January 26 1972 Opening Show
Review by Ian Frazer-Thompson - Strictly Elvis, Issue 47 (March 1972)

In a celestial resonance, '2001' Space Odyssey starts serving as a catalyst to the free flowing electricity generated by anxious expectations to Elvis' opening night for Vegas Number 6 (January 26-February 24). The Theme diminishes and a driving rhythm is superimposed by Ronnie Tutt pounding his drum beats in syncopation to anxious heartbeats as the gold curtain of the International Showroom raises to reveal... ELVIS!

He stands there, seemingly unaffected by the thunderous applause, in a white jump suit adorned with diamond-shaped gold studs lining his arms and down the sides of his legs, fanning out with the bellbottoms of his jump suit. Elvis wore a gold scarf which matched the gold silk lining of his cape. He grins his sexy, boyish grin, grabs his guitar, adjusts his belt, jerks the standing mike to his pursed lips and belts out 'C.C. Rider' (as arranged by Elvis). The vibrations are strong but tense and if you're not carried away by the magic of the moment you can see Elvis' hand shake as he holds the mike. The shakes and trembling are not all from his hips or in the spectators seat... Elvis is nervous. This supports Elvis' constant need for reassurance and that bit of insecurity that keeps the adrenaline flowing in every great performer who subjects himself to public scrutiny. It is easy enough to strive to be No. 1, but when you are the No. 1 artist in the world you are fighting yourself and only yourself!

'C.C Rider' ends and before the audience has a chance to proclaim its love, Elvis plunges into 'Proud Mary' which is accentuated by several choruses of "Rollin', rollin' on the river." Elvis then slips into a comfortable blues song which was a new song for him titled 'Never Been To Spain' -- a fine song. The point at which Elvis usually does 'Teddy Bear', he placed 'Hound Dog', starting off in a slow blues tempo (Big Mama Thornton style) and then roared into the familiar rock-drive rhythm at which point he tossed out three cute lil' old hound dogs to the audience. In the ending of 'Hound Dog' Elvis stopped abruptly at the last phrase "You ain't never caught a rabbit..." and just like the pause in 'I Can't Stop Loving You', a girl in the audience went into mindless ecstasy and before she knew it she broke the silence screaming the end lyrics of the song, finishing where Elvis had left off ".. you ain't no friend of mine." Elvis, keeping his cool, pretended to be dumbfounded while to the tune of innocuous laughter, he smirked, shook his head and laughed the lyrics, "Yeh baby, you ain't no friend of mine."

While Elvis was singing 'Love Me', he vibrated so much that the top of his microphone came off, plopped to the floor, and was promptly gobbled up by the frenzied crowd. Elvis also sang one of his highlight numbers, 'Bridge Over Troubled Water'. The earthy spirituality with which this rendition was sung generated a deep feeling of warmth which could be felt all over the 2,000 seat showroom and won Elvis an accustomed standing ovation.

One of the most super effective songs that I have heard Elvis sing (live or recorded) was his rendition of the recent An American Trilogy' (Dixie, All My Trials, and That Battle Hymn of the Republic). I thought the sky would open up in response to Elvis' beckoning pleas. In the middle of the song the stage goes black excepting a solitary spot trained on the flute player who plays an enchanting, yet haunting melody, while Elvis bows his head and stands in silence until the reprise of 'The Battle Hymn'. The orchestra strikes up and the backup singers open up with "Glory, glory, hallaluljah..." at which point Elvis turns to the audience to liberate his soul and his innermost feelings to a congregation in awe.

When the song was over, I was shivering and shaking and long after the evening's performance I still felt the powerful crescendoes of "Glory, glory hallaluljah..." The dignity and the reverent humility with which Elvis sang this song gives deep insight into the being of this man who stands there bigger than life and naked to the world--the eternal paradox, who gives meaning to life itself, stands there humbled in his own power. At the end of the 'American Trilogy' there was another standing ovation, bigger than the first, being lead by Sammy Davis, Jr.

Among the new songs that Elvis did was his latest single release 'Until It's Time For You To Go', and Frankie Laine's 'You Gave Me A Mountain'. He revived some of the more familiar songs like 'Little Sister' coupled with 'Get Back', 'I'll Remember You', and 'A Big Hunk O' Love'. During the show a young lady handed up Jerry Hopkin's book ELVIS for Elvis to sign and as he did so his comment was, and I quote, "... The only thing this guy did was spell my name right." Elvis was not joking. Apparently there were some hurt feelings in the Presley household over some of the book's content.

The show ended with the familiar 'Can't Help Falling In Love' and with strong vocal power. Elvis then sets down the microphone, extends his arms to expose the full breadth of his cape, grins at the audience for the last time and then... he's gone.

From the moment Elvis comes on the stage he's ELECTRIC. He starts off tense and nervous and like a clock you can watch him unwind as the show progresses. The show is so compactly arranged and brilliantly composed, bringing you to the edge of your seat and out into the aisles with 'Polk Salad Annie', then he woos you with 'Love Me' and 'Until It's Time For You To Go' and then demolishes you with 'Suspicious Minds' -- then he's gone and part of me left with him... and I do believe I felt the earth move.

February 6 1972 Dinner Dhow
Review by Dee Cocuzzo - Strictly Elvis, Issue 49 (May 1972)

After seeing Elvis perform at the Boston Gardens on November 10th, my girlfriend and I decided that we must take in Vegas just once while he appears in concert. So when we found out his sixth stint would be from January 26 through February 23, we made our plans.

Our flights to Vegas came off without a hitch and we arrived on Sunday, February 6th and entered the glorious International Hotel. It's quite a place. The hotel was buzzing and Elvis could be seen on photos and souvenirs everywhere. On our very first night, we talked to Joe Guercio, his conductor, and he hinted that his show this time was just fantastic.

On Monday evening, we secured ring-side seats and waited through the beginning acts. Finally, the '2001' theme started and out he came. He looked great in a white jump suit with silver studding all over, wide belt with chains looped around, and navy blue lining on the cape that he wore over his jumpsuit and a navy blue scarf.

He sang 'C.C. Rider', 'Proud Mary', 'Polk Salad Annie', 'Suspicious Minds', 'One Night', 'All Shook Up', 'Love Me', 'Teddy Bear', 'Bridge Over Troubled Water', 'Never Been To Spain', and his new single, 'Until It's Time For You To Go'. Then he performed 'An American Trilogy'. This was the high point of the concert... when he sang 'Dixie'. Everyone gave him a standing ovation. I've never seen or heard a more moving segment of any show. The place just exploded.

Finally, the ending -- 'Can't Help Falling In Love'. My girlfriend and I just sat there. It was too much. Seeing him in Vegas and on tour is so different. There is much more personal contact in the Vegas showroom.

February 8 1972 Dinner Show
Review by Dee Cocuzzo - Strictly Elvis, Issue 49 (May 1972)

Then came Tuesday. Again a ringside seat. He sang nearly all the same songs. It's amazing the cross-section of humanity he draws... all ages; kids, teenagers, older men and women... all ages. Again the 'American Trilogy' segment was the high point.

While at the International we met and talked to Charlie Hodge, James Burton, Glen Hardin, and Jerry Scheff. While discussing Elvis with Jerry, I brought out the fact that I wished he would record a good rock tune--something on the line of the old stuff he used to sing. Jerry agreed with me that he would prefer Elvis doing this sort of material. Glen Hardin came into the conversation and said Elvis does pick his own material. Unfortunately, even though he does justice to anything he records, they are not going anywhere on the charts. But, as Glen and Jerry said, they all make money. The Colonel sat playing cards-- everything was very informal.

Suddenly as we went walking through the lobby I recognised Elvis' father, Vernon. When I mentioned his name he came over to us. We asked if we could meet Elvis in person, and that we weren't the kind of fans that would rip him apart. He told us to come back after the midnight show on Tuesday evening. Somehow our signals got crossed and when we contacted him, he said it was too late to see Elvis that evening, but to call him between the dinner and midnight shows on Wednesday. We were discouraged, yet we knew he'd come through for us. He's great.

February 9 1972 Dinner Show
Review by Dee Cocuzzo - Strictly Elvis, Issue 49 (May 1972)

Wednesday finally came. The dinner show we again had good seats. When the show was over, we paged Vernon Presley and we were told he was still backstage. Our spirits were dampened. However. as we walked through the lobby, we spotted him with two other girls and up we went.

Mr. Presley took us up the elevator to the thirtieth floor of the International -- removed the sign from in front of the elevator doors and nodded to the security guards stationed there. He took out his key and opened the door. As you stepped in, your feet sang into deep gold shag rugs. We walked down three steps and to our right, seated on a long couch with a long table in front (watching TV) sat Elvis. He was eating between shows and watching The Persuaders. Seated beside him was his buddy, Lamar Fike. Elvis wore the same red shirt that he wore in his Vegas movie, black pants, and the famous gold belt the International hotel had given to him. We could hardly take our eyes off him.

His laugh is infectious. Mr. Presley seated us to the right of Elvis... sort of around the bend in the room on a black velvet couch, but we could still see him. We sat with Mr. Presley and chatted about Vegas, his tours, and the weather in Vegas. Mr. Presley does not like the hot months of August. Also he couldn't figure out why the girls carried on so. Can you figure that one out? What a wonderful man. He asked us to make ourselves at home. Charlie Hodge was resting on a couch, since it was between shows, Joe Esposito was seated at the bar making reservations for someone, and Gary Smith was sort of cleaning up. Elvis has his own slot machines because, as his father told us, he cannot venture into the casino. Off of this area, three steps up, Red West was seated at a dining room table, eating. I didn't expect to see him because I've never seen him with Elvis on tour.

Elvis got up and as he walked towards his father we could see he had something concealed in his hands--he sort of gave his father a shock on the back of his neck--he had some sort of gadget. His dad jumped, he laughed , and we broke up. Vernon introduced us. Elvis put his album on (it was an early copy of his Easter sacred album). He sort of knelt beside it and I could see him looking over at us. What a feeling -- Elvis walking around and his songs being played. Vernon asked us if we wanted autographs. Luckily I made sure we had paper and pen with us. I asked him if he planned to be back in Boston, and he said he didn't know. We wished him much success. As we walked out of the room we got Vernon's autograph also. We heard Elvis saying something about one of his records that he didn't like... apparently the way it came out or something. Down the elevator we went. We were in the room about a half hour.

February 9 1972 Midnight Show
Review by Dee Cocuzzo - Strictly Elvis, Issue 49 (May 1972)

Having seen him, we had to catch the midnight show. Our seats again we're right up front. Out he came, in a navy blue jumpsuit, silver studding, silver lining to the cape, and a white scarf. He was extra good this night and added a couple of new songs like 'Help Me Make It Through The Night' and 'I'm Leaving It All Up To You'(*). Two of the girls got scarfs this night and a kiss. Boy, did I feel left out. Then came the last song. He walked over and stood in front of us. Somehow looking at him gave me confidence and up on the stage I went...grabbed the scarf, he suddenly grabbed me and gave me a kiss. Eventually I know I got down to my seat and the scarf was around my neck. It was still moist and this is how I know how much he really works out because he had just put this on. And he wears no makeup--not a trace on the scarf. What could have been a more perfect ending?

Thursday morning we got ready to leave the hotel. During our stay we had also made friends with a boy named Tom, who goes on tour with Elvis. He couldn't get over us having seen him. He said it doesn't happen that often. We asked Tom if he'd give a token of our appreciation to Vernon. He agreed. We gave him an Elvis Special -- a yearly book put out by the English fans. Tom mentioned that Elvis does not see such things and we thought his father, maybe more than Elvis, would like to read through it. Vernon Presley really is a warm gracious person... and his son... well, Elvis is really quiet. His off stage personality is just the way I expected. He is very humble. On stage he comes alive and lights up.

We hope you've enjoyed reading our experience in Vegas with Elvis. We thank Elvis for being "him". He's the greatest. By the way, the only people in Elvis' room were his father and his close friends. The Colonel has his click, the musicians have theirs.

(* This performance of 'I'm Leaving It All Up To You' can be found as a hidden track at the end of the bootleg entitled The Concert Years Volume 79)
(Note: Elvis also sang 'I'm Leaving It All Up To You' at the February 10 1972 Midnight Show, and that performance can also be found on bootleg)

Thanks to Glyn on the Phoenix Elvis forum for pointing out that the version of 'An American Trilogy' on CD1 of the Follow That Dream book and CD set Elvis - Now In Person (track 20), which is listed as being from the February 14 dinner show, is actually the same version of the song as found on the 2007 FTD release entitled An American Trilogy (track 15), where it is listed as being from the February 14 midnight show.

The re-recording of 'You Gave Me A Mountain' can found on the deluxe edition of the 2016 album The Wonder Of You, which contained Elvis' original vocals but with new backings by The Royal Philharmonic Orchestra. The standard CD release of The Wonder Of You did not contain this track.

In the session logs RCA originally had the recording date for 'Never Been To Spain' (BPA5 1142) incorrectly listed as being February 14, 'You Gave Me A Mountain' (BPA5 1143) and 'A Big Hunk O' Love' (BPA5 1144) incorrectly listed as being February 15.

The re-recording of 'An American Trilogy', which is a composite of three different vocal performances, can found on the 2015 album If I Can Dream, which contained Elvis' original vocals but with new backings by The Royal Philharmonic Orchestra, and which actually went to number one in the UK album charts.

In the session logs RCA originally had the recording date for It's Over (BPA5 1148) incorrectly listed as being February 16.

February 19 1972 Dinner Show
Review by Rex Martin - Elvis News Service Weekly, Issue 50 (March 6 1972)

Sixteen songs at both Dinner and Midnight shows: 40-45minutes long for each show, approx. Songs in the same order at both shows are:

'2001', 'C.C.Rider', 'Proud Mary', 'Never Been To Spain', 'You Gave Me A Mountain', 'Until Its Time For You To Go', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Teddy Bear'-'Don't Be Cruel' (Medley), 'Hound Dog (very slow soul+very fast version - in one), 'A Big Hunk O' Love', 'Bridge Over Troubled Water', 'Suspicious Minds', 'An American Trilogy', 'Can't Help Falling In Love'

The Dinner Show starts in the usual way, with the build up of drums for '2001' then El's group begin the fast intro piece, just before Elvis walks on. Elvis is still using the Black guitar (on the first song only) for 'C.C. Rider', nice fast opening number with quickly played instrumental breaks.(Note: Elvis hardly waits for the applause to end at the close of each song before he is into the next song, and apart from when he introduces the group he doesn't really chat to the Audience at all this season:)

'Proud Mary' is Another fast version like last season, with those great rolling drum sections, but also the Sweet Inspirations clap in time with these drum rolls this season. JD Sumner (with his Stamps Quartet) do some nice deep voice echoing on the "Rolling" word with Elvis. The Ending is an even longer than usual drum thumping roll.

'Never Been To Spain' is very similar to the recent 3 DOG NIGHT hit which reached the Top 3 in the States. Elvis version is very much clearer (in the singing) than the original, the start is very unusual in a Spanish style with click-clacking castanets rattling, the Song is a slow forceful Country orientated ballad.

'You Gave Me A Mountain' is a very forceful ballad with some varying tempo sections. Starts with trumpets and then piano "Born in the heat of the desert" sings Elvis in a soft pleasing voice, the backing is soft for the opening verse, but extra strings are added leading up to and into the chorus title line. The song continues to build with the Sweet Inspirations going from gently "Woo - Wooing" the opening to singing with Elvis on the most forceful parts. Great building part, with Elvis singing at the end "You'uu gave me a- mount-a-i-n thi-i-i-i-s-s-time", (the group echo this very high voiced part) with Elvis coming in with an "Oh ohh ohhhh" at the very close.

'Until It's Time For You To Go' comes right on the applause (again). As Elvis starts singing it several girls burst out screaming, the backing is very similar to the record version, with the strings, but the violin solo part comes over less forceful, while Elvis is in really great voice (no colds this season).

'Polk Salad Annie' follows the guitar(s) intro but Elvis has cut the dialogue monologue out at the start and launches himself right into the first singing verse, nice fast beaty/clapping/drum crashing/trumpet blaring version. They have the bass guitar (Wow) instrumental part like last season, plus James with his Wow Wowing guitar sounds:

Then lots more screams for 'Love Me' with some unusual drum crashes on the "won't you love me" parts, and the fans are laughing a lot and screaming almost all the way through this song. "Thank you very much, you don't end that song until I get ready to end it?" quips Elvis (about the Group "Oo oohing" the ending for him) "you know - highest paid Ah he quit" Charlie starts to say something in a very high, child like voice and Elvis cuts him off with a "shut up Charlie I.." (audience laugh) "I got mad, I don't know what I'm going to do". Elvis laughs and so do the audience when he gives out some more "Wow oh wow oh"s... then into 'All Shook Up' (fast version like last season and very shortish), launches right into 'Teddy Bear' (changes the words at the Midnight show to "Put a scarf" instead of "chain, around my neck and lead me anywhere") runs this song into a short medley with 'Don't Be Cruel' at the same speed, as he's singing one line which goes, "baby I made you mad, something I might have said, please don't forget the past BEFORE I KICK YOUR H.." (head). He must motion with his foot judging from the reaction at the end.

Then 'Hound Dog' starts off in a very very slow bluesy, soulful version, far slower than last seasons "soul" versions, but cuts back into the fastest version ever for the close.

Then.... Wow Wow WOW for the first time you hear the fast piano played intro to 'A Big Hunk O' Love', really fast tightly sung lines, first short intro has a piano featured, has all the excitement of the original, with the Stamps Quartet filling the Jordanaires part very well, before you know it, the second short instrumental part is pounding at you with this time James Burton on guitar being featured. Best version i've ever heard of this song. Phew....

'Bridge Over Troubled Water': another of those feature highlights of an "ELVIS PRESLEY" SHOW! Great overall sound, and Elvis in fantastic voice. Nice applause which is neatly cut short again by the fast opening chords of 'Suspicious Minds', another classic, which is almost impossible for Elvis to leave out, kisses a few girls near the end (but I'm told he kisses less girls these shows, because some had started biting him.) gets to the last soft part with the words, "Don't you know, I hope this suit don't tear because I love you so much baby". Elvis laughs and so do the audience, fades the song out, for the rising drum roll drum crash/cymbal crash with Karate thrusts fight he has at the end, and its longer and extended with El shouting "WOW WOW" with the Karate kicks and hand action movements I counted some thirty to thirty-five, Drum and cymbal crashes which is almost double the amount from Aug '71.

Next Elvis introduces the groups, "thank you, JD Sumner and the Stamps Quartet Ladies and Gentlemen" "The Sweet Inspirations" "The girl with the beautiful high voice is Kathy Westmoreland" "on lead guitar James Burton" "on rhythm guitar is John Wilkinson" "on the drums is Ronnie Tutt" mon Guitar Bass is Jerry Scheff" "the guy that puts my cape on and gives me all my water and scarfs and so forth is Charlie Hodge" "on piano is Glen Hardin" "my conductor is Joe Guercio" "The Joe Guercio Orchestra" "Ah there is a guy in the audience I'd like to say hullo to --- Ah last week he defended me when I couldn't defend myself(??) his name is Robert Edward Morgan". (applause) "Ah is he out there? OK!"

Some very soft piano and guitar sounds start very very slow, and just when you think they might have stopped, Elvis sings :::::::::: 'An American Trilogy': The start goes "Oh I wish I was in a land to cotton", this is soft slow and beautifully soft "Look awayyy, look awayyy, look away, dixieland, oh I wish.." (Elvis leaves of saying "Sing it boys") "I was in dixie" (and comes back in with them on) "Away? Away in dixie land. I'd take my hand, to live or die in dixie" (then just Elvis again with soft strings added) and back into the "Look away, look away" verse, "Look away dixie land, Glory, glory, Hallelujah" (the back builds and fades with more soft trumpets) "Glory, glory, Hallelujah" Elvis sings, "His truth is marching on", (a short instrumental part). Elvis is back in a slightly different tone of voice, "So hush little baby don't you cry, you know your daddy's about to die'eee" (with the group harmonising now) more strings added over the next few lines, as Elvis finishes this section, a flute comes in very poignant for a short solo piece. Elvis stands with his head bowed and the lights faded out to one small one, then the most fantastic resounding, building backing of the whole orchestra (strings/brass) and the group, and all the voices harmonising with Elvis, it just builds one on top of the other, never once does it fade, just continues to build (far better than anything in '2001'). Elvis comes in over them all with the last verse lines "Glory, glory, Hallelujah, His truth is marching on" (with all he voices still) "His truth is marchingggggg onnnnnnnnnnn" (for the close.)

Terrific applause from the audience. Elvis has a more fullness on his voice at the start probably enhanced by the slight echo on the mic'. really an astounding song with great production, sung with terrific feeling (Must be released soon I Hope???).

The applause is very long, but Elvis manages to get the final number started 'Can't Help Falling In Love'.

A show that must have pleased everyone.

April 6 1972 - Detroit, Michigan
Review by Rocky Barra - Strictly Elvis, Issue 50 (June 1972)

When I saw that Elvis had, once again, included Detroit on the latest tour schedule, I was elated. The requests began coming in for tickets, but they were handled differently this time... almost entirely sold by mail order with no security of receiving a good seat. But at an Elvis concert, ANY seat is a good seat. We were fortunate enough to be stage centre, only a few rows back.

Elvis has been appearing in enough cities, and you have read about it over and over in Strictly Elvis, so that I don't have to tell you how the tension and excitement builds up until the day of the concert. The fans began to pour in; Steve Toli from Boston, Nancy Burns from Cleveland, Sean Shaver from Kansas City, Gary Frank, Al Bigelow, Larry Longo, etc. Several of us were watching home movies of Elvis, comparing records, exchanging candids at my house before it was time to leave for the concert. (My right-hand man Taylor Scott and Sean Shaver were deadlocked in an Elvis trade so involved that we had to keep scorecards on them).

Olympia Stadium was jam-packed with fans, and those about to become fans when the announcer said, "The show will have to be delayed a few minutes due to the tremendous traffic jam in front of the arena." And it was true. People couldn't get through the doors because of the overflow of traffic. Finally (about ten minutes later than scheduled) the lights went down. Screams came from the crowd, but everyone knew it would be almost an hour before Elvis would make his appearance on the stage.

The Sweet Inspirations opened the show. Their act was not up to the fine presentation I had seen them do many times in the past. They are so talented that it is impossible for them to do a bad show, or even anything close to it, but their selection of songs wasn't as good as on previous tours. They did a medley of songs that just did not fit together. Showmanship is one of the Inspirations! fortes, but the restless Detroit crowd wasn't buying it tonight. The applause was polite--nothing more.

Jackie Kahane was the comic once again. He bombed, to put it lightly. His material was fine enough, his delivery very professional, and the jokes were funny...if anyone listened. But the crowd had come for only one thing... to pay homage to Elvis. Halfway through Kahane's act, the rhythmic clapping started, then chants of "We want Elvis, we want Elvis..." Poor Kahane had to stop in the middle of one of his routines, raised his hand and said thanks, and making his way off stage, could only shake his head. (Ed. note: Detroit is Jackie Kahane's home town).

After the intermission, the house lights went down and a supercharged atmosphere filled the Olympia The '2001' Theme faded into the machine gun drumming of Ronnie Tutt and the group went into 'C.C. Rider'. Out he came dressed in a white jumpsuit with a massive bright orange belt and matching scarf. Elvis' hair was slightly longer (and combed differently) than when I had seen him in Vegas this past summer. The ovation was tremendous, and Elvis just kept smiling and shaking his head. Between Sean Shaver and myself, we had seen Elvis perform in concert in no fewer than twenty-five cities... Detroit's welcome (both now and in 1970) was by far the loudest, wildest, and most enthusiastic of all the concert dates. This probably had something to do with Elvis' return engagement here.

'C.C. Rider' was far superior to the record version on the On Stage LP. Burton's guitar lead was superb. Elvis was back, and Detroit responded with a decibel output that could be heard all the way to Toledo (and with several teddy bears thrown on stage). Elvis was all smiles and it was obvious, throughout the concert, that he was enjoying himself.

'Proud Mary' was next. A fantastic version with the modulating chorus at the end. The beat got stronger and stronger as J.D. Sumner echoed Elvis' "Rollin' Rollin' Rollin' on the river." At the end of the song, in response to the unbelievable ovation he was receiving, Elvis shook his head and said, "Detroit is Crazy." He repeated this statement several times that evening.

I had never heard Elvis perform 'Never Been To Spain' before... and what a treat it turned out to be. Outstanding bass and guitar work laid out the foundation for Elvis' soulful gutteral tones. He really rocked on this one. Several of the younger fans I talked to said it was the highlight of the concert for them.

Olympia is a massive structure built in a large oval. There were probably 3,000 seats behind Elvis that had to be content with seeing him perform from the back. But whenever he turned around, they really responded verbally. In fact, it became obvious that some of his most enthusiastic fans were sitting behind him. Whenever Elvis turned around to face them, or even jerked his head in their direction, they cheered so loudly that the roof almost rose from its foundations. Elvis seemed to get a kick out of this, and several times during the concert, gave them a quick double-take, as if a cat was playing with a bird he knew he had trapped. I must admit that Elvis was very fair to them and turned and faced them as much as possible. He knew they had come to see him perform and did his very best to please everyone in the arena.

The next song was another that I was anxious to hear Elvis perform... 'You Gave Me A Mountain'. I always loved Frankie Laine's version of this, and had thought it would be a great song for Elvis to do; he didn't let me down. He changed the tempo of the song to suit him. It was performed at the same speed he did 'The Wonder of You'. His vocal presence and power was clearly demonstrated on this. Elvis' movements on the instrumental accents were great and added to the excitement of the song. I can't wait until this is released on the Standing Room Only LP that is coming up. A perfect song for Elvis and a classic performance.

'Until It's Time For You To Go' was a bigger hit in Detroit than it was in most parts of the country. When the band hit the introduction, the applause meter went way up. I personally don't consider this among Elvis' finer concert songs, although his stage arrangement had the single version all beat. The vocal backing was especially superior to the record.

'Polk Salad Annie' was next. This song, however popular with the fans, is becoming a "programmed thing" with Elvis... much the same as 'Hound Dog' is. He does it because he knows the crowd expects it of him, I believe Elvis is kind of tired of doing this song. This time around wasn't nearly as good as the last tour, which wasn't as good as he did it the time before in Vegas, etc. Still a good rock kicker and his movements excited the crowd (although he shortened the song considerably by leaving the recitation off at the beginning). The bass solo by Jerry Scheff can only be termed a "freak out."

'Love Me' was next, followed by 'All Shook Up'. The way Elvis presents his old rock songs depends a lot on the mood he's in on a given night. Well, all I can say is that on April 6, Elvis was in a rocking mood. It was easily the best 'Love Me' I've heard him do... with high notes that his imitators wouldn't dare attempt. 'All Shook Up' was dynamite and he certainly couldn't be accused of simply "running through his old numbers to please the crowd" in Detroit. He felt 'All Shook Up' and gave a great reading of it.

A medley of 'Teddy Bear' and 'Don't Be Cruel' came next. Elvis stayed in the mould he cast in the 1950's for these songs too. He was slurring the words and used all the style that made these songs rock classics in 1956 and 1957. I have seen Elvis perform many times, and he doesn't always give the old rock songs his full attention... but on this given night, Elvis was again the "King of Rock." After 'Don't Be Cruel' was finished, he turned to the band and called out "Let's do 'Little Sister'," Elvis pretty much has his show set before he comes out on stage. And the addition of this song, while he was out there, showed the mood he was in. It was a great version with the Beatles' 'Get Back' tacked on the end. Powerhouse rock and roll.

Elvis next did 'Hound Dog' in a different tempo... not the Mama Thornton tempo he performed it in before, but in a swing tempo... it was gritty. After two or three verses, he looked back the band and said "Change Dogs." Then came the first two verses in the normal tempo. At the finish, he yelled, "You ain't never caught a rabbit".... walked around the stage (as if in a parade) waited a full ten seconds or so, and finished, "And you ain't no friend of mine."

Next came 'Bridge Over Troubled Water'. I can add nothing to say about this song that already hasn't been said. It was made for Elvis to sing, and he gives it his all.

'I Can't Stop Loving You' was really rocking. Elvis swayed right to left across the stage with the mood and tempo of the song. You could tell this song had been planned for the tour by the new horn arrangement. (Once again, Elvis used a small horn section... even smaller than on the 1971 fall tour). Elvis was strong on this and did the extended ending... "In dreams of yester--yester--yesterday."

At the end of the song, Elvis went over to someone at the end of the stage and took his hat and put it on. It was an old-fashioned thing and Elvis did kind of a visual James Cagney thing. Then he pointed at Burton and 'Suspicious Minds' was struck. It was an exceptional version. The slow section in the middle was taken agonisingly slow with Elvis down on his knees pleading with the crowd. This was certainly a power-packed version although the "karate bit" at the end was noticeably shortened. At one point, when the song was taken down to the soft verse, Elvis sang "I hope the suit don't tear, baby." The crowd was quite receptive on this song.

Elvis then introduced the group. 'Johnny B. Goode' was next. This wasn't as good as I had heard him do it this past summer. It was taken at too fast a tempo, losing some of the feeling and drive. Burton's guitar, as usual, was an inspiration to Chuck Berry, or anybody else that does this song.

Next came a surprise. Elvis went over to the stand by Charlie Hodge, and picked up a sheet of paper with lyrics on it. He performed a beautiful version of 'For The Good Times', a song that was a big hit for Ray Price this past year. Elvis was outstanding on this one, Steve Toli made a tape of the show, and when this song came on, the start of the song is blotted out by Steve's oooh, oooh! Elvis sang the bridge, "A-lay-a-your-head upon my pillow..." He made the song fit his style. I hope we get to hear this on record by Elvis in the future.

'An American Trilogy' was next on the program. People who saw Elvis do this in Vegas told me how great it was... but they couldn't describe Elvis' rendition of this any better than I can. You have to hear it. The record is great, but in person it takes on a new dimension as Elvis' performance of the song is really a sight to behold. He sings the chorus "Glory, glory hallelujah" kind of bluesy, with movements to go with the band accents. 'All My Trials' was very touching. When the flute solo came, Elvis kind of bowed his head. Then the build up, with the trumpet section standing up. All I can say is that if Elvis had sung this song at the time of the Civil War, the South would have won. So kind of inspiration. During the part of the song where Elvis was bowing his head, some fan threw a shoe on stage. It landed right at Elvis' feet. He didn't flinch or move a muscle... but at the end of the song, he picked it up and heaved it way back to the end of the auditorium. The crowd was simply going bananas. A banner reading "We love you, Elvis" had fallen down onto the stage. Elvis picked it up and wrapped it around his head. But I noticed that all the banners, teddy bears, etc. that were given to Elvis or thrown on stage were kept.

Next, Elvis sang 'Funny How Time Slips Away'. When he sang, "Gotta go now," the crowd begged him "Noooooo," in unison. He chuckled to himself and said (loud enough to be picked up by the mike) "Man, Detroit is crazy."

Unlike most concerts where the crowd is responsive at the beginning, and then slowly dies down... the applause and screams were just as loud, if not louder, at the end of the show as when Elvis first walked on stage.

I know I make a lot of references to it, but Burton's guitar was amazing on 'Funny How Time Slips Away'. He was playing some blues runs that sounded like a funky Les Paul. Elvis hit some high falsetto notes in the song, and ended it with low bass notes, reaching way down. Elvis' version on the Elvis Country LP is only a piece of plastic when compared to his "stage" version.

'Can't Help Falling In Love' was greeted with a tremendous ovation. When Elvis sang, "Shall I stay..." the crowd begged him, more, more. Detroit loved Elvis and Elvis loved working again in Detroit. Charlie put his cape back on him and he posed for photos at all sides of the stage before leaving. I was sitting on an aisle seat and throughout the concert, people were CONSTANTLY rushing towards the stage. The police force (which I estimate to be about three times the size of his last Detroit appearance) had their hands full the whole night long.

In Vegas, it is quite common for Elvis to receive a standing ovation for an exceptional performance on a song or a show. But I have never seen an entire arena of 17,000 or 18,000 people give a standing ovation as they did at the conclusion of 'An American Trilogy' and again when Elvis left the stage. To say that Elvis went over well in Detroit would be as much of an understatement as saying that the sun is hot or water is wet. Elvis CONQUERED Detroit.

When I think back to how Elvis "moved" in Vegas during his August, 1969 stint... it is easy to see he is taming his movements down little by little each tour or Vegas appearance. But, in all honesty, I cannot say that his performance is suffering because of it. His voice gets better and better and better and BETTER! I've said this before, but "I don't really think Elvis has reached his peak vocally!" He continues to amaze me just as much as when I first heard him in 1956. Some Elvis fans collect photos, some are movie freaks (seeing some films as much as a hundred times), some are attracted to him because of his looks (female-type), some because of the way he has continued to follow his life-style and not be changed by those around him... But for me, the main attraction about Elvis has always, and will always be his singing, and his unique style of entertaining. And the remarkable thing is that he keeps improving.

Tom Diskin said that the night before, in Buffalo, Elvis broke all attendance records. He did the same here, I'm sure the rest of the tour will be just as successful. He doesn't miss. I sincerely hope that all of Elvis' fans get to see him in concert, somewhere, sometime. The star continues to burn brightly.

This show was only used to set the sound - It is not known if all of the above was recorded in full.

June 9 1972 - Madison Square Garden, New York
Review by Tony Aldorasi - Strictly Elvis, Issue 52 (August 1972)

It was a very humid Friday night in little old New York as the "King of Rock" jammed the huge 24,000 seats of Madison Square Garden.

The crowd, mostly under twenty years of age, was very impatient to get their first look at Elvis. The show started at 8:30, exactly as scheduled. The Sweet Inspirations strutted on stage to the disappointment of the viewers. They tried to warm up the crowd... as if they needed to be warmed up. Then a middle-aged comedian tried to tell New Yorkers about our independent train stations. He completely bombed out, and was herded off stage. In his frustration, he said, "You are 20,000 and I am only one. If you want to fight me, you win." He stormed off the stage and the house lights went on for intermission.

We were sitting in good seats, and it was very easy to see everything that was going on near the stage. The house lights went out, and the roar of the crowd started. "Elvis, we love you." They truly wore their Elvis T-shirts in full admiration. The '2001' Theme created an electrifying atmosphere at Madison Square Garden.

Then "The Man" jumped on stage in his white and gold studded outfit. He faced the screaming, frantic, hysterical audience and sang, 'That's All Right', with his black guitar hung over his neck.

I asked myself the question, "Is this what New York has waited sixteen years to see?" It was obvious that our town was ready to accept Elvis on any terms. He went into 'Never Been To Spain', which sounded a lot more forceful than the performance by the original group. Next came 'Proud Mary'. This had the fans rocking in their seats. He welcomed the audience and introduced the Sweet Inspirations, who had changed outfits. Then he introduced The Stamps and the orchestra. Next on the program was a beautiful version of 'Bridge Over Troubled Water' that brought the house to their feet for a standing ovation, Elvis socked it to the crowd with his old familiar tunes; 'Heartbreak Hotel', 'Blue Suede Shoes', 'Love Me Tender', 'Don't Be Cruel', and 'Jailhouse Rock'. Once again, he had us standing on our feet. 'Suspicious Minds' came next. I honestly can't tell you which of these last two songs created more excitement. Then came a slower version of 'Until It's Time For You To Go', a stronger version of 'You Don't Have To Say You Love Me', then he surprised the crowd with a new song, never heard before in New York. 'An American Trilogy' followed.

Let no one say Elvis has locked himself into any special area. While the songs he performed were familiar, he managed to brand each of them with his own distinctive style. Elvis is an interesting performer. As the sly lyrics of the Beatles 'Hey Jude' go, "He can take a sad song and make it better." He sure does.

Elvis' cape was placed on his shoulders and he went into his closing song, 'Can't Help Falling In Love'. He stretched out his arms and the yellow lining of his cape made the shape of a bright half sun. He moved from one end of the stage to the other and completely turned around, moving in all directions. The "king", as he proved to us New Yorkers, was gone as fast as he came in. The crowd screamed, "More, more..." but the announcer said plainly, "Elvis has left the building."

One of the high points of the show came when Elvis asked for the house lights to be turned up so he could see his audience. He gave his yellow scarf to a girl sitting in the upper balcony. In her excitement, trying to get to Elvis, she jumped approximately twelve feet from the balcony. She was restrained by four policemen before she got to him.

Elvis proved to me that he was truly worth waiting sixteen years to see.

June 9 1972 - Madison Square Garden, New York
Review by Joan Lima - Strictly Elvis, Issue 55 (November 1972)

It all started the week of April 29. During that week, I read that Elvis was coming to Madison Square Garden in June... but no definite date had been set. Upon writing R.C.A., newspapers, etc., I learned that the rumours were false. Elvis wasn't coming after all.

Finally, on Sunday, May 1, the truth was out-- Madison Square Garden confirmed that Elvis was indeed coming and would give three concerts on June 9th and 10th. Tickets were to go on sale May 8. The long wait began. One whole week to wait to but the tickets, and then a whole month before the concert.

June 1st came and That's The Way It Is was playing all over town. I went to see it and that makes the waiting almost impossible.

I thought I was dreaming--it couldn't be true. But I had the evidence in my hands--those beautiful tickets that said, "Elvis concert"... Madison Square Garden... June 9.

We arrived around 6:00. All over Broadway, signs attested that "Elvis Is Here." Photos were being sold everywhere. Banners, stickers, photo albums were all available on the spot. Elvis fans were everywhere; all ages, all sizes, from all walks of life.

We went inside the Garden and waited for the show to begin. At 8:25 the announcer came on to tell the audience that the show wouldn't start until everyone was seated, and that no one was to run up to the stage.

Finally, The Sweet Inspirations came out. They were good, but we wanted Elvis. Then Jackie Kahane was announced. He was funny and I'm sure he would have done all right (if he had a chance), but over 20,000 fans had come to see Elvis. As a result, Mr. Kahane was booed off the stage after a few minutes.

It was 9:00 and time for intermission. At 9:15 the Space Odyssey Theme and... there he was... as big as life. Elvis came out singing 'That's All Right'. You almost couldn't hear him for all the screaming that was going on. Flash bulbs popped all over the arena. For a few minutes I felt as if I was being hypnotised. Between cameras, binoculars, etc., I didn't know if I was coming or going. I had never seen Elvis in person before, and I was thrilled completely. He was just sensational!

'Proud Mary' was followed by 'Never Been To Spain'. You had to be there to believe it.

When he started a medley of old tunes, the fans went wild. One girl, who caught Elvis' scarf, was so overcome that she ran down the ramp from the high seats and jumped straight down. I guess she was hoping she would land on stage with Elvis. She disappeared from sight--I don't know what became of her.

After the old tunes, Elvis sang 'Bridge Over Troubled Water', Elvis did this so beautifully... better than I had ever heard anyone do it. He puts so much of his heart and soul into his songs that you can't help but be moved by them. Elvis then asked for the house lights to be turned up and everyone began to scream in delight.

The show moves on and Elvis acknowledges his co-workers, the band, and everyone who has anything to do with the show.

An American Trilogy' brings the crowd to their feet. They're on their feet for a screaming, standing ovation. The emotions reach such a peak between the fans and Elvis that it seems as if they are going to burst. You just can't imagine the excitement.

The second half of the movie That's The Way It Is gives a good indication of how exciting an Elvis concert is, but you must see him in person at least once.

And so the last song, 'Can't Help Falling In Love', began and soon Elvis disappears leaving an audience of over 20, 000 screaming their lungs out. The show is over. All the impatient waiting and preparations for Elvis' coming are finished. fifty magic minutes of seeing Elvis in person. When it's all over, you wonder if it really happened, but you have the fifty minutes to remember.

Some New Yorkers, reporters, critics, etc., were very unkind of Elvis years ago. They made such statements as "He won't last" and "He's a bad example for American youth." He proved them all wrong. Today, sixteen years later, Elvis forced them to eat their words. This time around, ALL the New York papers and magazines gave Elvis the rave reviews that he so richly deserves.

June 14 1972 - Milwaukee, Wisconsin
Review by Connie Kirchberg - Elvis Monthly, Issue 384 (January 1992)

I do possess this audio. The tracks were: 'That's All Right' / 'Proud Mary' / 'Never Been To Spain' / 'Until It's Time For You To Go' / 'You Don't Have To Say You Love '/Polk Salad Annie' / 'Love Me' / 'All Shook Up' / 'Heartbreak Hotel' / 'Teddy Bear'-'Don't Be Cruel' / 'Love Me Tender' / 'Bridge Over Troubled Water' / 'Hound Dog' / 'Suspicious Minds' / Introductions / 'For The Good Times' / 'An American Trilogy' / 'Funny How Time Slips Away' / 'I Can't Stop Loving You' / 'Blue Suede Shoes' / 'Can't Help Falling In Love'.

I was nowhere near the stage for this concert, so I watched most of it through binoculars. But that didn't stop me from seeing one hell of a show. I'll start off by saying that contrary to what people have said, Elvis HAD NOT stopped moving around by 1972. What you see in Elvis On Tour are mostly what I call "watered down" performances as far as his physical stage movements are concerned. Add to that the split screen images when he is in full gear, (and worse yet, switching to the audience or the band! WHY???) and you just don't get a fair overall picture of Elvis during this period. 'Proud Mary' was given quite a treatment on stage, as were 'Suspicious Minds' and 'Polk Salad Annie', especially during the instrumental parts. Elvis DID shake it up during these three songs! His movements were a little different than they'd been in Minneapolis seven months earlier, but very active just the same. And people screamed every bit as loud. I'd like to add that I'm not recalling this strictly from memory. I have video footage from Chicago 17th, 1972, and all four shows in New York a week earlier - all of which show Elvis to be very active indeed. Incidentally, I've read numerous accounts stating that Elvis always wore jumpsuits on tour, never a shirt and pants as he did in Vegas. The Chicago footage is excellent quality - and Elvis is wearing a multi-coloured shirt and white pants. And, might I add, looks absolutely stunning!

Of the four shows I saw, those being in 1971, 1972, 1974 and 1976, it's my opinion that The Milwaukee show in 1972 was the most complete. In other words, Elvis did a little of everything, and did it to perfection. Talked and kidded with the audience, and was completely at ease doing so. Proved he could still move it and shake it when the mood struck him. And awed the audience to near silence with his beautiful voice whenever he felt like it.

So in summary, I don't think it's that Elvis had slowed up by this point, he'd simply altered his show to include more 'meaty' songs. Songs that showcased his voice rather than his dance moves. After all, he'd already proven he could make us all scream by shaking his sexy body around. But standing under a spotlight in front of fifteen thousand people and just SINGING...that takes a very special talent. (Not that he hadn't done those type of songs the previous November - certainly he had. But aside from 'How Great Thou Art', I didn't get the feeling that he was really trying to blow anyone away with the sheer power of his voice.)

Elvis' version of 'An American Trilogy' was something to behold. And I can tell you from being there that it has a much more powerful effect on the audience than even the most rocking version of 'Polk Salad Annie'. The applause seemed to go on forever. And Elvis drank it up, too. You could tell he was very pleased that the audience appreciated his voice as much as his body. And as we all know, it was that beautiful, powerful voice that would keep Elvis going until the very end.

June 17 1972 (Afternoon Show) - Chicago, Illinois
Review by Joyce Burcham - Elvis News Service Weekly, Issue 68 (July 18 1972)

I had the opportunity to go and see the one and only Elvis appearing in Chicago, Illinois, my home town, on Saturday June 17th.

The show started with comedian Jackie Kahane who really was good. Then, the Sweet Inspirations came on and did quite a few songs that were really good. Next was Elvis after an intermission which seemed to have been forever.

I was so nervous holding on to my girlfriend's arm while the '2001' song started playing. what a feeling you get from this song. Here came Elvis on stage, light blue jumpsuit with all silver sequins on it. He wore his guitar and blue cape to match with a white lining. He also wore a white scarf and boots. Elvis looked just beautiful: The people and flash bulbs were going crazy.

Elvis started right into singing 'That's All Right', 'Proud Mary', 'Never Been To Spain' (he really did a great job on this song), 'Until Its Time For You To Go' (right then a girl threw Elvis a red rose), 'You Don't Have To Say You Love Me', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Teddy Bear'/'Don't Be Cruel' (after this song Elvis finally said a few words about being back to Chicago after such a long time).

By this time people were throwing bras, shoes and handkerchieves to Elvis. He really enjoyed it, too. Then Elvis started in again singing - 'Love Me Tender', 'Little Sister'/'Get Back', 'I'll Remember You' (I never heard Elvis sing this live before, it was a beautiful song, he also said it was one of his favourite records), 'Hound Dog' (Elvis started singing this in a bluesy way and the girls went wild, and he kept teasing them. Then he speeded it up into his old style). Then came 'Suspicious Minds' (his first scarf came off and he threw it to the people, and he did some great karate chops.

After this he introduced all the members of the band, and others - then started singing another of my favourites 'For The Good Times' (Really great). 'A Big Hunk O' Love' was next and he had another scarf on and threw that one too.

'An American Trilogy' (A magnificent song sung by Elvis. He puts all he has into it and his voice is something else). The people were really overwhelmed by this number with their clapping but to me it was kind of a disappointment that he didn't receive a standing ovation for such a master piece. Next, 'Funny How Time Slips Away'.

Another scarf went on and so did his cape with which he sang 'Can't Help Falling In Love. That was the last song and Elvis gave us a perfect show to sell out seats, his singing is now perfect and his movements are quite few. There was no kissing and not much talking but still Elvis is and always will be the king.

June 17 1972 (Evening Show) - Chicago, Illinois
Review by Gary Hiland - Strictly Elvis, Issue 53 (September 1972)

Chicago's stadium has long been known as one of the prominent hockey arenas in the U.S. Every home game brings a standing room only crowd of 16,606 to cheer their idols onward... but tonight, thanks to strategically placed temporary seats, nearly 22,000 fans jammed this antiquated arena. A championship hockey game? A world's heavyweight title fight? A political rally? No, not hardly. ELVIS IS BACK!!! He is making his first Chicago appearance in fifteen years.

Our group waded through the massive traffic jam and thousands of fans, finding our front row seats exactly where we had hoped. It would be ten minutes before Jackie Kahane would come out, tell a few jokes and make way for the Sweet Inspirations, Everything went like clockwork, which is always the case. I have to appreciate the warm-up acts because they have to keep the place in one piece until Elvis comes out.

I was busy fumbling with my cameras and equipment when Mr. Kahane descended upon us with a little humour pertaining to household situations and limp-wristed hair stylists. A short time later the Sweet Inspirations appeared, performed their usual numbers, and left for a short break.

It seemed like an eternity until the lights dimmed for the last time. Joe Guercio and the gang struck up the '2001' theme and Ronnie Tutt went wild. I was too close to see his entrance, but from the screams and the flashing of bulbs, I knew the king had arrived. Instead of the star spangled jumpsuit which Elvis made famous, he now sported a bone-white suit, adorned with a deep brown velvet cape and trim. His hair style was different this time. Every hair was in place and letter perfect, swept back and completely covering his ears. He has never looked better.

A few swift passes across the stage and he took his guitar from Charlie Hodge, grabbed the mike, and went into 'That's All Right' and 'I Got A Woman'.

The crowd loved him, They came to pay homage to the king they worshipped and he hasn't let them down.

Next came 'You Don't Have To Say You Love Me', and then things really exploded. A great Lennon-McCartney number, 'Something', and then 'It's Now Or Never' truly proved that Elvis' voice has only improved through the years.

The highlight of the evening, in my opinion, followed with 'Reconsider Baby', sung by the man who wrote the book on blues. This is my favourite.

What took place next was a surprise to everyone. After removing the cape and passing it on to Charlie as he usually does, Elvis took off his coat, revealing the wildest shirt I've ever seen. It had very full sleeves with elastic bands and was splashed with black and grey designs. He made his way back to centre stage, adjusting his gold belt and massive buckle, allowing 22,000 fans to view the new outfit. The whole place went up. A very toothy smile told us that he was having a ball.

A nod to James Burton and 'Polk Salad Annie' rang out, bringing us to the edges of our seats. This was immediately followed by 'You've Lost That Lovin' Feelin' and 'Suspicious Minds'. The song ended with his karate exhibition. Unreal!

At this point, a heart-shaped pillow was thrown on stage, but Elvis let it lie. (The evening before, a bra was tossed at his feet. He picked it up and carried it to Sylvia of the Inspirations and asked, "Lose something?" Then, placing it on his head like ear muffs, he paraded across the stage and finally sailed it back to its owner).

The show continued with lots of Presley greats: 'One Night', 'Hound Dog', 'Love Me', and 'Heartbreak Hotel', just to name a few. Elvis then removed a white scarf from around his neck and tossed it into the crowd. A tug-of-war began between two frantic females and we soon saw the victor proudly displaying her trophy. A few steps in the other direction, and he was headed our way. My wife ran to the stage and found herself clutching Elvis' hand for the first time. I guess I was about as excited as she, since I captured this memorable moment in movies. (Sounds like a Kodak ad).

Things happened too quickly, and soon Elvis was into 'Can't Help Falling In Love'. He gave an occasional kiss or hand shake during this finale. Then, as quickly as he arrived, he vanished.

With the Rolling Stones following Elvis into Chicago, there was obvious competition in the press and radio advertisements. The town had been buzzing about these two rock giants. In this, the last of three Chicago concerts, Elvis seemed to say, "You want rock? I'll show you how it's done!". And that he did.

June 18 1972 - Fort Worth, Texas
Review by Christine Hayes - Elvis News Service Weekly, Issue 65 (June 28 1972)

The one man lightening revival eased his way onto the stage of the Tarrant County Convention Center in Fort Worth, Texas one Sunday in June, to command the attention of the 14,000 participants in a mind expanding effortless venture that has been titled as an ELVIS PRESLEY CONCERT. As do all of Mr Presley's performances this one excelled in energy & excellence, but to be included was a timeless continuance, and interchanging of emotions that must surely take its place among those small yet vital rarities in life that makes us aware to the potency of every second.

Elvis is a man of constant physic motion. He changes his fluxes of power as easily as most men take a new breath. In this performance these changes were especially evident as he found no beginning nor end with the audience. His first notes were charged with the compelling rhythm that usually advances from him later in the evening, after he has felt his audience, and they have become caught up in the graduating pace of his enchantment. But on this night, Elvis held the special fantasy through the entire show, and with equal deftness, he left the stage, after singing twenty-four songs, with still more unleashed power in reserve than Niagara Falls could supply on any evening.

The moment of ecstasy for the gathered throngs, and possibly also for Mr. Presley was during and after his trembling and mellow rendition of 'How Great thou Art' - the silence within the enormous round chamber wrapped each sensitive note in a settled assurance of its potent message. With the phrase "Oh, my God, how Great thou art" Elvis reached emotions I had not before seen in him, as he mingled raw exuberance and humble sadness in an instant of prayer. The witnesses to this "bearing of the soul" were moved to a spontaneous standing ovation that did not diminish until Elvis repeated the last chorus.

Where there is such a moment as this there must lie more than can be evidenced through entertainment alone. I feel Elvis has become a driving, coaxing core of energies set to rotate in a destiny of chance. Where paralleling moments decide the channels for this talent, talent that does not only sustain and refresh his followers, but causes them to build within themselves in their own channels of power, as they are gathered in the colliding seconds that are bound to this man. Simply, one gains unseen rewards from the experience.

But in addition to being a mystical enchanter, Mr Presley is a man who knows his business and knows it well. His motions in such numbers as 'Polk Salad Annie' and 'Suspicious Minds' were skilfully timed to display his fluid rhythm, all the while holding back just enough to keep the audience in suspense. Of special prominence was his combination karate-ballet with which he spellbound his admirers as he slid through the purple-blue light with the accuracy of a gazelle in flight. Yes, there was no doubt that Elvis knew his purpose. He was especially inspired this night to such heights that at times he did not seem to be "with us" but off in some fathomless rainbow world with only God to listen. But also there were those moments when he shook and teased, and strutted and beamed.

Around the necks of his fellow workers hangs a gold lightening streak with the letters TCB above it. These charms were Elvis' gifts to them, but also a reminder of his wild daydreamin' world that demands both a spiritual & physical effort from all of them. If you ask one of the 'group' as Elvis often refers to them, what TCB stands for, they'll tell you it means ... *TAKING CARE OF BUSINESS* (Take Care Babes:)

Songs in the sequence they were sung in Fort Worth are as follows:- 'That's All Right', 'I Got A Woman', 'Love Me Tender', 'You Don't Have To Say You Love Me', 'You've Lost That Lovin' Feelin', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Teddy Bear'/'Don't Be Cruel', 'One Night', 'Until It's Time For You To Go', 'It's Now Or Never', 'Hound Dog', 'Suspicious Minds', 'My Baby', 'I Can't Stop Loving You', 'For The Good Times', 'How Great Thou Art', 'A Big Hunk O' Love', 'An American Trilogy', 'Funny How Time Slips Away' and 'Can't Help Falling In Love'.

Elvis stayed with his group at the Sheraton Hotel in Fort Worth.

June 19 1972 - Wichita, Kansas
Review by Bill Waters - Strictly Elvis, Issue 52 (August 1972)

On Monday night, June 19th, Elvis gave one of his greatest performances at Henry Levitt Arena in Wichita, Kansas. A half-hour before the show, traffic moving toward the arena was bumper to bumper for blocks.

The Wichita Eagle reported "That about a dozen Presley fans had turned out about 1 p. m. to welcome what turned out to be an advance plane arriving at Aircraftco Services hanger at Municipal Airport. While the crowd held up signs welcoming the rock star to Wichita, a figure huddled under a coat dashed down the plane steps to a waiting limousine, assisted by a man, who observers thought looked like Col. Tom Parker. The real Elvis Presley and members of his troupe, however, did not arrive until nearly six hours later in two other planes."

The temperature in the arena was in the low 90s, but the heat did not seem to dampen the enthusiasm of the assembled fans. A wave of excitement went through the crowd when it was announced that Elvis' Madison Square Garden concert was being released by RCA that week in the Wichita area.

Jackie Kahane opened the show at 8:30 with the same lines he used on the November 15th Kansas City show... however, the crowd seemed quite receptive. Next, The Sweet Inspirations sang a medley of their songs. They gave a fine presentation and were well received by the crow.

At 9:20, the Joe Guercio orchestra began the '2001' Theme, Emotional expectation pulsated through the crowd, only to be intensified by the heavy drum beat of 'That's All Right', Fans were on the edge of their seats clapping their furore, perhaps unconsciously. Out walked Elvis and the crowd exploded. Someone yelled, "Look at that! Look at that!" "Wows" and "Oohs" were heard everywhere as the explosion began to subside. Elvis was dressed in white pants with matching cape. He grabbed his guitar and sang 'That's All Right' and 'I Got A Woman'. He then said, "Thank you very much. Good evening ladies and gentlemen. My first movie song was 'Love Me Tender', I'd like to sing it for you." 'Love Me Tender' was penetrated throughout by the sounds of feminine screams. One girl would scream and that would set off waves of screams throughout the arena.

Elvis took off his cape to reveal a shirt that I can't even begin to describe.

Elvis then sang a version of 'You Don't Have To Say You Love Me' that was far superior to the recorded version. Next came a fantastic rendition of 'Until It's Time For You To Go'. The crowd responded with reverence to this song, except for a few screams here and there. Following the lines, "Yes we're different, world's apart, we're not the same," Elvis added the words, "Lord, I hope so."

With the intro into 'Polk Salad Annie', the crowd seemed to know what was coming and hands started clapping. After 'Polk Salad', Elvis said, "I'd like to go back a few years... when it was cooler, " to the delight of the crowd. Then came 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Teddy Bear', 'Don't Be Cruel', 'One Night', and 'Blue Suede
Shoes'.

Elvis then said, "Now here we go... this is a song I did on the Ed Sullivan Show in 1956 (applause). My voice was much higher then, so I have to stand like this (leaning over) 'cause when I stand straight up I'll strip my gears (more laughter). This one will be my message song of the evening." Elvis started real slow, "You Ain't Nothin'..." (screams) "You Ain't Nothin'...'' (more screams). Elvis says, "You know what I'm gonna do over there." He continued, "If it weren't for those screaming maniacs over there." He went on to sing the song--first slow, then ripping into "Elvis style." Elvis was thoroughly enjoying himself by now.

Next came 'Bridge Over Troubled Water', and again it was much more effective than Elvis' recorded version. The song was followed by 'Suspicious Minds', with some ad libs from Elvis. This evoked a frenzied reaction from the crowd.

Next came 'For The Good Times', which attracted much acclaim from the crowd. Next was the fabulous 'An American Trilogy'. Words alone cannot describe this number, nor can listening to it on record adequately convey the powerful feeling Elvis puts into this classic on stage.

Next came 'A Big Hunk O' Love', after which Elvis asked for the house lights turned up. He followed this with 'Funny How Time Slips Away'. Elvis then said, "I'd like to sing a song from Blue Hawaii" and sang 'Can't Help Falling In Love', and was gone. Wichita has never seen anything like it!

June 20 1972 - Tulsa, Oklahoma
Review by Mike O'Keefe - Elvis Monthly, Issue 151 (August 1972)

Tulsa, Oklahoma — the oil capital of the world, was the entertainment capital of the world for a night on June 20, 1972. The King of Rock and Roll broke the box office records with his one hour eighteen minute concert at the Tulsa Civic Assembly Center. The show sold out with standing room only a month before Elvis even set foot in Tulsa.

Elvis and company arrived by jet on Monday night after a concert in Wichita, Kansas. The Tulsa appearance marked the end of a last-minute type tour which ends the tour circuit for Elvis this year. This tour began with the world-famous concerts at Madison Square Garden.

Security was superb in this queen city of the mid-southwest. At least three black limousines parked in front of three plush Tulsa hotels gave the public a puzzle as to where was Elvis really staying. Elvis' seclusion and rigid security caused very unfavourable reviews in the morning and evening editions of the Tulsa paper following the greatest concert ever held in Tulsa. Tulsa reporters claimed that Elvis mumbled through his numbers on stage and put the show on for himself and not the multitudes that filled the Civic Assembly to full capacity and over. The crowd went away satisfied knowing that they got what they came for ... to see and hear the greatest singer the world has ever known, or will know.

Elvis showed his pleasure with the Tulsa audience by throwing out no less than six neckerchiefs during the show, and that is very rare for Elvis in concert, usually giving away three at the most. His seventy-eight minute stay on stage over his usual fifty to fifty-five minutes was another sign of his being pleased with the audience.

The format of the concert was changed a little by having Jackie Kahane doing his boring comedy routine as the opener. Then came The Sweet Inspirations with a very well rehearsed set - highlighting 'Ain't No Sunshine' and 'I'm A Fool For Lovin' You, Baby'.

At intermission, the master of ceremonies broke the news that a brand new Elvis album would become available in a few days' time in America. The album is, of course, Elvis Live At Madison Square Garden. Talk about fast work on the part of RCA Victor records.

Elvis appeared in a white mod cut suit and white patent boots along with one of his gold championship belts. Elvis took his jacket off after the first few numbers revealing a very beautiful powder blue and white shirt that had the popular puffed sleeves and French cuffs. Elvis' hair was considerably longer than it was when we last saw him in concert in Little Rock (refer to previous article in Elvis Monthly) on April 17.

Elvis had the audience in his grasp from the very beginning of 'That's All Right', to his second bow after 'Can't Help Falling In Love'. The standing room only crowd was at high pitch during 'Hound Dog', 'Don't Be Cruel' and 'A Big Hunk O' Love'. Elvis also sang 'I Got A Woman', 'Love Me Tender', 'You Don't Have To Say You Love Me', 'You've Lost That Lovin' Feelin', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Teddy Bear', 'One Night', 'Blue Suede Shoes', 'How Great Thou Art', 'Little Sister', 'Get Back', 'I Really Don't Want To Know', 'Suspicious Minds', 'For The Good Times', 'I Can't Stop Loving You', 'An American Trilogy', and 'Funny How Time Slips Away'.

After seeing Elvis on concert tour and in Vegas the numerous times I have, I don't hesitate in saying that Elvis put on one of his finest shows in Tulsa, the oil capital of the world.

August 5 and 6 1972
Review by Josee Hoetrickx - Elvis News Service Weekly, Issue 72 (August 1972)

My friends and I arrived in Las Vegas on Friday evening (August 4). We were not in time to see the people enter the showroom for the premiere but from what I gathered, such stars as Sammy Davis Jr, Paul Anka and Richard Harris attended the show. From what I heard the Opening Show was very short (thirty minutes approx) and Elvis did not sing songs like 'Polk Salad Annie' and 'Suspicious Minds'. Fans told me that Elvis was not at his best and that he avoided singing rock songs because he had a horrible headache, while being on stage.

All in all we attended four shows and I must say that I was still as much overwhelmed by Elvis as I was in '69. The show he gives now is very different from 1969, because, as you know, he hardly moves at all, but his voice is so much better and stronger and his "Presence" is still as much felt that you cannot help but be captivated. I was very happy to ascertain that even with his present show-format his magic is still there.

What struck me the most was his beautiful and powerful voice. He sounded much better than in 1969, if possible. My friends felt the same way I did, if you see more than one show by Elvis, you are really 'caught' and you would like to see more and more, because instead of lessening your thirst it just aggravates everything. (Lucky uou, who will see 18 shows...)

Below are the songs Elvis sang in his second, third, fourth and fifth shows for this season:

August 5 (Dinner Show)
'2001' Theme', 'C.C. Rider', 'Proud Mary', 'Never Been To Spain', 'You've Lost That Lovin' Feelin', 'Polk Salad Annie', 'What Now My Love', 'Fever', 'Love Me', 'Little Sister', 'Get-Back', 'A Big Hunk O' Love', 'The Wonder Of You', 'Hound Dog', 'Blue Suede Shoes', 'My Way', 'Suspicious Minds', 'An American Trilogy', 'Can't Help Falling In Love'

August 5 (Midnight Show)
'2001' Theme', 'C.C. Rider', 'Proud Mary', 'Never Been To Spain', 'You've Lost That Lovin' Feelin', 'Polk Salad Annie', 'What Now My Love', 'Fever', 'Love Me', 'Blue Suede Shoes', 'The Wonder Of You', 'Hound Dog', 'Jailhouse Rock', 'Heartbreak Hotel', 'A Big Hunk O' Love', 'For The Good Times', 'My Way', 'Suspicious Minds', 'Johnny B. Goode', 'An American Trilogy', 'Can't Help Falling In Love'

August 6 (Dinner Show)
'2001' Theme', 'C.C. Rider', 'Proud Mary', 'Never Been To Spain', 'You've Lost That Lovin' Feelin', 'Polk Salad Annie', 'Love Me', 'Blue Suede Shoes', 'Teddy Bear', 'Don't Be Cruel', 'Little Sister', 'Get Back', 'Hound Dog', 'A Big Hunk O' Love', 'My Way', 'Suspicious Minds', 'What Now My Love', 'An American Trilogy', 'Can't Help Falling In Love'

August 6 (Midnight Show)
'2001' Theme', 'C.C. Rider', 'Proud Mary', 'Until It's Time For You To Go', You Don't Have To Say You Love Me', 'You've Lost That Lovin' Feelin', 'Polk Salad Annie', 'What Now My Love', 'Fever', 'Blue Suede Shoes', 'Heartbreak Hotel', 'Little Sister', 'Get Back', 'Hound Dog', 'The Wonder Of You', 'Suspicious Minds', 'My Way', 'An American Trilogy', 'Can't Help FallingIn love'

In my opinion the best show was the August 5 Midnight Show. Everyone agreed that Elvis had really put on a fantastic show and what's more, it lasted for one solid hour, while the three others were about fifty minutes each.

The show-stealers for me were 'What Now My Love' (what a tremendous version of this well-known song) - 'Fever' (with a fantastic backing by Jd Sumner and The Stamps Quartet) and 'My Way', (written By Paul Anka by the way:) and of course 'An American Trilogy' (it's really something when the lights dim out and Elvis bows his head while the flute plays). I think everyone agreed on those songs, because he got the best response from the public.

What also struck me was the way Elvis sang his rock songs, He nearly sang them like in the old days, and I think his version of 'Jailhouse Rock' was particularly good. I do not know if it is due to his press conference in New York, where they asked him if he was ashamed of his old material, but he did not rush through his old songs and he sang them with a good rock feeling.

---- As regards his outfits ---

5th August (Dinner Show) Light blue suit (with sleeveless jacket-vest), with a puffed sleeved shirt (just like in That's The Way It Is) the colour of which was similar to the ones he wore during the rehearsals in that film - he also had a big belt and a white scarf.

5th August (Midnight Show) White outfit suit with puffed sleeves shirt in blue (the shirt had some designs on it) on the pockets and collar were blue lapels and there were blue inserts along the legs as well. Elvis wore a large belt and a white scarf.

6th August (Dinner Show) Same white outfit but shirt, lapels and inserts an orange/red, and an orange scarf.

6th August (Midnight Show) Same outfit in white, but shirt, lapels and inserts in green, and a white scarf.

After three or four songs Elvis always took off his vest and at the close of the show Charlie put on his vest together with a cape. I think the white outfit was similar to the one he wore at his New York press conference. -- During some shows he threw hound dogs to the audience. -- This season Elvis does not talk very much, in fact apart from the August 6 Dinner Show, he hardly said a word apart from introducing his band.

During one of the shows, I think it was the 6th or the 8th dinner show, he got so involved in 'An American Trilogy' and he was trying to put so much effect in his voice (must say it was the best version I had heard up to then) that he somehow missed out on the words and he immediately seemed to say in a very pleading voice to his band and people back ing him "stay with me"! He said those words in a very quick and alarmed manner, and as nobody was knocked out by his mistake, they could go on finishing the song without an interruption. The way Elvis and his backing handled this was really great and I must say that during the song the public applauded him very loud..

At the end of the show Elvis always came out after the curtain had fallen, and spreading out his cape he turned in all directions to greet the public. For the fourth show we sat on the third row (great!). During the fourth show also, a girl climbed on the stage and walked towards Elvis in a somehow hypnotised manner! Red West came rushing out of the wings and caught her. Elvis was really surprised but he took it with a big laugh and after a while said "where did you go baby?"

August 10, 11 & 12 1972
Review by Nancy Perkovich - Strictly Elvis, Issue 55 (November 1972)

After seeing Elvis at far range in Chicago on June 16, I decided it was time I see him in Las Vegas. A girlfriend of mine and myself left O'Hare Airport on August 10 for a four-day holiday in Las Vegas. We stayed at the Hilton Hotel where Elvis was going to appear. I can't tell you how excited I was when we arrived. Elvis' name was splashed everywhere -- on cabs, benches, posters, and all over town. By the time we reached the International Hotel I couldn't believe my eyes. Elvis was all over the hotel--banners, hound dogs... even the ladies room was adorned with Elvis. After we calmed down we secured reservations to see Elvis three nights in a row.

That evening we settled down in our front row seats waiting for the midnight show to begin. Finally, out strolled Elvis, and he was beautiful. The majority of songs were the same as the Chicago concert. During 'Hound Dog', he threw little dogs out into the audience.

Friday night proved even more exciting. We were again in the front row. The intro to 'C.C. Rider' began and Elvis popped out in a striking white jump suit. He looked like dynamite. He was in full swing tonight and drove every female in the audience wild. When he sang 'For The Good Times', he walked along the edge of the stage. We were on the other side and I had my arms up in the air begging him to come over. As he started walking towards me, my heart began to pound. He must have noticed my "I Love Elvis" button because he bent down and asked me, "Do you really love me baby?" I replied, "You know I do." He then took my hand and lifted me out of my chair and gave me a sweet kiss on the lips. I was so impressed -- what a strong arm he had. The rest of the show I don't remember, I was in a complete daze.

Later in the evening we were sitting around the lobby of the hotel and ran into a guy who had on a suit exactly like Elvis. We talked to him for some time and he was unusually interesting. We also met Elvis' father, Vernon. He is a smart looking man with a great personality. During our stay we met one of Elvis' bodyguards, members of his band, his backup singers, everyone but our man, Elvis. Unsuccessfully, many times we tried to get to the thirtieth floor where he was, but each time we were told the same thing... "Sorry girls."

The Saturday night show topped them all. It was fantastic. It seemed as if Elvis wanted to make this show one that nobody would be able to forget. My friend was lucky enough to get his beautiful blue silk scarf (which she had to fight for, believe me). I got one of the hound dogs that Elvis was handing out.

Unfortunately Sunday came too fast and it was time to return to Chicago. I brought back a lot of memories that I'll keep for a long time and a beautiful portrait of Elvis which now hangs in my living room. By the way, I am happily married and my hubby and two-year old daughter are Elvis fans too.

(Note: It appears the reviewer got Friday and Saturday mixed up as Elvis sang 'For The Good Times' at the Saturday night show, not the Friday night show)

August 18 1972 Dinner Show
Review by Andrew Crowther - Elvis Monthly, Issue 359 (December 1989)

As '2001' slowly fades into a driving, rocking beat the audience realise that the moment is here that they have all been waiting, hoping and praying for.

Elvis leaps on stage and bursts into 'C.C. Rider', the usual opening number for his concerts.

The applause barely dies down as the song finishes before James Burton's guitar rips into the first few bars of 'Johnny B. Goode', a great rendition of the Chuck Berry classic follows. Afterwards Elvis slows things down with 'Until It's Time For You To Go', 'You Don't Have To Say You Love Me' and 'You've Lost That Lovin' Feelin' with the audience showing their appreciation with thunderous applause, a pulsing version of "Polk Salad Annie sends the audience into raptures, afterwards Elvis laughs and jokes with the audience while he catches his breath.

A heart-rendering 'What Now My Love' is next, followed by "Fever". Elvis then thanks the audience and says: "I'd like to do some of my records for you". The years roll back as such classics like 'Love Me', 'Blue Suede Shoes', 'One Night', 'All Shook Up', 'Little Sister' and 'Heartbreak Hotel' are sung. 'Hound Dog' comes next, before Elvis does this he relates how Ed Sullivan came up to him while he was appearing on the Ed Sullivan show and said "Huh, son-of-a-bitch, I have to stand still while I'm singing this song", he laughs, or I'll strip my gears!".

The King introduces his next song "My first movie" and he sings 'Love Me Tender', changing the words from "And I always will" to "cos you take the pill!" Elvis then says, "I have out a new record, ladies and gentlemen, 'Burning Love', but I don't really like it and I don't wanna do it" and does a rip roaring version of "Suspicious Minds" instead. After 'Minds' a slightly out of breath Elvis introduces the band, kidding about with Charlie Hodge.

Afterwards comes 'My Way' with something obviously tickling Elvis as he chuckles his way through the last couple of verses. "A beautiful song" describes the next one 'I'll Remember You' which seems to be a big favourite with the audience as when the song finishes the applause is deafening. 'A Big Hunk O' Love' is the last rocker of the evening, Elvis obviously enjoying himself on this one, a fine version of 'How Great Thou Art' follows, then Elvis thanks the audience and tells them that they have been beautiful before the all too familiar strains of 'Cant Help Falling In Love' ring around the theatre. For the audience it has been something each and every one of them will remember for the rest of their lives, for Elvis too, it was special, but he would be back on stage in four hours time doing it all again.

Reviewing the show (which is an excellent one to listen to). Elvis isn't very talkative, in fact he doesn't speak until after 'Polk Salad Annie'. The songs are a mixture of the Madison and Hawaii shows, which is not surprising as Elvis had played Madison Square Gardens two months previously and the Aloha from Hawaii show was only five months away.

The omitting of 'Burning Love' is justifiable as it is a well known fact that Elvis didn't particularly like the song, he only recorded it because he knew it would do well chart-wise (and how right he was!) The only song not available as a live recording from RCA is 'Until It's Time For You To Go', which is very much like the studio version, beautifully sung, but then again, when wasn't an Elvis song beautifully sung!

September 3 1972 (3.00am Show)
Review by Rex Martin - Elvis News Service Weekly, Issues 77 & 78 (October 8 & 18 1972)

This was by far the best show I saw, Elvis was in a great mood, joking around a lot. Before commencing the review, I should mention the - previous shows, leading up to this one.

The Dinner Show on the 2nd, Elvis came out wearing a blue jumpsuit with gold/silver scroll design sprinkled over the shoulders front and sides. With this he wore a large white belt with diamond shapes and chains.. a lot of fans from England attended this show, and the crowd reaction was very good. Elvis did a very fast show tight! It was under the hour in length but one of the most exciting to see, because of the speed of the show. Some English fans made it to the front row and one managed to give him one of the Nottingham convention picture scarfs.

The next show, Midnight on September 2nd, but equally as good. Again very fast moving with Elvis in great form. He wore a whit jumpsuit in the Madison Square Garden (LP cover) design, only in sunset red, but with the fantastic red belt, with the three silver eagles and chains on it (at the front) and another three on the reverse. Again the show was under the hour, but you certainly felt Elvis had put a lot into both these shows. The midnight show finished at 1.45am (on the 3rd) which leaves just one-and-a-quarter hours to clear the show room, of people and some 6,000 empty glasses?? and then get another 2,300 people in for the next show at 3.00am.

This was the only show that didn't start dead on time (it was 3.10am by the time the Sweet Inspirations came on. Jackie Kahane followed them. Elvis started his show at 3.50am (approx) and he came on in a blue jumpsuit, the outfit was woven over in a lurex lame effect down the outside of the legs and sleeves, and across the front and back to the waist, while the front was plain blue. He came out wearing a white scarf after the '2001' opening, the belt was very fine blue-lurex interlocked effect, with several fine tassels down his left side. The flares on the jumpsuit had white inserts.

Elvis walks on from the right (looking at the stage) and over to the far left (level with Glen Hardin) and then back to Charlie, who puts on his guitar (the black acoustic one with Elvis Presley written on it). It has a karate emblem in the centre of it also.

'C.C. Rider' is quickly followed by 'Johnny B, Goode'. Elvis says something to the Sweet Inspirations on the opening instrumental part. The guitar hangs from his shoulder as he pulls the mic' stand to him. At the close Elvis whips the guitar out, stretching the guitar strap, then off him and away and back. Elvis always turns back to Charlie Hodge in the same motion, so that he takes the guitar, and Elvis takes a hand mic' from Charlie, as Elvis moves to our left - "Thank you very much - good morning". Charlie takes the mic' stand and guitar back to his spot. As Elvis starts the next number 'Until It's Time For You To Go'. "This love of mine ha no beginning, it has no end" (Elvis sings), "Sing it with me" (Elvis quips to Kathy Westmoreland, who sings the high voice part with Elvis at this point). For the end of the song Elvis leans back, as the lights dim and go out on him for a second.

"Thank you very much, you've got to be in a great place, to stay up this late in the morning - wow wow wow", then into 'You Don't Have To Say You Love Me', and that white scarf is still tucked in very neatly. "Thank you very much, you're a good audience". Then 'Polk Salad Annie' with the screams and cheers. The intro starts, Elvis just stands in the centre - looking at his leg, "Can't take it this time in the morning" - "I love you too dear, it's 4 o'clock in the morning, I'm just kidding, what as i gonna do?", then starts into the song 'Polk Salad Annie'. He stands next to Jerry Scheff on the bass guitar part. For the end Elvis shakes like mad and does the bending down on one knee outstretched then the other, and back up still shaking.

"Thank you very much, good morning, i'd like to welcome you to the International, Holiday Inn, whatever this place is, you want my pick, pick Marty" (referring to Marty Allen, a comedian in the front centre of the stage:), "I'd like to ah. I'd like to thank you for coming out this time of the morning to see our show ladies and gentlemen" (lots of screams and shouts from the audience). "What you got on your mind kid?" (Elvis takes off his scarf), "You got to earn it, earn it baby" (holds it just in front of the girl, who just manages to grab hold of the end and tug it out of Elvis' hand). "Stole it, took it away from me, strong chick". "I'd like to get serious for just a moment" (folds his arms across each other and grins) "Five numbers and everybody... OK!", Elvis laughs back towards Ronnie, the bit left unsaid is a gesture with the arms, like "cut it".

'What Now My Love' starts. For this song the lights dim to a blue and white one on his shoulders, only for the more forceful part, Elvis swings his arm and the light come up bright across the length of the stage in blue and reds. Elvis has on a blue scarf for this song. It's fantastic to watch Elvis pour himself into the ending, the scarf swinging freely with his body movements. JD Sumner adds a deep "Aaaaahhhh" at the end. The stage goes quiet, and Elvis starts 'Fever', the lighting is very unusual with a red spotlight in the centre which falls just behind Elvis, so that it shines up through his legs, and a small white spotlight on his head and shoulders. "You give me fever" boom-boom, boom-boom with first one leg moving out and around with the first set of beats then the other, in quick succession, the screams start and if anything, the audience now feel very much involved, many are clapping and clicking their fingers with the beats and the Sweet Inspirations. Another series of drum beat at the end and then Elvis shakes his head from one side to another, then another set and he shakes his head and shoulders down and up quickly. Then the end with the lights dimming more as Elvis shuffles his feet in a backward motion, as the song ends and the lights are killed for a moment. Great cheers at the end and applause.

"Thank you very much, you're a very good audience thank you, I'd like to say, ah! I'd like to throw something in here thats all I ever did, they make a big deal over it, hum hum, anybody can do that, you know anyone can get drunk and do that man, rubber legged or something, no big deal oooh ooohph. -- what are we gonna do next - ah! I'd like to do a medley of Turkish folk songs". The audience are getting wilder and Charlie and Elvis are laughing hard. "Oh lord have mercy" sings Elvis then into 'Love Me'. Near the end Elvis picks up some white beads saying "mother of pearl" then singing and still holding the beads, puts them on, while singing "begging on my knees, all i ask is please but love meee ohh!! ohhhh!! yea'aaa!!" (swinging the beads round his neck they hit him in the face - and the audience is going wild, and Elvis is laughing again -- great..) (the beads hang almost to his knees).

'Blue Suede Shoes' follows (without a scarf) then into 'Heartbreak Hotel', changing the words "Down at the end of lonely street at the Hacienda motel". Elvis puts on a blue scarf for this song, great ending with Elvis going right down, then straight into 'All Shook Up' - Elvis has a talk to James Burton at the end of this number, saying "we are having a conference". Then starts singing 'Love Me Tender', the audience and some of the girls are really excited now, he kisses a lot of the girls and gives scarfs away. Saying "I'll be back, I'll be back..." and "Cut the lights".

Next - "Thank you very much, i'd like to do something different ladies and gentlemen, I'd like to call on The Stamps quartet to do a song for you ah! I'll be over there in a few minutes ha!". This features their bass singer Mr JD Sumner, the lowest bass in the country and he wrote a song called 'Walk That Lonesome Road'": For this Elvis stands by Charlie, JD takes the mic' and The Stamps stand by two mic' stands on the left (looking at the stage), which means they all have to cross over from the right.. JD has a fantastic deep voice, he holds his ear like PJ Proby in a way, and he really drags out a single note. Anyway one part, one of The Stamps does a high voice cut, the exact opposite to JD, and The Stamps stand there shaking hands, as Elvis throws water over them. So JD changes the words, to "This lonesome wet wet road" and at the end JD get some water thrown at him also.

'Suspicious Minds follows, with the arm shaking and parts when Elvis goes along the front row again. At the close he says "Would you like to see a small karate demonstration?" Elvis drops the mic' and does the most fantastic simulated fight across the stage ever seen. I saw him only twice before do this, but this show, he wasn't kidding. Elvis was all over the stage, arms and legs flaring, in some of the most fantastic karate actions ever. The audience went wild. During this, a girl had thrown up a pair of pants (white) near the Sweet Inspirations, Elvis spotted them and put them on his head for a few seconds, that looked really weird. The audience was already noisy and they got even louder. "These won't fit you, don't try and kid me" (Elvis to the sweets) "May fit JD? -- Fit Kathy" and gave them to her. (I talked to Kathy the following day and she said Elvis had given her a collection of pants and oversize bras in the shows - Kathy is very slim, so thats amusing.)

"OK i'd like to introduce the members of my group to you ladies and gentlemen - First of all Mr JD Sumner and The Stamps quartet. The young ladies that opened our show tonight, the Sweet Inspirations, the little boy! ah! girl with the beautiful high voice, Kathy Westmoreland. Lead guitar James Burton. On rhythm, Ronnie Tutt, I mean Jerry Lee Lewis, ah! woollyboogger, whatever your name is ah! John Wilkinson, on drums is Ronnie Tutt - i'll get it right, Ronnie don't worry, on the fender bass Jerry Scheff, on the piano JL Lewis ah! Glen Hardin, the guy who gives me water and my scarfs and so forth is Charlie Hodge, my conductor is Mr Joe Guercio, the fantastic Joe Guercio orchestra, out of sight, thank you very much. Theres a lot of people in the audience i'd like to acknowledge tonight ladies and gentlemen, for coming to see out show - First of all i'd like to thank everybody, really, but ah there are some people who work here, that sometimes, ah they come over, ah a guy (laughs then) wait a minute, Marty who wrote this, Colonel??. Mr Bob Dover from the Ring Brothers Barnbridge circuits and so forth and the world greatest animal trainer Mr Gunther Williams ok? He's really fantastic too (they are sitting with the Colonel), this room is so big you can't find them man and they are also cheap, they don't put any lights in here either. A very fine actress Miss Shirley MacLaine", (applause) "are you there dear?" ("over here" yells someone) "oh I'm sorry, thank you for coming in" (applause). "A very fine comedian who is down front driving me crazy is Marty Allen" (who takes his belt off and throws it up to Elvis, so Elvis rushes towards his table as if he was going to take off his belt and jumpsuit or something) "He would too-he'd do it too" (referring to Marty getting ready to take his jacket off!). "Another fine comedian Mr Pat Henry" (applause) "he works with a very good friend of mine, who has been trying to get me down Pat for years and hasn't made it yet, Tom Jones!" (Elvis then at the cheers and boo's) "I'm sorry Tom I mean you you've either got it or don't you know". (more cheers this time for Elvis) "No he know's I'm only kidding he's one of the greatest entertainers in the business and is a very good friend of mine". (I liked the way someone near my table said "sure!"?) Next Elvis introduced someone called Lesley?? and Mike -- from the 5th Dimension. "I'd like to thank you all for coming in, thank you very much".

Then into 'My Way'. Really powerful version. At the close Elvis says "ah! thank you, its not associated with my personal life, its just a good song, and we like to sing it you know the end is near and the final curtain and so forth, its a great song, but ah! -- Marty ah cool it!" (he was laughing at Elvis) OK! and into the next song, 'A Big Hunk O' Love'. Fast, great rocking sound, with some neat instrumental parts on piano and guitar from Glen Hardin/jerry Scheff and James Burton. "Thank you very much".

'You Gave Me A Mountain' follows, one of the finest unreleased ballads for a long time, with great arm swinging movements from Elvis. (hope its released shortly). 'Mystery Train'/'Tiger Man' followed, with another instrumental part from James Burton. Great trombone part in 'Mystery Train' and of course the shaking flashing white spotlight strobe on 'Tiger Man', when all the other lights go off, very very effective...

"Thank you very much, that was my second record i did ah! there's a song from Blue Hawaii i'd like to do for you, ah! i'll be there just a minute". 'Can't Help Falling In Love'. Elvis giving away many scarfs and the girls on the front row tables going wild again shouting for Elvis to come to them. A great show, probably the best of the season, certainly the most exciting of the twenty-eight I saw.

A number of British fans regretted missing this show, due to not having made reservations.

November 17 & 18 1972 - Honolulu, Hawaii
Review by Haruo Hirose - Elvis News Service Weekly, Issue 86 (December 1972)

November 17th: 8.30pm
Starts With '2001', 'C.C Rider', 'I Got A Woman', 'Until It's Time For You To Go', 'You Don't Have To Say You Love Me', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Blue Suede Shoes', 'One Night', 'Teddy Bear'/'Don't Be Cruel', 'Love Me Tender', 'Little Sister'/'Get Back', 'Hound Dog', 'I'll Remember You', 'How Great Thou Art', 'Suspicious Minds', Introductions Of Group Etc: 'For The Good Times', 'Burning Love', 'What Now My Love', 'Fever', 'A Big Hunk O' Love', 'You Gave Me A Mountain', 'Can't Help Falling In Love'
26 songs / cape with "Phoenix Design".

November 18th: 2.30pm
Show Starts With '2001', 'C.C. Rider', 'I Got A Woman' ('Amen' ending), 'Until It's Time For You To Go', 'You Don't Have To Say You Love Me', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Blue Suede Shoes', 'One Night', 'Teddy Bear'/'Don't Be Cruel', 'Love Me Tender', 'Hound Dog', 'I'll Remember You', 'How Great Thou Art', 'Suspicious Minds', Introductions, 'What Now My Love', 'Burning Love', 'Fever', 'Blue Hawaii' (excerpt), 'Hawaiian Wedding Song' (excerpt), 'You Gave Me A Mountain', 'A Big Hunk O' Love', 'Can't Help Falling In Love'
23 songs / 1 Hour long / Black jumpsuit with gold / Red lined cape with gold everywhere

November 18th: 8.30pm
'2001', 'C,C. Rider', 'I Got A Woman ('Amen')', 'Until It's Time For You To Go', 'You Don't Have To Say You Love Me', 'Polk Salad Annie', 'Love Me', 'All Shook Up', 'Heartbreak Hotel', 'Blue Suede Shoes', 'Just Pretend', 'Teddy Bear'/'Don't Be Cruel', 'Love Me Tender', 'Little Sister'/'Get Back', 'Hound Dog', 'I'll Remember You', 'How Great Thou Art', 'Suspicious Minds', Introductions, 'What Now My Love', 'Fever', 'Burning Love', 'You Gave Me A Mountain', 'A Big Hunk O' Love', 'Can't Help Falling In Love'
25 songs / 1 hour 5 minutes Show / Blue jumpsuit with silver / Silver lined cape

Elvis was great in all three shows in Hawaii, very exciting and fantastic. Elvis moved very well when he sung 'Polk Salad Annie', 'Suspicious Minds' and 'Fever' and showed us his deep, strong powerful voice when he sang 'How Great Thou Art', 'What Now My Love, 'You Gave Me A Mountain' and 'Just Pretend'. For each show Elvis came out with the guitar for the songs 'C.C. Rider' and I Got A Woman', and put on the cape for the final number 'Can't Help Falling In Love'.

Elvis didn't move in 'Burning Love' but it was still one of the highlights of the show. He threw some scarves at every show, and in the last one he took off his belt and threw this to the audience. About 3,000 Japanese fans attended Elvis' Hawaiian shows and I even met two girls who travelled all the way from Canada - certainly everyone enjoyed these Elvis shows and no one was disappointed in Elvis, he is just too great to describe.

The press conference was set for Monday, November 20th at the Hilton Hawaiian village and a part of it was shown on TV.