star Trek V came out and didn't even see it until the following weekend and it . . . was what it was. Last Crusade became my favorite movie of 1989. This was also the summer of Tim Burton's Batman, but I only thought that movie was so-so.

Back to the present. Harrison Ford is older now, but so am I. I'm in my early 30s. I'm married and own a home. And wouldn't you know it, I'm still anticipating the release of another Star Trek movie. Some things never change. As for Ford, he steps easily back into the role of Indiana Jones. It's as if he continued playing the character throughout that 19 year absence. That, for me, is the real triumph of Kingdom of the Crystal Skull. Ford proves that he still has it. He can still play Indy, just as effectively as ever.

At Indy's side through most of Kingdom of the Crystal Skull is "Mutt" Williams (Shia LaBeouf), a Marlon Brando/James Dean type. Ford and LaBeouf play well off each other and their chemistry represents the best part of this film.

Not so great is actress Cate Blanchett, who plays lead villain Irina Spalko. The Oscar winner was not up to the task of a fun, action-adventure movie like this one. Each time she was on screen delivering more than a line or two, I found myself wishing they had cast someone, anyone else.

Direction by Spielberg is top-notch as expected. Most of the look of this movie is close to the first three. There are not the shocking visual differences that exist between the original and prequel Star Wars trilogies, for instance.

Surprisingly, the special effects by Industrial Light & Magic are a mixed bag. I assume this was due to a time-crunch, as the production for this movie seemed compressed compared to, say, your average Star Wars movie. Many sequences are great, but some of the sequences in the finale are mediocre. I expect better from ILM.

The story by George Lucas and Jeff Nathanson, scripted by David Koepp, is fun and not overly complicated. You'll see each plot twist coming a mile away, including the worst-kept movie secret since that one in Superman Returns. That's okay, though. Indiana Jones movies have never been about the destination. They are about having as much fun as possible getting there.

Kingdom of the Crystal Skull has fun and adventure in abundance. It fits right in with the first three films, and is on par with them. Spielberg, Lucas, and Ford have done the impossible yet again.

Would I be tempting fate, or just plain greedy, to ask for another Indy movie or two? So be it. More, please. If this turns out to be the last Indiana Jones movie, though, then it was a great ride that ended on a high note. As a big fan of the main trio involved, I'd like to tell them thank you.

Story: 8 (out of 10)
Performances: 9
Visual Style: 10
Effects: 8
Music: 9
Overall: 9

Elvis: That's The Way It Is CD set (2008 FTD edition)

posted by Tygrrius @ 4:20 PM

Elvis: That's The Way It Is CD set (Follow That Dream Records, 2008 edition)

Welcome, Elvis fans! You are probably wondering why a science fiction site is reviewing an Elvis CD. In fact, the Star Trek, Star Wars, and Superman fans who visit here may be wondering the exact same thing. The answer is, The Film Frontier is much more than just a science fiction site these days. I've slowly started branching it out to cover anything in pop culture that interests me. And one of my biggest interests is Elvis Presley, who was kind enough to provide the soundtrack for my life.

Background: Every dream comes true a hundred times
For Elvis fans, choosing a favorite Elvis era is almost like being asked to choose a favorite child. However, I have put a lot of thought into this very question over the years. While I also love his many achievements before and after, my favorite time period in Elvis' career has to be June 17, 1968, through January 16, 1971.

Why those specific dates at each end of the range? June 17, 1968, was the first day Elvis reported to work for his 1968 television special, ELVIS (now known as Elvis: '68 Comeback Special). January 16, 1971, was the day Elvis accepted what most say he considered the highest honor of his life, the National Jaycees Award for being one of 1970's Ten Outstanding Young Men of America. Despite the fact that Elvis rarely accepted awards in person and was not used to giving speeches, he delivered an incredible acceptance speech. To this day, I find his words inspiring:

"Thank you very much, ladies and gentlemen. I'd like to thank the Jaycees for electing me as one of the Outstanding Young Men.

When I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream that I ever dreamed has come true a hundred times.

These gentlemen over here, it is these type people who care, who are dedicated. You realize that it is possible that they might be building the Kingdom of Heaven. It's not too far-fetched from reality.

I'd like to say that I learned very early in life that:

'Without a song, the day would never end,
Without a song, a man ain't got a friend,
Without a song, the road would never bend,
Without a song.'

So I keep singing a song. Goodbye. Thank you."

I see this moment as the perfect finale to the best part of Elvis' career that began with the '68 special. He had literally re-conquered the music world, when most had counted him out. He had never been quite this incredible before, and would never be again. Among Elvis' work during this 31-month period are:

• ELVIS (TV special and album)
• Final three movies as an actor: Charro!, The Trouble With Girls, and Change of Habit, all of which are notable for breaking from the typical Elvis movie formula in some way
• American Studios sessions in Memphis (including #1 hit single "Suspicious Minds" and From Elvis In Memphis album)
• Return to live performances: 1969 and 1970 Las Vegas concert engagements
• RCA Studio B sessions in Nashville (including Elvis: That's The Way It Is and Elvis Country albums)
• First documentary movie, Elvis: That's The Way It Is, which captures rehearsals and performances from his third Vegas engagement, Summer 1970
• First concert tour since 1957

My favorite album released during Elvis' lifetime is Elvis: That's The Way It Is - which featured adult contemporary material from his June 1970 Nashville recordings, as well as four live cuts from his August 1970 Vegas engagement. It served as a soundtrack of sorts for the excellent documentary of the same name.

The original 1970 album
Though That's The Way It Is eventually became my favorite album, it had to grow on me over the years. Though often overlooked, That's The Way It Is contains some of the best songs and performances of his entire career. Though it's my favorite, it's not perfect.

Some criticize this album for not living up to one of its more rock-driven predecessors, From Elvis In Memphis. Unfortunately, rock 'n' roll fans sometimes dismiss That's The Way It Is as an easy-listening bore. One of the causes of that issue, I believe, is the sequencing of songs on the album, meaning many of the songs should have been presented in a different order. That's The Way It Is unfortunately starts with a live cover of the sleepy B.J. Thomas hit "I Just Can't Help Believin'," which immediately allows listeners to brand the album as easy-listening.

Proper sequencing of songs is very important (though perhaps less so these days in the more random iPod Age), and I believe it's one of the areas where RCA/BMG often fails in their Elvis albums, going all the way back to the beginning.

Adding to the trouble, a couple of the live performances included on the album, "Patch It Up" and "I've Lost You," are not as powerful as their studio counterparts, which should have been used instead. The studio versions had been released as singles prior to the album, so the live versions were likely considered as "bonus" items for fans that already bought the singles. The artistry of the album itself should have taken priority, though.

Apparently to complete the "feel" of a live recording, RCA overdubbed applause on the end of the studio version of "Bridge Over Troubled Water," which closed out the album. Elvis' vocals on the first verse of the song are also hard to hear, either on purpose or due to a technical glitch. You can better hear Elvis' beautiful performance of this song, with his voice louder on the first verse and without the annoying applause overdubs, on Heart & Soul and the Elvis: Walk A Mile In My Shoes-The Essential 70s Masters boxed set.

The original That's The Way It Is would have been greatly improved, and certainly better received by critics and fans, if a couple of different song versions had been used and the album had been sequenced as below. Call it "Elvis: That's The Way It Should Have Been" - my "fantasy version" of Elvis: That's The Way It Is.

Side 1
• "Stranger In The Crowd" (studio, as on original)
• "I've Lost You" (use studio version instead)
• "How The Web Was Woven" (studio, as on original)
• "You Don't Have To Say You Love Me" (studio, as on original)
• "Bridge Over Troubled Water" (use studio version without applause overdub instead)
• "I Just Can't Help Believin'" (live, as on original)

Side 2
• "Patch It Up" (use studio version instead)
• "Twenty Days And Twenty Nights" (studio, as on original)
• "Just Pretend" (studio, as on original)
• "The Next Step Is Love" (studio, as on original)
• "Mary In The Morning" (studio, as on original)
• "You've Lost That Lovin' Feelin'" (live, as on original)

No matter the order you listen, though, the That's The Way It Is material represents a true Elvis masterpiece.

FTD's 2008 edition
Follow That Dream (FTD) Records is RCA/BMG's Elvis Presley collectors label, aimed mostly at fanatics like me. FTD releases are kind of like "official" versions of bootlegs. The Elvis bootleg industry is huge, but FTD provides a legal alternative with releases focusing on alternate takes and live performances. While the mainstream is listening to yet another greatest hits compilation, the hardcore fans are listening to FTD releases. When I heard FTD was re-releasing Elvis: That's The Way It Is on 2 CDs as part of its "Classic Album Series," I at first wasn't too excited, believe it or not.

Why? Well, I bought the original That's The Way It Is on CD back in 1993 and was thrilled with it. In 1995, I bought the 5-CD set Walk A Mile In My Shoes, which included all of the songs from That's The Way It Is (except the live versions of "Patch It Up" and "I've Lost You," for which the studio versions were included).

In 1996, I bought A Hundred Years From Now: Essential Elvis, Volume 4, which included outtakes from the June 1970 sessions that produced That's The Way It Is.

In 2000, I bought That's The Way It Is again when RCA/BMG released a 3-disc "Special Edition" version to stores to celebrate the 30th anniversary of the album and documentary.

In 2002, I bought even more outtakes from the June 1970 sessions, on FTD's excellent The Nashville Marathon CD. Plus, I have bought three or four other That's The Way It Is related CDs, with rehearsals and live performances.

When it comes to That's The Way It Is, you could say I'm pretty well covered. Did I mention it's my favorite album? Much like Agent K in Men In Black ("This is gonna replace CDs soon; guess I'll have to buy the White Album again"), I have learned to accept my fate. I will be buying Elvis: That's The Way It Is at least once a decade for the rest of my life. Hey, that's not such a bad deal!

Anyway, I wasn't too interested in this FTD release, which compiles the original album with the relevant alternate takes from A Hundred Years From Now and The Nashville Marathon, as well as few other alternates and tracks. However, fan reviews by people I respect over at ElvisNews.com and Elvis Today changed my mind. The new version of That's The Way It Is started shipping to US addresses on Friday. On Monday, it arrived here, and I was up until after midnight playing the two discs. Was it worth it?

The review
It's been a long time since I reviewed an Elvis CD. Before I created The Film Frontier, I used to write and edit a small-time Elvis fan newsletter back in the 1990s. This was a real newsletter on actual paper. Remember those? None of this online stuff. On a good year, I had fifty concurrent subscribers - which was about the most I could support with no budget anyway.

The funny thing is, despite the newsletter's miniscule circulation and the fact that it was never published online, an Elvis bootlegger actually somehow obtained and then plagiarized one of my articles and used part of it in an online "press release" promoting a new bootleg DVD several years ago. Imagine my surprise when I came across my own words when browsing through a random Elvis site! I wasn't sure if I should be angry or flattered. It still turns up every now and then on different Elvis sites, whenever the bootleg DVD gets a new release or is mentioned. I can't help but laugh when I see it.

I suppose if a bootlegger is going to rip off a company like RCA/BMG, ripping off a forgotten article from a defunct Elvis newsletter is no big deal. It certainly made me look at the bootleg industry in a whole new light, though. Anyway, it's probably been over ten years since I wrote a review of an Elvis CD. These days, I have this small-time pop culture website, so it's nice to get the chance to do it again.

So, I already have the 3-disc That's The Way It Is: Special Edition from 2000, what do I need with this new 2-disc version? Though it included the original album, the focus of the 2000 version was really on the rehearsals and live performances as captured for the film. The focus of this new 2-disc version is on the June 1970 studio work for the album and its singles, so the releases are actually quite different. However, there is a lot of overlap with A Hundred Years From Now and The Nashville Marathon.

For the real verdict, let's go through it song-by-song.

"I Just Can't Help Believin'"
• Disc 1, Track 01, Live Master--8/11/1970 Dinner Show (DS) [4:40]: This original album version sounds good, but, surprisingly, the quality is slightly lower than the 2000 That's The Way It Is: Special Edition set. When listening with headphones, there is noticeable hiss on the quiet portions of the 2008 track that is not present in the 2000 track. As I noted above, the song does not serve well as an album opener. No other versions are included on this release. Elvis never formally recorded this song in the studio, but there are rehearsals and other live versions available. FTD was wise to focus on the Nashville session work here rather than taking up space with additional versions of "I Just Can't Help Believin'." The performance on the 8/11/1970 Midnight Show (MS), on RCA/BMG's Live In Las Vegas boxed set, is the best live version of this song released so far--much less sleepy than this album track.

"Twenty Days And Twenty Nights"
• Disc 1, Track 02, Master--Take 9 [3:18]: This is the original album version, one of my favorites. The sound quality here is also a notch lower than the 2000 set. The 2008 track again has a noticeable hiss in softer parts of the song, such as the beginning. For me, this song represents the adult Elvis, the recording artist Elvis that the mainstream so often overlooks in favor of songs like "Hound Dog" or, even worse, lousy imitators with fake sideburns, bad jumpsuits, and horrid voices.

• Disc 1, Track 15, Take 8 [3:17]: This complete take is a previously unreleased track. While nice to add to the collection, it is mostly unremarkable. It is interesting to note, though, that Elvis nailed the master version on the very next take after this one.

• Disc 2, Track 02, Rehearsal, Takes 1-3 [4:33]: Blink and you'll miss the unreleased rehearsal (Elvis sings off-microphone) and instrumental takes 1 & 2, which take about a minute total. Take 3, the bulk of this track, was previously released on The Nashville Marathon. Sound quality is slightly better here, though.

• Disc 2, Track 16, Take 5, Take 6 [2:18]: Elvis sings a brief snippet of one of his 50s classics before "Take 5" here - a nice surprise. These performances are left out of the "In And Outtakes" list in the liner notes. Both of these are blown, incomplete takes and are previously unreleased.

• Disc 2, Track 17, Master--Take 9--Rough Mix [3:35]: This previously unreleased "rough mix" is notable mostly for being about 20 seconds longer than the released version. Some of the mixing is slightly different as well, though the released mix is better.

"How The Web Was Woven"
• Disc 1, Track 03, Master--Take 3 [3:26]: Another tough choice, but this is probably my favorite song of the original album. This is a great love song, which I rank right up there in the same league as the more well-known "Can't Help Falling In Love." Sound quality here is again a disappointment compared to the 2000 edition. There is more noticeable hiss at the beginning of this 2008 track than there is on the 2000 track. Otherwise, sound quality is about the same.

• Disc 2, Track 07, Rehearsal, Take 1 [4:55]: This rehearsal and take were previously released on The Nashville Marathon. The rehearsal is about a minute longer here, though, which is quite welcome. Take 1 is as good as, possibly even better than, the master. Sound quality is the same as The Nashville Marathon. I wonder what happened to Take 2? I'd like to hear it, assuming it wasn't just a blown opening or something else extremely short.

"Patch It Up"
• Disc 1, Track 04, Live Master--8/12/1970 DS [4:02]: Compared to the excellent studio version, this live version from the original album just feels like a throwaway (though you won't think that if watching Elvis perform it in the film). Oddly, my main CD player cuts off the first split-second of this track when playing straight through from track 3 to track 4. If moving directly to track 4, it works fine. It played okay on another CD player, so no points off for this. Sound quality is slightly crisper on the 2000 release, though.

• Disc 1, Track 13, Studio Master--Take 8 [3:24]: This is a great performance and the sound quality here is significantly better than on Walk A Mile In My Shoes. The mix is slightly different as well (I don't have the 1970 45 RPM of this song, unfortunately, so no way for me to determine which, if either, mix is "correct"). The song also goes about 15 seconds longer than the 1995 release before fading. Crank this one up!

• Disc 1, Track 19, Take 1 [2:43]: This is a previously unreleased take. The "Patch It Up" song itself is actually rather insignificant, yet you hear through this and subsequent takes that Elvis could take a mediocre song like this one and turn it into something special.

• Disc 1, Track 20, Takes 2-7 [5:17]: More previously unreleased takes, all of which are blown or cut short. This is that "fly-on-the-wall" aspect that makes this kind of release so appealing. You can hear Elvis putting this song together, improving it little-by-little until he gets an acceptable master take. Elvis literally curses out the song on the seventh take. The very next take would be the master.

• Disc 1, Track 21, Take 9 [3:16]: This is one take after the master, previously released on A Hundred Years From Now. Sound quality here is slightly better, though. Not a bad performance, but the master was appropriately chosen.

"Mary In The Morning"
• Disc 1, Track 05, Master--Take 5 [4:11]: This is a pretty, if forgettable, love song from the original album. As noted for previous master tracks, sound quality was better on the 2000 release, particularly at the beginning of the track. Are the master recordings aging poorly? That's a scary thought. I'm hoping the problem is a technical glitch or even a (strange) mixing choice.

• Disc 2, Track 10, Takes 1-4 [7:45]: Two previously unreleased blown takes, followed by takes 3 and 4, which were first released on The Nashville Marathon. Like "Patch It Up," the appeal is the illusion of being in the studio while Elvis and gang work through the song. "Mary In The Morning" is harder to listen to repeatedly, though. It just keeps going and going. Tygrrius in the morning would fall back asleep if he had to listen to this song. Sound quality on takes 3 and 4 is slightly better than The Nashville Marathon.

"You Don't Have To Say You Love Me"
• Disc 1, Track 06, Master--Take 3 [2:32]: I hate to sound like a broken record, but once again the 2000 edition of this song from the original album beats the 2008 edition. Play them back to back, as I did, and you will hear more power in the 2000 edition. The 2000 edition knocks you back in your seat with, "When I said . . . I needed you. . . ." while the 2008 edition just ruffles your hair a little.

• Disc 2, Track 05, Rehearsal Composite [2:44]: This previously unreleased track is presumably edited together from a number of rehearsals. The editing here is nearly seamless, a fine job. Great to hear Elvis' producer Felton Jarvis say enthusiastically at the end, "Bravo! That's a gas, man!"

• Disc 2, Track 11, Take 1, Take 2 [3:12]: Take 1 is a short, previously unreleased flub. Take 2 first appeared on A Hundred Years From Now. Sound quality on this 2008 version is much improved.

"You've Lost That Lovin' Feelin'"
• Disc 1, Track 07, Live Master--8/12/1970 MS [4:25]: This live performance from the original version of the album is the definitive version of this song, by Elvis or anyone else. This is Elvis at his best, on stage doing what he loved the most. Sadly, this 2008 edition of the track also features the mysterious hiss issue. The 2000 version is superior. Incidentally, also released on that 2000 CD set as a separate track was an even longer version of the same performance of this song. Elvis does a fantastic reprise and the track time runs about two minutes longer. The 8/12/1970 MS is one of the best Elvis concerts I've ever heard, and it alone is worth picking up the 2000 edition (it comprises disc 2).

"I've Lost You"
• Disc 1, Track 08, Live Master--8/11/1970 DS [3:42]: While I love this live version of "I've Lost You," one of the original album tracks and certainly a highlight, I prefer the studio version because the lyrics and the arrangement are more complicated. That being said, this is still a great version. I used to play the heck out of it for years until I first heard the studio version on Heart & Soul. This 2008 track suffers from the hiss issue, compared to the 2000 edition.

• Disc 1, Track 14, Studio Master--Take 7 [3:31]: This is another absolute favorite for me. Sure, this wasn't on the original album, but this single did serve to promote that album. An extraordinary performance. The sound quality for this track is on par with its 1995 release on Walk A Mile In My Shoes. Just close your eyes and listen. This is Elvis.

• Disc 2, Track 03, Rehearsal, Take 1 [5:25]: During the previously unreleased rehearsal, Elvis complains about the number of words in the song. This is likely why it was simplified for the live version. Take 1 originally appeared on The Nashville Marathon, with similar sound quality. It's a quiet take, with more deliberate phrasing - probably because he's reading the lyric sheet.

• Disc 2, Track 14, Takes 4-6 [5:22]: The previously unreleased takes 4 and 5 are cancelled before Elvis even sings a note. Take 6, which is an improvement over Take 1 but not as good as the master on Take 7, was previously released on A Hundred Years From Now. Sound quality here is slightly better.

"Just Pretend"
• Disc 1, Track 09, Master--Take 3 [4:04]: How much Elvis greatness can one man take? This is another favorite, an impressive performance from the original album that only Elvis could deliver. Once again, though, you'll want the 2000 edition over this track, for this 2008 version contains annoying hiss.

• Disc 2, Track 12, Take 1, Take 2 [4:46]: Take 1 is previously unreleased. You guessed it, though, it's just a false start. It barely starts at all, actually. Take 2 was previously released on A Hundred Years From Now. Sound quality is better on this 2008 release, though.

"Stranger In The Crowd"
• Disc 1, Track 10, Master--Take 9 [3:48]: This is yet another great song, one of the best on the original album. Now do you see why I love this album so much? Once again, the 2000 release sounds better than this one, though.

• Disc 2, Track 08, Rehearsal, Take 1, Takes 3-5 [4:52]: Finally, some outtakes of this song! All of these are previously unreleased. Take 5 is nearly complete, but Elvis blows it near the end. "I'm sorry about that, man," he says.

• Disc 2, Track 09, Master--Take 9--Rough Mix [4:33]: This previously unreleased rough mix runs about 45 seconds longer than the final version. This has a slightly different mix, with horns a bit lower. Nice to have as an alternate listening experience.

"The Next Step Is Love"
• Disc 1, Track 11, Master--Take 11 [3:33]: Here's one studio song, from the original album, where I actually prefer the live version. The song is a little hokey either way, but the studio arrangement, complete with xylophone(?), doesn't help matters. Stick to the 2000 version on this song, too, by the way.

• Disc 2, Track 06, Rehearsal, Take 2, Take 3, Take 6 [5:11]: The interesting thing about this previously unreleased rehearsal is that you can hear the song's demo record playing in the background. The previously unreleased Take 2 and Take 3 are quick flubs. Take 6 was previously released on the Elvis: Today, Tomorrow & Forever boxed set. Sound quality is slightly better here, though. (Funny, this set wins on most of the outtakes and loses on most of the master takes.)

• Disc 2, Track 13, Takes 7-10 [6:06]: Well, you know the pattern by now. Three previously unreleased blown takes, followed by one previously released, complete take. The Nashville Marathon included Take 10, with similar sound quality. This is actually a nice take of the song. No xylophone!

"Bridge Over Trouble Water"
• Disc 1, Track 12, Master--Studio Take 8 (with overdubbed applause) [4:38]: Unfortunately, the Heart & Soul version of this track, with Elvis' vocal raised in the first verse and without the overdubbed applause, was not included on this release. I would have given up "Tiger Man" or one of the other unrelated songs to have this. As for this original version from the album, it's really not one I ever listen to, once the studio version proper was released. It doesn't do justice to his performance. The Heart & Soul version, though, I would contend as the best version of this song by anyone. Just for fun, though, I checked this 2008 version against the 2000 version. Yes, there's extra hiss here.

• Disc 1, Track 16, Live--8/11/1970 DS [4:14]: As noted by Thomas in his review at Elvis Today, if RCA wanted to close out That's The Way It Is with a live version of this song, why not use an actual live version? The 8/12/1970 MS performance, for instance, is nearly as good as the studio version. This track from the 8/11/1970 DS was originally released on the Platinum boxed set, with similar sound. My question is, why didn't FTD place an unreleased live version here instead? They could have used a performance from the 8/12/1970 DS or the 8/13/1970 DS.

• Disc 2, Track 04, Take 1 [5:01]: Just when I thought I was tired of hearing this song, this take came on. Beautiful. This was also on The Nashville Marathon with similar sound.

• Disc 2, Track 15, Rehearsal, Take 2, Take 5 [5:40]: The previously unreleased rehearsal is interesting, for it features a much faster take on the song. "I don't know, we'd better not," Elvis says with a laugh. Too bad they apparently didn't try a whole take like this! Take 2 is previously unreleased and really stops before it even starts. Take 5 was previously released on A Hundred Years From Now. The sound on this 2008 version is far superior.

Other Songs (not on original album)
• Disc 1, Track 17, "Little Sister/Get Back" (Live--8/12/1970 MS) [3:10]: This great live track first appeared on the Elvis Aron Presley boxed set and was also on the That's The Way It Is: Special Edition (2000) set. This features Elvis on electric guitar, not to be missed.

• Disc 1, Track 18, "Something" (Live Master--8/11/1970 MS) [3:37]: Another great live track. This one first surfaced on Walk A Mile In My Shoes. It appeared again on Live In Las Vegas, this time without the censoring of a mild curse by Elvis. Strangely, this FTD track is the censored version. In any event, this is Elvis' best version of this Beatles classic released thus far.

• Disc 2, Track 01, "Tiger Man" (Studio Jam--6/4/1970) [2:49]: This instrumental jam first appeared on The Nashville Marathon, though, curiously, that CD labels the track as "Mystery Train/Tiger Man" while this release of the same track only acknowledges "Tiger Man." Elvis can be heard off-microphone singing "Tiger Man" but not "Mystery Train," as far as I can tell, so perhaps that's the reason. However, the guitar opening of the jam itself sounds suspiciously like "Mystery Train." In concert, Elvis normally performed these two songs together, as a medley. His 1969 and 1970 live versions of this coupling are fantastic.

So, there you have it, kind of a mixed bag as far as sound quality. Most of the alternate takes have as good or better sound quality than previous releases. I'm not sure why most of the master takes have the extra hiss, which does not seem to add to or otherwise improve the sound but, rather, has the opposite result. Without headphones, though, you will not likely notice the difference. Most people who will buy this kind of album likely already have the 2000 edition anyway, though. Due to the content on Discs 2 and 3 of the 2000 edition, it's not like you would toss that one out in favor of this one anyway.

Like other releases in FTD's "Classic Albums" series, That's The Way It Is comes in an oversized CD case, the size of a 45 RPM sleeve. All of the FTD releases are packaged on cardstock rather than within an actual jewel case, so I guess I've grown used to that over the years. I would prefer a more standard plastic jewel case presentation. I'll probably end up making my own. Check out some of the fantastic alternate covers for various releases over on TCB-World.com. My alternate covers, which I don't post online, are not nearly as good as most of the ones posted there. It's a fun little hobby, though. (Like most of my hobbies, such as this website, it is very time-consuming.)

Anyway, the FTD cover replicates the cover from the original 1970 album. The oversized aspect does at least offer the advantage of allowing the art to look that much closer to the original record album - something hard to accomplish on a standard-sized jewel case. Inside, the CD labels are meant to resemble the Side 1 and Side 2 labels from the original LP. This is a nice touch, but just remember not to use the song list on them, as they are representative of the 1970 release and not this 2008 edition.

Unfortunately, on my copy, the CD holders are incorrectly glued off center for both discs. This means that they do not fully cover the artwork underneath them (which appear to be photos of the real labels from the 1970 album). A little more quality control was needed here. This is made up for by a great picture of Elvis playing the acoustic guitar from one of his July 1970 rehearsals for the Vegas show, just a month after the studio session in Nashville that produced most of this release.

The enclosed 20-page booklet starts off with another spectacular picture of Elvis from Summer 1970, wearing a black leather jacket and his trademark aviator glasses. The booklet contains over 30 other photos, most of which are well chosen and really add to the release.

Though a bit scattered (you will find yourself thumbing back and forth a lot), the booklet contains a ton of information - something that standard FTD releases, outside of the Classic Album Series, sorely lack. There is a complete track-listing with songwriter and musician credits. There is a useful listing of "In And Outtakes" which gives more information about each performance on the release, including its previously released status and previous album (if applicable).

"Masters" gives the master take number for each song in the June 1970 Nashville session. Don't look for all of these tracks on this album, though, as the session also produced the Elvis Country and Love Letters From Elvis albums. A nice "Behind The Scenes" timeline follows the progress of both the original album and the documentary movie, from April 1970 when the movie deal is signed, until November 1970 when both the album and movie are released. On top of all of that, there are vintage newspaper clippings, memos, and other items of interest to round out the booklet.

The 2008 album producers (Ernst Jorgensen and Roger Semon) dedicate the release to Todd Morgan, a longtime Elvis Presley Enterprises staffer who passed away suddenly in March. "(He) worked tirelessly to maintain the legacy of Elvis Presley through his great work (and) will be sadly missed by all who knew him," the tribute reads in part. For me, Morgan's greatest contribution to Elvis' legacy was his spearheading of 2004's Elvis: '68 Comeback Special-Deluxe Edition 3-DVD set and Elvis: Aloha From Hawaii-Deluxe Edition 2-DVD set, which released all of the available footage from these television specials.

There is over 40 minutes of new material on this 2008 version of That's The Way It Is. Most of the performances not previously released on earlier editions of That's The Way It Is, A Hundred Years From Now, and The Nashville Marathon are incomplete rehearsals and blown takes, though. However, there are some real gems on this release, including the multiple "Patch It Up" takes.

Plus, this edition pulls everything together in one nice package. It has improved sound quality on a number of the previously released alternate tracks. However, the slight degrading of sound quality on most of the master recordings compared to previous releases is disturbing. This is most noticeable with headphones and probably won't otherwise affect you.

Despite the potential strikes against it, this 2008 re-issue turns out to be a must-have for serious fans of Elvis: That's The Way It Is. This is the definitive look at the outtakes of the That's The Way It Is portions of the June 1970 Nashville sessions. Just hang on to your previous copies of the album, too.

If wishes where horses. . . .
I am an Elvis fan, though, which means that I always want more. My thirst for That's The Way It Is material is not yet satisfied. Here's my FTD wish-list for future That's The Way It Is-themed releases:

• Complete 8/12/1970 DS concert
• Complete 8/13/1970 DS concert
• Complete 8/11/1970 DS concert
• Remaining rehearsals from Summer 1970 (California & Nevada)

As long as I'm making wishes, from Warner Home Video/Turner Entertainment Company, which owns the rights to the documentary film, I wish for a definitive multi-disc DVD set containing as many That's The Way It Is outtakes as commercially possible. (And while you're looking at documentaries, Warner Brothers, hurry up already with that Elvis On Tour DVD release. The format's going to be dead before you get around to releasing this Golden Globe winning movie.)

Songs: 10 (out of 10)
Audio Quality: 8
Liner Notes: 9
Cover Art: 8
Packaging: 7
Overall Experience: 10

To obtain FTD CDs, visit ShopElvis.com.

Star Trek II: 16-inch USS Enterprise (Art Asylum)

posted by Tygrrius @ 8:24 PM

Star Trek II: The Wrath of Khan
USS Enterprise NCC-1701, refit version
16 inch electronic starship (Art Asylum)


No sooner had I recommended Art Asylum's new Star Trek II: The Wrath of Khan version of the USS Enterprise (NCC-1701) as a great Christmas gift for Trekkies than one arrived on my doorstep courtesy of JS. In case you've been wondering where he's been lately, real life has zapped up most of his free time. I certainly know the feeling. In his absence, you'll be stuck with reading reviews mostly from me.

So, direct from my Christmas gift guide, I now hold the Enterprise in my hands. The funniest part is, I doubt JS even read my post before making his selection. I'm pretty sure he chose this on his own, out of pure coincidence. In fact, if anything, the post probably would've scared him off into thinking I already had one on the way (which I didn't).

Two classic designs

In 1964, a man named Matt Jeffries designed a starship for the pilot episode of a new TV series called Star Trek. The show, created by Gene Roddenberry, was to feature Jeffrey Hunter as Captain Christopher Pike. The starship? Her name was the Enterprise.

Matt Jeffries' visionary design was simple yet realistic. Slightly upgraded by the time the series aired two years later (starring William Shatner as Captain James T. Kirk), the Enterprise almost seemed alive--as integral a character as any other.

Star Trek lasted three seasons before cancellation in 1969, but Matt Jeffries' Enterprise endured. Contemplate all of the dreams inspired by his design. Every Star Trek fan has imagined living aboard her. And every Star Trek starship design since then has owed a debt of allegiance to the Jeffries original.

None more so, however, than the "refit" version of the USS Enterprise that made her debut in 1979's Star Trek: The Motion Picture. As a film, the Roddenberry production was disappointing at best. However, its one saving grace, the one contribution for which it will always be remembered, was the debut of the refit Enterprise.

Andrew Probert had the daunting task of updating the Jeffries starship for the big screen. How do you touch, much less improve upon, such a classic design?

Some fans will always see the original Enterprise from the television series as their favorite, and I respect that. For me, though, my heart is always with Probert's refit version seen in the first six movies.

Not only is Probert's design so compelling as to make me forgive Star Trek: The Motion Picture for its many shortcomings, but it also makes me forgive Probert himself for later creating Star Trek's worst starship design, the horrible Enterprise-D as seen on Star Trek: The Next Generation.

Of glue fumes and misaligned warp nacelles

When I was a kid in the 1980's, they didn't make Star Trek toys like the one I have before me now. Star Wars toys were everywhere, but Star Trek toys were few and far between. I remember Kirk, Spock, and McCoy action figures for Star Trek III: The Search for Spock languishing in the mall toy store for what must've been years. I regret that even I never bought them.

There was a rinky-dink metal toy of the Enterprise-A released for 1989's Star Trek V: The Final Frontier. It looked about as convincing as that film's special effects. I don't regret passing that one up.

Back then, the only real way to hold the Enterprise in your hands was to build one yourself. Though Star Trek had nearly no presence at the toy store, it certainly held its own at the hobby store. There were plenty of ERTL/AMT Star Trek model kits to choose from back then.

The first model I ever assembled was a Star Wars Y-wing fighter. It was a snap-together kit. I'm not sure where I picked this up from, but even back then I thought of snap-together kits as "cheating." Cheating or not, it was relatively easy to assemble. I didn't exactly pay a lot of attention to detail. I was probably 8 or 9, if I had to guess. I had one paint color to go with it, yellow, so I used it for highlights.

Thus began one of my more frustrating hobbies, model-building. Or model-assembling, as the case may be. I soon started on "real" models (i.e., ones that required glue). One Christmas, I asked for and received model kits for two US space shuttles in different scales and Return of the Jedi's Imperial Shuttle.

I had access to more paint colors by then, so I was ready! And soon the frustration began. I started with my smaller space shuttle kit, as the Imperial Shuttle and the larger space shuttle were quite daunting in size.

I carefully painted what pieces I could prior to assembly and put most of it together with relative ease. I then masked off the windows and engines and gave it a good coat of white spray paint. Things were going well until it came time to paint the black, heat-shield area of the shuttle's nose cone. There were no guidelines or marks on the model. I had wrongly hoped that they would be decals.

I never did figure it out. The model sat around on my makeshift table for awhile with the windows and engines taped up. I had a thought of buying a "paint marker" to draw the tiles in but that never came about either. It eventually wound up incomplete in the attic.

So did the Imperial Shuttle, which I made even less progress on. One of the first tasks on that one was to paint the little pilots. Despite the size of the model, the pilots were still very small. Someone suggested I use a toothpick as a brush. That didn't work. For some reason, it didn't occur to me to just leave them out of the model. Instead, I never made it past that step.

As for the larger space shuttle model, it also didn't have markings for the heat shields on the nose so that one never made it very far out of the box. I gave up on models after that.

A few years later, I met JS in high school. Trekkies that we are, we became fast friends. The first time I visited his house, I remember being amazed. For one thing, he pretty much lived at Starfleet Spacedock. He had at least a dozen models of the refit starship Enterprise. All of them were slightly different in techniques applied and you could see how he had improved his skills with each successive model - a lesson that I should have picked up. Starships weren't the only models he assembled, either. He also had jet fighters and even another USS Enterprise - the real-life Navy carrier.

This inspired me to try models again. I had some success putting together the television version of the Enterprise, so I was soon ready to tackle the movie version. I remember when telling JS my plans, he almost seemed like he wanted to warn me off. He also mumbled something about the warp nacelles.

After painstakingly researching the colors of the ship by pausing Star Trek II on VHS, I finally began to assemble the Star Trek VI Enterprise ("with working lights and sound!"). This would've been about 1992. It was great fun. Though it didn't compare to the work of JS, it was the best job I ever did on a model by far. I didn't have much left to do. Among the tasks left was attaching the warp nacelles.

Did I say fun? Fun died a quick death as I started working with the warp engines. Every time I applied them to the rest of the ship, they would either be out of alignment, loose, or both.

Every time.

I asked JS for advice. He laughed and said something that sounded strangely like, "I told you so."

Eventually, after many frustrating hours, I managed to get them on relatively straight. Well, to be honest, they were still crooked. However, they were both crooked at the same angle so I figured that had to count for something. Besides, my Enterprise didn't really have to go to warp speed and risk instant destruction. She would be safe in normal space, on my shelf.

As for the working lights and sound, the lights were too large to look authentic, and the sounds were sampled from the television series for some reason. Still, I was pretty happy with my Enterprise-A. You'd think I would've then moved on to the other Star Trek models I had accumulated the previous Christmas: a Star Trek VI Klingon battle cruiser, a TV series bridge, and a three-ship set of Klingon, Romulan, and Enterprise vessels in a small scale. Alas, it wasn't meant to be. I assembled one race car on a whim and never got around to the other model kits.

More incomplete models

Three or four years ago, it was the Enterprise-A once again that inspired me to start buying models again. I bought the Polar Lights Enterprise-A, a snap-together TV series Enterprise for practice, and all sorts of supplies.

Old habits die hard. When I faced trouble trying to paint the snap-together Enterprise (no matter what I did, it just gunked on), I gave up. Since then, my hobby table has been taken over by my record player and records. Maybe in 2008, I'll try again. That Polar Lights kit still beckons to me, though painting the "Aztec" pattern is another daunting challenge since the hull of that ship is completely smooth in the kit.

Around this time, I also bought the Enterprise-A toy from Art Asylum (yeah, I'm getting to the review of the Star Trek II Enterprise, give me some more time). I pre-ordered it from an online dealer and waited with much anticipation for it to arrive.

Finally, the big day came. The Enterprise-A was here!

I tore open the box and found . . . two classic series hand phasers.

No Enterprise-A.

This online dealer of science fiction and fantasy items, who I am tempted to name but will not, had horrible customer service when I gave them the opportunity to correct their error. So horrible was my experience, in fact, that I decided it was easier to keep the phasers and just order the Enterprise-A from Toys R Us, which worked out much better.

I must admit, my initial reaction to the Enterprise-A toy, after all of that, was disappointment. Something about it just didn't look right. It didn't really have the high level of painted detail that had been apparent in preview photos.

Still, it looked tons better than my old model (which had since self-destructed), though perhaps not those of JS. I put it up on the shelf and there it sat. Mostly forgotten.

This brings me, finally, to my review of the latest starship offering from Art Asylum. In the movies, the Enterprise and the Enterprise-A essentially looked the same on the outside. With only minor modifications, the same filming models were used for both. The toys, however, look quite different from one another.

The review

Art Asylum's Star Trek II USS Enterprise is a distinct improvement over their Enterprise-A. Though the underlying molding appears to be the same, the painted details are much closer to pictures I've seen of the filming model. Don't expect perfection, as this is a toy and not a replica. I'm certainly not going to build one that looks any better, even though I still want to take a crack at that Polar Lights kit some day.

The starship comes well secured in its packaging. This has the benefit of keeping it safe and sound during shipping, though it is frustrating when you are trying to unwrap all of the wires as quickly as possible to get your starship out. Scissors work well.

That's right, all you collectors out there, I took my Enterprise out of the packaging. I don't live in a museum. It's not like I'm going to try to sell this later, anyway. Besides, by opening the package of my Enterprise, I've just made yours more valuable.

The Enterprise comes in three pieces. The two warp engines snap easily onto the struts. No worries about alignment or loose fitting parts.

The surface details are mostly impressive. As with the Enterpise-A, you can see some of the joints. Keeping in mind what it is, though, this doesn't really bother me. The improved paint job makes up for it. Though I've generally been against the painting of "gridlines" on the primary hull of the models, the ones here do seem to give the toy more texture compared to the Enterprise-A version.

I've included several quick pictures here that I took of the Enterprise. For comparison, I also threw the Enterprise-A in one of them.

The Enterprise comes with two options to cover the bottom of the engineering hull. It comes out of the box with the fully-sealed version already attached. You can unscrew this and replace it with the alternate piece, which allows the base to attach. The battery compartment is also located here, as is the switch to take the ship out of demo mode. If you don't do this, the only sound effect you'll hear is "KHAN! KHAN!"

To activate the sound and lighting effects, press the bridge dome. There are eighteen sound variations in all:

· Kirk: "I don't like to lose."
· Red alert klaxon
· Khan: "Let them eat static."
· Impulse engines
· Khan: "Fire!"
· Hand phaser blast
· Khan: "Time's up, Admiral."
· Kirk: "Mister Sulu, lock phasers on target and await my command."
· Starship phaser blasts
· Khan: "Time is a luxury you don't have."
· Explosion
· Kirk: "Kirk to Spock."
· Transporter beam
· Kirk: "I don't believe in the no-win scenario."
· Kirk: "KHAN! KHAN!"
· Kirk: "Fire!" (Phaser blasts)
· Khan: "From Hell's heart I stab at thee."
· Warp pass-by

Pressing and holding the bridge for five seconds will cycle through all of the above sounds. The navigational deflector, impulse engines, and warp engines light up each time in synch with the sound effect. This makes for a rather odd experience as they flash on and off. In one of the few areas where detail was missed, the lights make parts of the ship nearly transparent.

The sound effects quickly get old and, unfortunately, it does not have a mode that simply runs the lights continuously. The sound effects and light show are probably what makes this most feel like a toy. It's easy enough to leave the batteries out, though.

One issue I had with the Enterprise-A was attempting to attach it to the base, which used a ball-and-socket joint. Sad to say, this Enterprise includes the exact same base. Almost as frustrating as aligning those warp nacelles so many years ago, I've just never figured out the "right" way to attach it. This time, I tried attaching the base's ball into the socket of the engineering section prior to attaching it to the rest of the ship. This worked somewhat better, but the thing still doesn't seem but so secure on it. It's a shame that Art Asylum hasn't determined a better solution for such a nice starship.

Still, this Enterprise is impressive work and a vast improvement over 2003's Enterprise-A. JS, you shocked me with this one. Thank you!

Overall: 9 (out of 10)