Elvis Presley

This durable plastic shoppper tote from Vandor is partially made from recycled materials. It is light weight with woven handles. It features some of your favorite licensed characters and is a great alternative to shopping bags.

(10x12) Elvis Presley Small Recycled Shopper Tote

The figures in this photo are individual magnets cut to shape -- the background is packaging.

Elvis 30 # 1 Hits Elvis Presley 01 - Heartbreak Hotel 02 - Don´t Be Cruel 03 - Hound Dog 04 - Love Me Tender 05 - Too Much 06 - All Shook Up 07 - (let Me Be Your) Teddy Bear 08 - Jailhouse Rock 09 - Don´t 10 - Hard Headed Woman 11

In 1987, RCA released a one-disc Elvis compilation called The Number One Hits that featured 18 tracks. So how did the label come up with 12 additional number ones (13 if you count the sensational "A Little Less Conversation" remix that brings the King into the 21st century as a bona fide dance/electronica star)? Well, the '87 compilation featured only Billboard number ones. "In the Ghetto" and "Burning Love" never reached the top there, nor did "Way Down," despite every copy of that 45 selling out on both sides of the Atlantic following Presley's 1977 death. Instead, the new compilers have used the major pop charts in both the U.S. (including Cashbox) and U.K. to determine inclusions. The tracks have all been remixed from original masters, which proves awesome at best (some of the songs have never sounded crisper if, at times, slightly antiseptic) and problematic at worst. Purists will definitely quibble. "A Fool Such As I," for instance, sounds like Elvis rerecorded his vocals. Hank Garland's great guitar solo also sounds different. It might be an alternate take. That's definitely the case with "The Wonder of You." A few lyrics are even different, meaning this isn't the same version as the original 45. Of course, none of that should matter to the youngsters who've been singing along to "Hound Dog" on the Lilo & Stitch soundtrack, or to any other newcomers. Despite the complaints, this is arguably the best single disc Elvis primer to date. Real fans will want to explore much deeper for treasures to be found, but albums like this guarantee that this is one king who will deservedly live very long, if not forever. --Bill Holdship

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Blessed--or is it cursed?--with a visage that's a distinctly haunting echo of her father's, Lisa Marie Presley has either spent most of her adult life assiduously avoiding a music career or engaged in Machiavellian schemes to secure one, depending on your spin source. But here it is, informed by no small amount of tabloid-ready living (three failed marriages, including two bizarre years the King's daughter spent playing Princess of Pop to Michael Jackson) and a slate of modern record-biz heavy hitters. The album's first single, "Lights Out," is a countryfied pop collaboration with Glen Ballard in which the singer's tough, bittersweet lyrics obliquely confront the daunting legacy of her father and the Memphis where her "family's buried and gone." Her husky alto isn't the only thing that recalls Sheryl Crow; the bristling textures of Andy Slater (Wallflowers) and Eric Rosse (Tori Amos) are a veritable textbook of modern-rock techniques, wed to some smart cover choices that bolster her music's moody, introspective bent. But that gloss sometimes makes Presley seem like a guest artist on her own album, making one curious to hear her in the setting where her father was so often riveting: Alone in the spotlight. They don't call it the gene pool lottery for nothing. -Jerry McCulley

Japanese edition of her debut album features three bonus tracks, 'Excuse Me', 'Savior' (hidden track), & the video for the first hit single, 'Lights Out'. Also includes Lisa Marie Presley's behind-the-scenes look at the making of her video. 14 tracks (including hidden track & video) in all. Toshiba-EMI.

Originally released in 1981, Andrew Solt and Malcolm Leo's This Is Elvis was one of the first in-depth examinations of the life and work of Elvis Presley. Issued here in a two-disc set that pairs the theatrical version with a 1983 re-edit that adds some 40 minutes to the original, it combines newsreel footage, home movies, television and movie clips, and extensive re-enactments in an absorbing bio-documentary that's well worth watching--if only because interest in the singer apparently never diminishes (the 2007 DVD release date coincides with the 30th anniversary of Presley's death). The success (or failure, depending on one's point of view) of This Is Elvis rides in part on a single decision made by Solt and Leo, who co-produced, directed, and wrote the film: namely, to have the tale told by Presley himself. Not the real Presley, of course; Ral Donner, himself a rock singer of minor repute in the '50s and '60s, provides a reasonably authentic impersonation of Presley's voice (four on-screen actors portray him at various ages in the course of the film). Thus we have an "Elvis" who returns from beyond the grave to hold forth on such matters as the death of his beloved mother, his stint in the Army, his marriage to Priscilla and the birth of Lisa Marie, the skein of awful movies that preoccupied him during the '60s (thus sidelining him from the pop music scene while the Beatles and Bob Dylan were changing the world), and his descent into the maudlin, hyper-medicated fashion disaster that was Elvis in the '70s (his assessment: basically, "Geez, I wish I'd seen that coming"). It's nice to think that the actual Elvis could be so candid about both his successes and his missteps, but by and large this material is unconvincing, at best. Still, the real footage mostly makes up for it. Clips from his earliest TV appearances, even embarrassments like the Steve Allen show (on which the smug host had Presley wear formal attire and sing "Hound Dog" to an actual pooch), leave little doubt as to why he was the King; Presley's electrifying presence, not to mention his voice, great backup band, and seminal rock songs, were like nothing before or since. Had Solt and Leo dispensed with all the fakery and concentrated on the genuine article, their film would have been better for it. Sure, the final scenes of the fat, drugged-out Elvis onstage in his final months are brutal (a performance of "Loving You" featured in the longer edit is truly cringe-inducing), but they're part and parcel of the most fascinating and enduring story in American music history. --Sam Graham

A documentary, combining real footage and scenes played out by actors, following the life of Elvis Presley.

It's pretty tough to beat Jailhouse Rock in terms of sheer entertainment, but Elvis lovers are particularly fond of this 1964 hit. The Big E plays race-car driver Lucky Jackson, who arrives in Las Vegas for an upcoming Grand Prix race. Lucky's car needs a new engine, so he gets a waiter job at a casino and starts working his crooning charms on Rusty Martin (Ann-Margret). It's their on-screen chemistry that makes this flick a lot of fun; Presley never had a better costar than Ann-Margret, and their race-car romance is quintessential 1960s fluff. Then there are the songs, of course, including the snappy title tune, a rockin' rendition of Ray Charles's "What'd I Say?," and "The Yellow Rose of Texas." Viva Las Vegas is one of the Elvis movies that stands the test of time, when the legend was still at his peak. And if you're wondering if the King gets his car fixed in time to win the race, well, check out the movie to find out. --Jeff Shannon

Five years before he achieved broadcast history with his legendary 1973 global satellite telecast, Elvis: Aloha from Hawaii, Elvis Presley brought a less grandiose but far more urgent mission to this Christmas season network special: isolated from his original audience after a long sojourn on Hollywood soundstages, and threatened by the vibrancy and social gravity of rock, the King sought nothing less than to reclaim his throne. More than three decades later, what has since become known as Elvis: '68 Comeback Special looms as the Memphis icon's most substantial achievement as a stage performer. If the candy-colored sets and hyperactive choreography of its larger production numbers smack of its network packagers' desperation to be hip, Elvis himself rises to a riveting, assured performance at the peak of his powers. Looking fit and relaxed, and sheathed in black leather, he covers a shrewd song list encompassing early rockabilly hits, gospel (albeit rendered unintentionally hilarious by its florid dance routines), and comparatively restrained ballads. Standout performances include two intimate stage sets that put him literally within his fans' reach, most strikingly in a brief reunion with four of his earliest bandmates (including guitarist Scotty Moore and drummer D.J. Fontana). The latter segment is only a brief sample of a session posthumously released on video as One Night with You, which is, if anything, even better than this terrific portrait of a towering American artist. --Sam Sutherland

Released in conjunction with a two-disc deluxe edition of Elvis: Aloha from Hawaii, the three-disc deluxe edition of Elvis's '68 Comeback Special is another incredible treasure trove of footage documenting a high point of the King's career and a milestone of televised musical performances. Taped and broadcast in 1968 after Elvis had seemingly abandoned live performing in favor of a movie career, the '68 Comeback Special was a remarkably intimate show, Elvis singing his old songs on a small stage, often alone, surrounded on all sides by a rapt audience. The show's numbers fall into three general categories: the black leather stand-up shows, in which Elvis performs solo on stage; the black leather sit-down shows, in which Elvis jams with former bandmates Scotty Moore and D.J. Fontana and others; and big production numbers, often overdone and now looking as dated as any other 1960s variety show. In addition to the complete, uncut TV special (with the bordello number that was deemed too daring for TV), this DVD set includes both of the original stand-up shows and both of the original sit-down shows (the first was released mostly complete as One Night with You), and multiple takes of numerous production numbers. The numerous glitches and stumbles of the production numbers have limited replay value, but the complete stand-up and sit-down sessions are like gold for those who couldn't get enough of them during the 73-minute television special. Decades after the original telecast, Elvis has made another comeback. --David Horiuchi

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Stills from Lilo & Stitch: Big Wave Edition (Click for larger image)

Get ready for the wildly original story about an independent little girl named Lilo and her adopted alien "puppy," the mischievous Stitch, a runaway genetic experiment from a faraway planet. After crash-landing on Earth, Stitch wreaks havoc on the Hawaiian Islands, but he also learns about loyalty, friendship and 'ohana, the Hawaiian tradition of family. Now, catch the wave of fun and adventure in this 2-Disc Big Wave Edition jam-packed with games and awesome bonus features that take you and your family behind the scenes of the movie! Experience LILO & STITCH like never before in this 2-Disc Big Wave Edition. There's excitement and entertainment for every member of your 'ohana!Product Measures: 0.61" x 5.34" x 7.5"

Tour guide Elvis sings 14 songs and still manages to drive sightseers around the islands in golf carts in this lush musical that features great locales and such tunes as "Blue Hawaii," "Can't Help Falling in Love with You" and "Rock-a-Hula Baby." With Angela Lansbury, Joan Blackman, Roland Winters. 101 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, Dolby Digital mono; Subtitles: English; theatrical trailer.

Elvis Presley's seventh film was the first of his "Hawaii trilogy" (including Girls! Girls! Girls! and Paradise, Hawaiian Style). While its story is daft--the King has just been released from his Army posting in Italy and returned to the islands, where he's trying to avoid working in his father's fruit business--the music is not: "Blue Hawaii," "Almost Always True," and the beautiful "Can't Help Falling in Love." Angela Lansbury plays Elvis's mother, who can't seem to get through to him. Directed by the star's frequent collaborator, Norman Taurog (G.I. Blues). --Tom Keogh

Long live the King! This Golden Globe-winning documentary chronicles Elvis Presley's whirlwind 1972 tour which saw the legendary singer play 15 cities in 15 nights. Shot in a multi-cam format, the film includes rehearsal and backstage footage (including some of Presley's kung-fu moves!) as well as captivating live performances of his biggest hits and montage sequences that were supervised by Martin Scorsese. 93 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1; Subtitles: English (SDH).

After the solid success of Elvis: That's the Way It Is, and with his career as a movie actor having reached a standstill, Elvis Presley undertook a second concert documentary. Elvis on Tour trails after the King on a few concert dates in 1972, as he powers through a curious set list that downplays the classic hits in favor of the likes of "Polk Salad Annie" and "Proud Mary." Rehearsal footage, preshow jitters, and after-hours sessions singing gospel with the gang are included; most revealing is a sequence that follows Elvis off stage and into his waiting limo, where he towels off in exhaustion, cracks a few jokes, and listens to the praise of the entourage. These glimpses are a logical counterpoint to the concert material; less explicable is the rundown of Elvis's early years, which hardly fits the subject at hand--and frankly reminds us that Elvis looks pale and just a bit puffy at this moment in his life. The fun stuff includes a workout on the still-new "Burning Love" (Elvis has to read from a lyric sheet), committed takes on "Bridge over Troubled Water" and "I Got a Woman," and a spirited "Never Been to Spain," a song that fits Elvis's taste for simple, dramatic builds. That, and Elvis giving a stage introduction to "the guy that gives me my water and my scarves and so forth." The movie's structure feels a little random, not that that will matter to fans. At times it catches the King looking undeniably weary of it all, except in those moments when a song really catches him (certainly during the gospel moments) and you see just how utterly "in the music" he was. The split-screen approach is intact, and the film's "montage supervisor" was a young fellow named Martin Scorsese. Note about this 2010 edition: The original song that played under the opening credits, a cover of "Johnny B. Goode," has been replaced (apparently due to rights issues) with a live "Don't Be Cruel." --Robert Horton