home
Recording Sessions
Essential lists
Elvis The Man And His Music
Elvis Monthly
Elvis The Story
Video footage
Elvis website links

Live 1974

Soundboard or multi-track & 'Officially' Released Audience Recordings

(+ means you need both    ~ means same material    °° means stereo or binaural    ° means mono)
(Listings with no 'Afternoon' or 'Evening' reference indicates that just an 'Evening' show was performed on that date)

Las Vegas, January 26 - February 9 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

January 26 1974 (Saturday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

January 26 1974 Opening Show
Review by Martha Collins - Elvis News Service Weekly, Issue 136 (January 31 1974)

Utterly fantastic - Beautiful - Great! Elvis has done it again - Driven thousands of people absolutely crazy! I'll try and give you some details on last night (26th January opening :)

I watched the celebrities come in (They all walked right by us!) and the audience was having fits; Linda Thompson came in with Jack Lord (Hawaii 5-0) and his wife, Joe Esposito, and Colonel Parker (who was wearing a grey suit - no tie, and looked better than usual!). Linda wore a white dress with a bare midriff and her light brown hair hung down to her waist - she is stunning, doesn't photograph as beautiful as she really is.

The show began with The Sweet Inspirations doing a sort of dance with Oriental fans, a couple of new songs, and then the Billie Holliday tribute again. Jackie Kahane did some new lines but lots of old ones too! He mentioned starting the March tour (1st and 2nd) in Tulsa.

Elvis came on to cheers and great excitement - he wore a white jumpsuit (what else?). I really think he should lose about 15 lbs. But he was beautiful, playful and energetic. Moved about a lot - really got into the music with his whole body, to the joy of the audience.

Opened with 'C.C. Rider', 'I Got A Woman' with 'Amen' segment (he made JD go down low twice!!) and 'Love Me'. He greeted the audience and said "Me and ol' blue eyes are back" (Sinatra opened the night before).

The next song was a new one, 'Let Me Be There', and then 'You've Lost That Loving' Feeling' (this is mistakingly listed as 'You Don't Have To Say You Love Me' in the actual review), 'Sweet Caroline' and 'Love Me Tender'. There was much scarf throwing; Elvis turned and threw one at Ronny Tutt! One girl grabbed him as he bent over and wouldn't let go of his hand - ended up scratching him. Then into that Rock 'n' Roll medley, 'Long Tall Sally', 'Whole Lotta Shakin', 'Mama Don't Dance' (he got the words mixed up and gave Charlie a frustrated look :) 'Flip, Flop And Fly', 'Jailhouse Rock' and 'Hound Dog'.

Then the usual and delicious version of 'Fever' (minus a verse or two) with red lights on his legs! Then 'Polk Salad Annie'. Next he introduced Voice (see Raised On Rock album) - the three names are Don Sumner, Tim Baty and Sherrill Nielsen - he had them sing alone while Elvis went off stage: They sang 'Killing Me Softly' - then Elvis returned with a bandaid on his finger, and sang a duet with Sherrill Nielsen - 'Spanish Eyes' - beautiful!

'Suspicious Minds' was next. Then he tore off the bandaid and took off a ring and handed it to Charlie.

He introduced the group on stage, as usual. Charlie was "The guy who sings water and gives me harmony!!!". He has a new bass player - said he didn't know his name - "Oh, yes, Duke!"

Then he read from a piece of paper to introduce the celebrities in the audience. The quotes indicate what Elvis said about them. First.. "A show business veteran", George Burns; James Brolin (of Marcus Welby) "Stay close to the stage doc', I might need you!;" Mike Connors (of Mannix) and his wife on crutches. Mike insisted on a scarf - Elvis was surprised and handed him one, saying "A scarf, my belt, my suit...". Lorne Greene (Bonanza) who caught a blue scarf and was thrilled about it too. Ernest Borgnine, George Kennedy, Danny Thomas "My neighbour - he built my house but his is too big and blocks my view of L.A.!" And Jack Lord "One of my dearest friends on earth".

Elvis then sang 'I Can't Stop Loving You', then a religious song ('Help Me') - the first line is "Lord help me walk one more mile" (with more duetting with Sherrill Nielsen). He said he had just recorded it - seems he is working on a new Gospel album, and at least two songs were recorded for it in December!!

Then he announced Marty Pasetta and went on about how great he is "Producer of my Aloha special - the way he arranged the mirrors and lights and all, he did a fantastic job". He turned slightly and said: "That's all for that son-of-a-bitch!". The audience howled, "Sorry Marty!". Then he sang 'An American Trilogy', "A Big Hunk O' Love' and 'Can't Help Falling In Love'.

During 'Can't Help Falling In Love' Elvis came forward, shaking hands. Lorne Greene stood up and shook both of Elvis' hands - the whole audience was giving Elvis a standing ovation, naturally! How boyish Elvis looked, and acted! Like a child on Christmas morning! He was delightful!

Lisa Marie is here (for her birthday??) but we haven't seen her. We heard Elvis rehearsing yesterday as we confirmed our reservations!! He going over the end of 'Can't Help Falling In Love', he was directing. He sort of sounded nervous and hard-working!

We also heard that the second show on Sunday is for the press only. We got thrill out of the flowers all over the Bell Captain's area - big arrangements - the envelopes all said "Elvis". The souvenir booth is being run by the sisters of the home of the good shepherd. Some nice new items, new tour photos book etc. and the menus are beautiful too.


Tape Logs
 
Song Selection
January 26 1974 - Opening Show
Felton Jarvis' Song Selection - Jan. 26 1974 Opening Show
 


January 26 1974 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 27 1974 (Sunday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      I Found My Thrill (FTD)°
C. C. Rider       I Found My Thrill (FTD)°
I Got A Woman / Amen       I Found My Thrill (FTD)°
Love Me       I Found My Thrill (FTD)°
Let Me Be There       I Found My Thrill (FTD)°
You've Lost That Lovin' Feelin'       I Found My Thrill (FTD)°
Sweet Caroline       I Found My Thrill (FTD)°
Love Me Tender       I Found My Thrill (FTD)°
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Jailhouse Rock / Hound Dog
      I Found My Thrill (FTD)°
Fever       I Found My Thrill (FTD)° (spliced with 'opening' from February 1 DS)
Polk Salad Annie       I Found My Thrill (FTD)°
Spanish Eyes       I Found My Thrill (FTD)°
Suspicious Minds       I Found My Thrill (FTD)°
Introductions /       I Found My Thrill (FTD)°
The Most Beautiful Girl In The World (1 line)       I Found My Thrill (FTD)° (not listed)
I Can't Stop Loving You       I Found My Thrill (FTD)°
Help Me       I Found My Thrill (FTD)°
An American Trilogy       I Found My Thrill (FTD)°
Let Me Be There (With reprise)       I Found My Thrill (FTD)°
Can't Help Falling In Love / Closing Vamp       I Found My Thrill (FTD)°

Review

January 27 1974 10.00pm Show
Review by Martha Collins - Elvis News Service Weekly, Issue 137 (February 12 1974)

Las Vegas really blows your mind. I hope you don't mind if I take the time to tell you how it impressed me on my third visit. It's particularly difficult for bonafide Elvis fans, No amount of adoration or advance planning will get you a front-row seat. (That's usually true on tour, too.) In fact, we heard one captain turn down $200, Sunday night for a seat by the stage. His answer: "Only if you drop $100,000, at the tables could I get you up front." Las Vegas belongs to the very wealthy, the gamblers, and the powerful. It becomes depressing to see the often blasé rich gaining the seats we average fans have no way of getting. All types of people come to see Elvis - all ages and nationalities. To many, he's virtually a freak - someone to say you saw, someone to criticise and put down - but they go to see him and often more than once. It's a status-symbol to see Elvis in Las Vegas.

Beyond that, there is - for the fan - the terrible excitement of being surrounded by Elvis! His business people; his family: posters and decorations all over everyone talking about him; meeting fans from all around the world. Imagine how one feels literally bumping into Jackie Kahane in the lobby: seeing Colonel Parker and Tom Diskin in a booth in the coffee shop Vernon Presley at the slots: Charlie Hodge at the desk Joe Esposito and Linda Thompson entering the showroom!

Now to the shows, I've already given you the basic songs and order, so I won't repeat that. On Sunday, January 27, there was, after all, only one show at 10pm. The story was that Elvis opened on Saturday because Sinatra opened on Friday and because of heavy demand was asked to do two shows (as Saturday is always the busiest night in town.) So the usual one show was switched to Sunday, to be fair to Elvis, Marty Allen and his wife care in. Linda Thompson appeared again, in slinky white and wearing a gold arm bracelet. She is exquisite - her photos do not do her justice, She came in with three female friends.

The shows were essentially the same as opening night - which was essentially the same as the August shows - which were essentially the same... yes. But still it's a great show! Elvis came on complaining "The mirrors on my suit are driving me crazy!" A Japanese fan (of which there were many) handed him a large Teddy Bear. In singing 'You've Lost That Lovin' Feelin' (not 'You Don't Have To Say You Love Me' as previously reported - for some reason, I get then confused!) Elvis sings with his back to the audience and just a small spotlight on his head and shoulders, until the chorus, Sometimes, to tease the men working the lights, he wiggles around so they can't find him! He is really moving with the music - fantastic jerking, arm movements and karate kicks. When starting the 'Long Tall Sally' medley, he fooled around and lost the key. He asked for the key again and when Glen hit a chord on the piano, Elvis said, "No! The key to my room!" He still loves to fool in 'Fever' - calling his own name in a high voice (the audience loves that) and acting out the words, including panting heavily after "had a very mad affair"!!

Each night, Elvis introduces Voice as "A group that's been with me about five months, I call them Voice, Found them in an upholstery shop in Nashville!" I believe the third member's name is Tim Baty. During the horn solo in the duet with Sherrill ('Spanish Eyes') Elvis did a bit of Flamenco dancing and shouted "Ole!", to the pleasure of the audience.

When introducing Marty Allen, Elvis said that when he first came to Vegas, he found an 8x10 photo in his room of a guy in a white suit and sideburns - it was Marty Allen! Marty wanted a kiss - Elvis pretended to kiss him - almost! Then knelt before him on the ramp and sang a line of 'The Most Beautiful Girl in the World' to him, "See? I told you I would" he said to Marty. "I promise to learn the whole song and sing it some time."

That now religious song is called 'Help Me' and vis says it is his next single! I'll try to remember some lines - "Lord, help no walk one more nile, just one more mile; Help me smile one more smile, just one more smile,.. With humble heart, on bended knee, I'm begging you please - Help me." Very country-sounding.

Ho actually dances in 'Sweet Caroline' - is so graceful! He got lost in the song and did the chorus over and over. Later in the show, he sang 'Let Me Be There' again - twice in one show - "Because we like to sing it so much." A fantastic rendition - an audience favourite, along with 'An American Trilogy'. At one point, Charlie couldn't reach Elvis to get another scarf to his so throw it at him! He missed and it slid down the nike cord. Elvis bent over to pick it up, turned and mumbled "Smart-ass!" at him, then took Charlie's hand as if to shake it and kicked him - right in the front! In fact, Charlie got kicked a good deal! Someone threw a key onstage and vis picked it up, hold it awhile, then gave it back with no comment at all.


January 28 1974 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

January 28 1974 Dinner Show
Review by Martha Collins - Elvis News Service Weekly, Issue 137 (February 12 1974)

I met Dick Smith (from Minneapolis, Minn.) in line, a reporter for Rocky Barra's Strictly Elvis magazine, and we had a ball comparing notes on performances, We agreed that Elvis should lose some weight. Perhaps his doctor won't allow this now as he needs strength to stay healthy. You can see that the newspaper reviewer mentioned the extra weight (very kindly, I thought) and Dick and I were at a loss as to what to say about it to other fans. Otherwise, Elvis looks - well - he is simply beautiful - there is no other word for him. He radiates a sweetness that is tremendously charming. He is playful and is enjoying himself thoroughly on stage. My friend, who was not a fan and couldn't understand me at all, cane out of the first show saying Elvis is the most beautiful (there's that word again) and exciting performer in the world! She says he is LOVEABLE - is that his secret!?! But the extra weight detracts and tends to age him. Certainly, the all-white jumpsuits don't help any.

After the opening numbers, Elvis announced "If you're interested, Muhammed Ali won the fight in a decision". He was pleased - I'm sure you all remember that Elvis gave Ali a robe about a year ago. Then he added: "Tune in at 11:00 for the rest of the news!"

A surprise was in store for us tonight - and a big one. With "Here's how I used to sing - oh - ten years ago" (it's twenty years, Elvis!) he began 'My Baby Left Me' in that high, high voice and sound ed EXACTLY as he used to!!!! The audience was amazed and loved it!! He even held his nose at tines to sound more nasal!

There were some technical difficulties. The nikes had some feedback and the spotlights didn't quite follow vis at times, of course, he deliberately makes it difficult once in a while to tease, but the feed back annoyed him. He made a few good-natured comments, but in the duet, he looked up sternly and said "Watch that feedback" between lines, quite seriously.

Good old Dick Smith yelled out a request - which we all know Elvis always ignores, About to start 'Suspicious Minds', Elvis turned and said, "What?" and with obvious relish, nodded and said, "OK, 'Tryin' to get to You'!" And sang it - great! The audience responded very warmly too.

After Voice sang and the duet was over, Elvis asked the Stamps (who were totally unprepared) to sing. 'Why Me Lord'. They hesitated, in their surprise, then J.D. said, in his deep voice, "Yes, Elvis," Elvis faced the audience squarely, looked up, and holding his hands in a prayerful position, retorted: "Yes, master. Yes, master!" Elvis stayed onstage for this: he goes off for the Voice solo. This time he introduced the new bass player as Duke Winslow; at the midnight show it became Hugo - then he shrugged and said it didn't matter! Told John Wilkinson he was very forgettable!

Suddenly Elvis walked over to the far stage right and took hold of the side curtain, saying, "I just realised you can't see over here. You can't even see the orchestra! I'll tell you what I'll do - next show I'll get scissors and ...." (here he made a funny noise imitating snipping scissors! Adorable) Again, 'Let Me Be There' is fantastic. He does the ending over quite often, and goes up an octave, What a voice!


January 28 1974 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
My Baby Left Me
      I Found My Thrill (FTD)°
Tryin' To Get To You       I Found My Thrill (FTD)°

Review

January 28 1974 Midnight Show
Review by Martha Collins - Elvis News Service Weekly, Issue 137 (February 12 1974)

The show was late starting, as was one other, by about fifteen minutes. This is unusual for Vegas, Dr. George Nichopolous, Elvis' personal physician, sat down at our table to chat with friends! He has white hair and wears modish clothes.

Elvis again did 'My Baby Left Me' - to the amazement and delight of the audience. This time he said he "recorded it about fifteen years ago"! Also, to out surprise and Dick Smith's great thrill, he did 'Tryin' to Get to You' again, saying "This is one of my favourite songs"!!

When he spotted his doctor in the audience, he made faces at him, and at one point, he said, "Shut up, Dr. Nick!" Charlie hand ed him a slip of paper and he walked forward to greet Fabian, saying "He's one of my old friends," Fabian (in green shirt and beige suit) acknowledged the applause and then turned to Elvis, with both arms outstretched towards him. The look on his face was the same look Lorne Greene and Mike Connors had on Opening Night when they stood up to get scarves. I do not exaggerate and others I asked agreed with this, it is a look of utter adoration! What power our boy has!! Elvis backed up smiling and said, "I watched you on the late show last night. 'Beach Bingo' or something. Or was it one of my movies?!" It was as if Elvis sensed the need to break the mood by poking fun.

Elvis is so unassuming. After Voice sang, he came back onstage saying, like a little boy, almost shyly, "Do you want to sing with me, Sherrill?" Aside to the audience, he added: "I think he's kind of cute, anyway!"

In conclusion, Elvis is giving a fantastically-spirited performance, moving more than he has in a long while, and looking gorgeous, except for that weight-problem. He's singing songs from all different stages of his career plus new ones, and even duetting on stage. The Hilton is not quite the same - they are remodelling and building a new tower and facilities, and have a new line policy. (Guards are now keeping order and allowing lines to build up only for one show and seating section at a time, Previously. the line was a mixture of downstairs and balcony and later shows, because no one knows when to get in line and everyone panics about it!) But the basic Vegas problems and pleasures are still there, the difficulty and expense in traveling and seating, and the joy of being immersed in Elvis and seeing him fairly closely over and over. At the last show I saw, Elvis said. "We know how long you had to stand in line and wait. We do our best to entertain you - we hope we have done our job." You certainly have, Elvis!!

Some additional notes, - :- Jackie Kahane said they would be in Tulsa, Oklahoma on March 1 and 2.

The souvenir booth did have some new things, but where other organisations asked for a dollar donation or whatever you wanted to give, these were priced and quite highly. For example, they had scarves in dark and light blue, white, yellow, black, and red, with Elvis' autograph printed on then. For $5. (I don't know the British equivalent but that's not cheap!) The toy hound dogs were back: Small ($3.50) and large ($6.50). The new photo books were $3.; the buttons $1.


January 29 1974 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

January 29 1974 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

January 30 1974 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

January 30 1974 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Closing Vamp / Announcement
      I Found My Thrill (FTD)°

Review

January 27-30 1974
Review by Dick Smith - Strictly Elvis, Issue 71 (March 1974)

From January 27th through the 30th, Mr. and Mrs. Fontana di Confection (that's Gibby Carmichael and wife Patsy traveling incognito) and I saw the greatest show on earth five times in a row at the Las Vegas Hilton. Any regrets? Well yes, just two: Pat just missed getting a kiss and a scarf, and all three of us wanted to stay for twenty more shows! But here is what Elvis gave us:
1) C. C. RIDER
2) I GOT A WOMAN
3) LOVE ME
4) MY BABY LEFT ME
5) TRYIN' TO GET TO YOU
6) YOU'VE LOST THAT LOVIN' FEELIN'
7) SWEET CAROLINE
8) LOVE ME TENDER
9) LONG TALL SALLY / WHOLE LOTTA SHAKIN' GOIN' ON / MAMA DON'T DANCE / JAILHOUSE ROCK / HOUND DOG
10) FEVER
11) POLK SALAD ANNIE
12) SPANISH EYES
13) SUSPICIOUS MINDS
14) I CAN'T STOP LOVING YOU
15) HELP ME
16) AMERICAN TRILOGY
17) LET ME BE THERE
18) CAN'T HELP FALLING IN LOVE

'C.C. Rider' is always a fine opener, and Elvis really rocked on this and the next, his old standard 'I Got A Woman'. On the last verse of 'C.C. Rider', each time Ronnie Tutt accentuated the end of a phrase with a hard drum roll, Elvis snapped his head back, clowning and pretending to have hurt his neck. Elvis and J.D. Sumner supplied the now expected 'Amen' ending to 'I Got A Woman', followed, of course, by the equally famous "Elvis" ending.

His recent hospitalisation for pneumonia has left Elvis a bit overweight in the stomach region, although his face isn't full at all--but this didn't slow him down a bit! Throughout each show, Elvis was completely relaxed, self-assured, genuinely and thoroughly into his music, moving, rockin', and joking, kidding, teasing, and laughing with both the audience and his backup groups.

Elvis introduced his old rocker 'My Baby Left Me' by saying, "I'd like to show you what I sounded like about ten or fifteen years ago," and at one point he laughed and held his nose to get the younger nasal sound of the late-Sun, early RCA period. Elvis really had fun with this one; the arrangement was gutsy and hard, and as he turned to Burton for the instrumental ride, he uttered a wild, "Aw, play it hard, James."

One of my all-time favourites has always been the nasty, driving, bluesy 'Tryin' To Get To You', which Rocky Barra and I once yelled out a request for, in unison, in August 1971; to our delight, he did it then, and to my delight this time, he responded to my request by replying, "Tryin' to get to me? OK," and turning to James he said, "You remember this one ? Key of E." The man didn't let us down, for besides the incredibly powerful, bluesy middle part, he added the song to the show thereafter, and has continued to do it since we left, so I'm told, introducing it each time by saying, "This is one of my favourite songs, that I recorded about 2,500 years ago, and I'd forgotten how much I liked it." Thanks, Elvis !

'You've Lost That Lovin' Feelin' was accentuated by appropriate karate chops and kicks, Elvis-style, and at one show, he got so carried away in 'Sweet Caroline' that he repeated a whole verse by mistake, and told the audience after he'd finished, "Man, I forgot what I was doing in that song, and repeated the durned thing over and over". At another show, comedian Marty Allen stood up and reached out for a kiss (!) during 'Love Me Tender'. Elvis bent down, then staggered back, repeating "No, no, weird, weird."

The staggering six-song medley followed: Elvis began 'Long Tall Sally' by stuttering "I - we - you - us - what? oh yeah... I'm gonna tell Aunt Mary..." etc. Several times he sang, "I saw J.D. with baldheaded Sally," and once he actually sang, "Well, Long Tall Sally, she's built sweet, she's got everything that Jerry Lee needs". 'Hound Dog' got a curious, squirrelly "You ain't nothin' but a bullfrog". I hope this comes across on paper, folks: Elvis was really into his music, Elvis does what he does better than anyone who's ever tried to do it... with more power, taste, and style every time I see him!

'Fever', one of the most solidly professional numbers I've ever seen Elvis do, was of course done out on the runway, with only a silver light illuminating his face. Snapping his head or legs in tempo with Tutt's accentuated drum rolls, Elvis broke up his audience with some unbelievably squirrelly lyrics: "Captain Smith and Poca-poca-pocahontas, had a very mad affair - pant, pant, pant - when her daddy tried to kiss - uh, kill him - she said Daddy, Oh don't you dare - he gives me rashes" (in one show it was "He gives me blemishes.")

Elvis has a second male backup group, Voice, which is led by Don Sumner. They have been working with Elvis for about five months and they take their place on the stage behind the Stamps. At this stage in the show, Elvis walks off stage and had Voice sing a solo number. Following this, Elvis asked Sherrill Nielsen, of Voice, to accompany him on a beautiful duet, 'Spanish Eyes', which also features a virtuoso Spanish guitar solo by the accomplished Mr. Burton, plus Spanish trombone backup on the break.

At each show, Elvis preceded his next number by saying, as he walked over to Charlie Hodge to get a glass of "wah-wah" or Gator Aid, "You know what I can't do?" Then he started singing 'I Can't Stop Loving You', but at one show he hadn't finished swallowing by the time he had to sing, so he merely laughed and said... "Drink water and sing at the same time."

Elvis introduced a forthcoming gospel single entitled 'Help Me', which he said would be out soon. It's a beautiful song with fine lyrics, but I doubt it will go far in the charts. However, I'm willing to predict that if Elvis released a live version of his next number, a fine up-tempo semi-rocker titled 'Let Me Be There', as a single, it would go right to the top...for it's easily the best song I've seen Elvis do in many years. Elvis enjoyed performing this one more than any other song in the show, and gave it a dynamic reprise after each performance, to the thunderous applause of the audience. Once he got into it so much that he told us, "We really like to sing it, so if you don't mind, let's do the whole thing over again, OK?" 'Let Me Be There' is easily as fine a song as 'Suspicious Minds' or 'Burning Love'. Any chance of having a live single, Elvis ?

Three afterthoughts: In two shows, Elvis asked J.D. Sumner and The Stamps to sing his favourite gospel song, 'Why Me Lord'. Just beautiful! At another show, six young Japanese fans handed Elvis a '56 magazine with his picture on the cover; Elvis looked at it, laughed, and said in a high falsetto voice, "I was just a baby". This same funny falsetto was used in 'Fever' each time when Elvis sang "I light up when you call my name:" then came the falsetto - "Elvis, Elvis, what, what!" Also, Elvis has a new bass player whose name, I think, is Duke Bardwell. I'm not sure because Elvis kept calling him Bogwell or Winslow or just saying "He's got a weird last name, I can't even pronounce it, and I keep forgetting it". And here's the show-stopper folks: at one show, Elvis welcomed everyone to his show by stating, "Good evening ladies and gentlemen, my name is Duke Bardwell. No really, I changed it when I was two."

Well, that's it folks. The king rocked and wailed in Vegas... we were there, and I hope that through this account we have shared just part of the excitement and dynamite with you!


January 31 1974 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

January 31 1974 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 1 1974 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Fever
      I Found My Thrill (FTD)° ('opening bars' only - spliced with version
from January 27)

February 1 1974 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
The First Time Ever I Saw Your Face
      I Found My Thrill (FTD)°

Review

February 1 1974 Dinner & Midnight Shows
Review by Kate Shuttleworth - Elvis News Service Weekly, Issue 142 (March 27 1974)

Elvis is in great form. His voice is very powerful and has lost that husky quality that was so noticeable on the tracks of the Raised On Rock LP. He has put on weight around his middle but "The Face" is as fabulous as ever. His act is not so radically different. He still starts with 'C.C. Rider' and 'I Got A Woman' and then a great version of the oldie 'Tryin' To Get To You', sobs in voice and all. By the way, he's still throwing the guitar at Charlie after pretending to throw it to the audience. He is having a ball and jokes and sillies around a lot with the girls and JD etc. Several times he put the pick into his mouth so it protruded like two front teeth of Dracula and then laughed.

He even goofed up the words to 'Sweet Caroline', which is back in, and then twirled two fingers by his head to say he's mad!! he still gives away scarves during 'Love Me Tender' and back in is 'Polk Salad Annie'. In last nights Dinner Show (1st Feb) he did jerky robot actions during the intro to this for a laugh.

The new guys making up Voice do a spot singing 'Killing Me Softly' the Roberta Flack song. The tenor then stays and Elvis comes back on stage and does a duet with him of 'Spanish Eyes', the Al Martino song. It's beautiful and Elvis keeps looking at the other guy and trying to make him laugh. He succeeded one show and they fluffed a line or two. Elvis then slapped the fella on the back. In the instrumental break Elvis makes Spanish noises like that loud brrr ha or Variba!!! 'Fever' is still highlighted and when he sings "now you listen to my story" he misses over the word "sss-ss--tory" and "Captain Smith and Pocahontas had a very mad affair" he makes panting noises. Last night at the Midnight Show he followed this by saying "Cheetah" (the monkey friend of Tarzan.)

The Stamps also do a number called 'Why Me Lord', which is very slow and a vehicle for JD. Elvis remains on stage for this and although in shadow he can be seen and heard singing softly with them.

During last nights Dinner Show he said "Hey ain't that Red Foxx out there" to Charlie and looking into the wings Charlie replies "yeah" and Elvis says "come on out Red" which he does. I don't know if many fans know? but he's a famous comedian over here he came on stage and shook Elvis' hand. When he was walking off Elvis asked him to do his funny walk and he does so. Then Elvis imitates him!!! He looked like a cross between John Wayne and Groucho Marx!!

In the intro to the song 'Help Me' Elvis says this is the song they just recorded and should be out as a single shortly. Its a beautiful song, but even better is his version of the Olivia Newton-John song 'Let Me Be There'. This is the song of the show I feel. He gets a great sound on it and often repeats the last verse as its been received so well.

'I Can't Stop Loving You' is still in but he occasionally starts 'Blueberry Hill' with the same intro. He said to Glen "You don't know which i'm going to do, do you, do it (the intro) again". He later reverts to 'I Can't Stop Loving You'.

At the start of last nights Midnight Show the mic' stand was flexing and he was fooling around with it. After the first two numbers he took a mic' off Charlie as usual and then also took the mic' off that stand as well and played with two for a while. during the 'Amen' ending to 'I Got A Woman', while JD does his low bit, Elvis crouches down like a plane with his arms out and shakes them then flaps them like a bird. He started 'Love Me' the Thursday Dinner Show (Jan 31) and promptly gave away a scarf. He then stood and becconned to Charlie with his fingers to give him another. Charlie trotted out, put his hand on the top of Elvis' head, pulled it down and put a scarf round his neck...

Elvis, stood there with his head bowed whilst Charlie did this-like an ashamed schoolboy, might. Another show during this song Elvis went to Charlie for a scarp and stayed facing the audience waiting for Charlie, but instead Charlie put it over his head and around his mouth!! For once Charlie is getting his own back on Elvis. He's been getting doused with water regularly each night and at last nights Dinner Show he threw some back at Elvis who just jumped and laughed.

During the intro's the first two shows we saw he went to introduce John but went "Whew.. you been eating garlic again John". He then called him garlic breath at the late show. Also at last nights Dinner Show whilst holding Kathy's hand up for her intro, he kicked sideways and caught John behind the knee. John winced although he smiled and flexed his leg to sort it out.

At last nights Dinner Show he said it was his daughters birthday today (the 1st Feb) and unfortunately she had tonsillitis and couldn't fly yet, but she usually sat there (pointing to his booth) and doing a high voice said "Daddy daddy do 'Suspicious Minds'... cool it baby". For last nights show he included 'The First Time Ever I Saw Your Face' with a dedication for Sheila (looking at The Stamps).

He's not doing 'Steamroller Blues' but both 'Polk Salad Annie' and 'Suspicious Minds' are still in. As I said at the start these are only first impressions and I have a lot more shows still to see.

I couldn't see any sign of Linda in the showroom. Elvis' booth has been filled with the audience each night.

For all four shows so far Elvis has worn the same two jumpsuits. One is white with silver filigree patter, with silver inserts and a white patterned belt and no cape. The second is again white with red inserts and a red and silver interwoven pattern on the scarves have been white, midblue, navy blue, yellow and I think red. His hair is quite short and layered and looks great.

Jackie Kahane is still here despite all reports he wouldn't. He's also saying the same old jokes but adding on the one about going shopping with his wife and her stopping with him walking on and saying where shall we eat tonight and a fella saying anywhere you like sweetie. He then adds thats how I first met Charlie Hodge. The Sweet Inspirations act is the same Billie Holiday medley as last August.


February 2 1974 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 2 1974 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 3 1974 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 3 1974 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 4 1974 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 4 1974 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 5 1974 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 5 1974 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 6 1974 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 6 1974 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 7 1974 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 7 1974 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 8 1974 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 8 1974 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 9 1974 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 9 1974 (Saturday - Closing Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

February 1974 (Various Shows)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
I Found My Thrill (medley)
      I Found My Thrill (FTD)°° (sound booth recording - two microphones)

Notes

Blueberry Hill / I Can't Stop Loving You (I Found My Thrill Medley) - Is a medley that has been assembled by 'Follow That Dream' to show the good humoured nature of Elvis’ concerts.

Starting with Elvis teasing the crowd with 'Well, Well, Well' and 'When My Blue Moon Turns To Gold Again' (February 9 Dinner Show) he then goes into some one liners including 'Does Your Chewing Gum Loose It's Flavour On The Bedpost Overnight' (Unknown Show) and 'Blue Monday And My Head Is Bad' (February 4 ?).

The medley also includes a few Blueberry Hills - 'My Scarf Turns Blue' and 'My Nose Turned Blue' lines, combining them with the 'On Mockingbird Hill' and 'On Gooney-Bird Hill' lines.


On Tour, March 1 - March 20 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

March 1 1974 (Friday)
Mabee Special Events Center, Oral Roberts University, Tulsa,
Oklahoma
Also Sprach Zarathustra
      Sold Out (FTD)°~Destination USA (FTD)° (1st pressing - listed as
September 4 1972 DS)
C. C. Rider       Sold Out (FTD)°~Destination USA (FTD)° (1st pressing - listed as
September 4 1972 DS)
I Got A Woman / Amen       Sold Out (FTD)°
Love Me       Sold Out (FTD)°
Tryin' To Get To You       Sold Out (FTD)°
Sweet Caroline       Sold Out (FTD)°~48 Hours To Memphis (FTD)°
Love Me Tender       Sold Out (FTD)°
Johnny B. Goode       Sold Out (FTD)°
Hound Dog       Sold Out (FTD)°
Fever       Sold Out (FTD)°
Polk Salad Annie       Sold Out (FTD)°
Why Me Lord       Sold Out (FTD)°
Suspicious Minds       Sold Out (FTD)°
Introductions       Sold Out (FTD)°
I Can't Stop Loving You       Sold Out (FTD)°
Help Me       Sold Out (FTD)°
An American Trilogy       Sold Out (FTD)°
Let Me Be There       Sold Out (FTD)°
Funny How Time Slips Away       Sold Out (FTD)°
Introduction of Oral Roberts & his family       Sold Out (FTD)°
Can't Help Falling In Love       Sold Out (FTD)°
Closing Vamp       Sold Out (FTD)°
Announcements       Sold Out (FTD)°

Review

March 1 1974 - Tulsa, Oklahoma
Review by Judy Hawthorne - Strictly Elvis, Issue 72 (April 1974)

Like a rocket being blasted off its launching pad, Elvis started his new March tour last night in the magnificent Mabee Center at Oral Roberts University. A sellout crowd of nearly ten thousand anxiously awaited Elvis' appearance by looking at the new edition of the Elvis photo books (in two sizes no less), the new colour 8x10, photo buttons, and a new colour poster. A special added attraction was the autographed Elvis scarves in various colours. You would have thought someone was giving away free gasoline the way fans rushed to the souvenir stands.

For some reason, one I am not about to argue with, the first half of the show was cut to only thirty-five minutes. After a brief intermission, the arena was bathed in total darkness. This allowed the opening chords of the '2001' theme to boggle the mind. Premature screams and applause broke wide open as a single spotlight hit the right side of the stage as Elvis walked on. Everyone who has experienced it knows what an eerie feeling comes over you in this dark cavern of sweeping flashes of light and suddenly released hysteria.

Decked out in a white jumpsuit with shimmering gold designs, matching inlays, and a dark blue scarf, Elvis warmly acknowledged his people. His first number was 'C.C. Rider'. At least I think it was. The screaming and applause was so overwhelming that I could barely hear the man's voice.

Elvis looked well, considering what he's been through in the last year. His hair was shorter and he has lost some weight since his recent stint in Vegas. But his voice... ah, yes... that golden voice. Elvis has never, but NEVER sounded better than he did last night.

'Sweet Caroline' and 'Polk Salad Annie' were put back into the lineup, and Elvis really went all out on both of them. Turning the spotlight over to the Stamps for 'Why Me Lord', Elvis stood quietly on the dark side of the stage and finally began to sing along softly. But he got so caught up in it, that he went over to the group and joined in. And he sang with them, never above them.

Elvis introduced a new song he recently recorded called 'Help Me'. If this song is any indication of the type of material to be included on his next album, we're all in for a real treat.

The best number of the evening was 'Let Me Be There'. If anything can be classified as "Elvis music," this is it! He was all over the stage, shaking his leg, pounding his fist, and bobbing his head. Elvis just couldn't get enough of it. When the song was over, he refused to let go of it, and started all over again.

Elvis handed out several blue scarves, and when the house lights were turned up, he commented on how beautiful the building was and apologised to the fans who were "Sittin' up there in the rafters."

The hour-long performance moved at an extremely tight pace with no nonsense and very little chatter from Elvis. This was to be expected from the first show, but it was a little more serious than that. At about 6:30 p.m., just a half hour before the doors opened, a man carrying a briefcase threatened to blow up the Prayer Tower and the Mabee Center on the ORU campus. Fortunately, police were able to capture the man, and there was no bomb in the briefcase. The concert went on as planned, and officials said later the threat was not related to Elvis' appearance in the city.

This kind of thing has got to put a tremendous strain on all concerned, especially Elvis, and I know it had to have had some effect on his performance.

Looking very much like a proud American eagle with his golden cape-like wings spread wide for all to see, Elvis took his final bow and left the stage.

It's kind of nice to see Elvis before anyone else does. Usually the Oklahoma stop comes at the end of the tour, but not this time, And believe me, Elvis is well and knocking 'em dead!


March 2 1974 (Saturday - Afternoon Show)
Mabee Special Events Center, Oral Roberts University, Tulsa,
Oklahoma
Recorded on Soundboard
       

March 3 1974 (Sunday - Afternoon Show)
Astrodome, Houston, Texas
C. C. Rider       Unreleased
I Got A Woman / Amen       Unreleased
Love Me       Unreleased
Tryin' To Get To You       Unreleased
Sweet Caroline       Unreleased
Love Me Tender       Unreleased
Johnny B. Goode       Unreleased
Hound Dog       Unreleased
Fever       Unreleased
Polk Salad Annie       Unreleased
Why Me Lord       Unreleased
Suspicious Minds       Unreleased
Introductions       Unreleased
I Can't Stop Loving You       Unreleased
Help Me       Unreleased
How Great Thou Art       Unreleased
Let Me Be There       Unreleased
Funny How Time Slips Away       Unreleased
Can't Help Falling In Love / Closing Vamp       Unreleased

Review

March 3 1974 (Afternoon Show) - Houston, Texas
Review by John Woodard - Elvis News Service Weekly, Issue 142 (March 27 1974)

The time for Elvis Presley's performance finally drew near. On March 1st. an A.M. radio station, KILT, began the event by "saluting the King of Entertainment" and playing his records the whole weekend. Finally on March 3rd at two o'clock the rodeo began. After an hour of rodeo events EL's band and the stage were pulled to the centre of the rodeo arena. The band consisted of James Burton, John Wilkinson, Ronnie Tutt, Charlie Hodge, Kathy Westmoreland, J.D. Sumner & the Stamps Quartet, The Sweet Inspirations, Voice, and Glen D. Hardin. These people were really crammed together because of such a small stage.Since this was all the band consisted of, Theme from '2001' was not played. Instead Ronnie just hit a drum roll, the band plunged right into 'C.C. Rider'.

Elvis came out riding in a red jeep. He looked great! He wore a brand new white jumpsuit with beautiful jewels covering it. He also wore a blue scarf. I'm going to try to recall this fantastic concert as best as I can for you. Elvis had a great new order with a couple of new things thrown in.

This might not be the exact order but it's close and I know all the songs are listed. Elvis looked at the crowd for awhile and said:- "Good evening ladies and gentlemen, I'm event number eight", then started singing 'C.C. Rider' and over 40,000 people started screaming. During the quiet part Elvis said "What are we gonna do now?".

Next he belted out 'I Got A Woman' and sang the 'Amen' finale twice. He said, "If we don't get it right the first time, we do it again". Great! Elvis next soared right into 'Love Me'. This song was beautiful! Next on the agenda came to the surprise of every body: 'Sweet Caroline'. Elvis was moving all over the stage during this song! He would dance and wiggle and the audience would go wild. He really put everything he had into this song.

"Since Love Me Tender was my first movie, I thought I'd sing the song". He did a fantastic version of this song. The audience loved it. Next came 'Polk Salad Annie' with a karate movement sequence at the end. Elvis then bounced right into 'Johnny B. Goode'. This song was exactly like the Aloha version.

Elvis then kept the momenta up by singing the fast version of 'Hound Dog'! The audience again went completely wild. Elvis ended the song quite differently than what I had ever heard before. He did a series of combinations of the words chang & choong, much like the chang, chang, a chang a lang a lang a, at the end of 'Polk Salad Annie', but without the "lang". He did this for about two minutes and then gave the last line, "and you ain't no friend of mine".

Elvis' next comment was "I'd like to do a song featuring J.D. Sumner. It's one of my favourite songs". The song was a beautiful rendition of 'Why Me Lord', with J.D. singing the verses way low and Elvis coming in in the chorus. This could even be better if Elvis sang the whole song. Terrific!

Next came 'Tryin' To Get To You' which was followed by "a song we just finished recording," 'Help Me'. A beautiful song! After this song Elvis moved right into 'Suspicious Minds'. He then introduced the members of his band. Elvis drank some water and said "You know what I can't do?" 'I Can't Stop Loving You'. He sang the ending of 'I Can't Stop...' Twice!

Then came the climax, 'Fever', with loads of leg movement. The audience was screaming with excitement! Near the end of this song, 'Fever', Colonel Parker mounted a very small donkey and Elvis' dad lead the donkey to the stage. Elvis started laughing and the Colonel handed him some kind of drink. ELVIS then began 'Let Me Be There' and though he didn't see, Vernon mounted the donkey and the Colonel gave it a slap on the rear and Elvis' dad got off quickly.

The next song was 'How Great Thou Art'. This song really touched the audience. Elvis then did 'Funny How Time Slips Away'. After this song Elvis said "I've really enjoyed it ladies and gentlemen. The first time was great and this time was even better. I really want to thank you for coming even through the gas shortage, so thanks and I'd like to sing this next song especially for you". He proceeded to sing the beautiful 'Can't Help Falling In Love'.

HE stood on the stage for a little while as if admiring the audience, (then jumped into the jeep and rode around the Astrodome waving to all' the fans, and then he was gone.


March 3 1974 (Sunday - Evening Show)
Astrodome, Houston, Texas
C. C. Rider       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
I Got A Woman / Amen       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Love Me       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Tryin' To Get To You       The 8th Wonder Of The World (Venus)°~Event Number 8°
~A Legendary Performer Volume 5°~Livestock Live° (listed as A.S.)
All Shook Up       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Love Me Tender       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Johnny B. Goode       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Hound Dog       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Fever       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Polk Salad Annie       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Why Me Lord       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Suspicious Minds       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Introductions       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
I Can't Stop Loving You       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Help Me       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
How Great Thou Art       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Let Me Be There       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Funny How Time Slips Away       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Elvis Talks       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
Can't Help Falling In Love       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)
/ Closing Vamp       The 8th Wonder Of The World (Venus)°~Event Number 8°
~Livestock Live° (listed as Afternoon Show)

March 4 1974 (Monday)
Civic Center, Monroe, Louisiana
Recorded on Soundboard
       

Review

March 4 1974 - Monroe, Louisiana
Review by Laura Lilliard - Elvis News Service Weekly, Issue 142 (March 27 1974)

Elvis wore a white jumpsuit with blue and gold studs in a sunburst pattern and no cape. He used about four dark blue scarves only during the performance.

A black guitar (with no karate emblem) was used which he discarded after the first song. James, Ronnie, Charlie, etc. wore purple jumpsuits, the Sweet Inspirations wore yellow outfits, Voice wore yellow also, and the Joe Guercio orchestra wore blue outfits.

Elvis arrived at the airport in Monroe about 4pm Monday afternoon where he was greeted by the mayor and others. The mayor gave Elvis a plaque which made him an honorary police man of Monroe. Elvis held this plaque up during the performance and told us about it.

The governor of Louisiana, Edwin Edwards, attended the performance. Money from the sale of souvenirs went to the home for retarded children in East Monroe. Elvis and the colonel donated $100 each to this home also.

It was so hot in the Civic Center that every time Elvis moved his head, I could see sweat flying off his face. Elvis was on stage for about fifty-five minutes. The Civic Center held about 8000 people, but it seemed like many more were there, and the audience response was fantastic throughout the show.

'C.C. Rider' - Elvis did an excellent version with good movements. He turned the guitar over and pretended to play the other side. At the end of the song, Elvis said "good afternoon, i'm Glen Campbell".

'I Got A Woman'/'Amen' - This was a powerful version with very fast movements. There was a beautiful pink spotlight on Elvis during the 'Amen' ending and the audience clapped along to the music.

'Love Me' - This version was about the same as on the New York and Hawaii albums.

'Tryin' To Get To You' - Elvis really got into this one. During the "running all the way" line, Elvis pretended to be running.

'Teddy Bear'/'Don't Be Cruel' - Elvis did good renditions of these and he moved more than usual.

'Love Me Tender' - Elvis seemed to put himself into this song more than he usually does. He did not kiss the girls on the front row.

'Johnny B. Goode' - The movements were again fast. The audience went wild when he sang "way down in Louisiana.." Elvis threw a white towel over his face and leaned way back before the start of the song.

'Hound Dog' - Elvis started by saying "you ain't, we ain't, y'all ain't!" Everybody cracked up when he did this.

'Fever' - This was about the same as on the Aloha special, but i think he moved his left leg more.

'Polk Salad Annie' - The audience again went wild when "down in Louisiana.." was sung. Elvis did a few karate movements at the end, but not many...

'Why Me Lord' - JD Sumner sang the first and second verses while Elvis and the rest sang the chorus each time.

'Suspicious Minds' - Elvis did a straight version this time, without saying "I hope this suit don't tear up baby". He did the splits at the end. i can't stop loving you the audience response was very good on this one, espe caally at the end.

The introductions by Elvis - When Elvis introduced Voice he said that this group had been with him about five months and that he had found them in an upholstery factory in Nashville.

'Help Me' - Elvis said that they had just recently recorded this one. it is a very nice gospel song.

'An American Trilogy' - This song is very moving when you see Elvis doing it in person. He received a standing ovation, of course. People stood up before the song was over!!

'Let Me Be There' - Elvis takes this Olivia Newton John song and makes it a Presley masterpiece. The response at the end was so great that Elvis did another chorus. The audience again clapped along.

'Funny How Time Slips Away' - At the end of the song, Elvis said that he would be back in Monroe in a few days. when he said "Until then i bid you an affectionate adios".

'Can't Help Falling In Love' - I couldn't see Elvis very well during this one because hundreds of fans started moving toward the stage! At the end, Elvis walked to each end of the stage and then quickly ran off. There was another standing ovation.

Some additional comments by Elvis in the show. Elvis asked to have the house lights turned up and nothing happened, so he asked again, still nothing happened, so he asked "is that possible?! Why me Lord". Finally, they turned them on, but Elvis had to tell them to turn them back off because they were still on when he started the next song. When Elvis held up the policeman's' plaque he said that the Mayor and everyone had been wonderful. At one point, Elvis said, "all kidding aside, you're one of the best audiences". Several girls got in an argument over the first scarf that Elvis threw out, so he said, "don't worry, i got a "nutherun" (another one). Elvis then tried twice to spell "nutherun" --- after about the fourth feedback Elvis appeared a little annoyed and mentioned it...

Elvis looked and sang fantastic. He moved much more than I expected and he really seemed to enjoy himself. Seeing Elvis in movies and on TV is nothing compared to seeing him in person. His pictures don't begin to do him justice. He will always be the greatest to me!


March 5 1974 (Tuesday)
Memorial Coliseum, Auburn University, Auburn, Alabama

       

March 6 1974 (Wednesday)
Garrett Coliseum, Montgomery, Alabama

       

March 7 1974 (Thursday)
Civic Center, Monroe, Louisiana

       

March 8 1974 (Friday)
Civic Center, Monroe, Louisiana
Recorded on Soundboard
       

Notes

This show isted as being recorded on Soundboard in "Sessions III" as March 8 - Show 1, but could actually be the concert from March 7 show


March 9 1974 (Saturday - Afternoon Show)
Coliseum, Charlotte, North Carolina
Recorded on Soundboard (Could be Eve. Show)
     

March 9 1974 (Saturday - Evening Show)
Coliseum, Charlotte, North Carolina

       

March 10 1974 (Sunday)
Civic Center, Roanoke, Virginia
         

Review

Roanoke (March 10), Hampton Roads (March 11) & Richmond (March 12)
Review by Len and Rose-Marie Leech - Elvis News Service Weekly, Issue 146 (April 1974)

My wife and I were lucky to see three of the concerts on the just recently concluded March southern tour, which was by far the longest of any tours undertaken by Elvis since his live comeback in '69. The most striking thing about Elvis at these shows was his extreme high spirits and good humour. We had just seen him a month previously in Las Vegas and he was so good there we hardly expected any vast improvement on the tour. However, with that uncanny knack of his, of improving on himself, he reached the highest peaks of perfection. From the moment he bounded on stage until 'Can't Help Falling In Love', he was so bubbling over with enthusiasm and laughter that it was instantly contagious throughout the huge crowds that greeted him each night. We had fantastic front row, centre stage seats for Roanoke and Richmond, and being that close you could feel the excitement Elvis generated through these Southern audiences like an electric current in the air.

For all three shows, and also all the shows we saw a month ago in Vegas, Elvis used a different guitar. This one is a plain, unadorned expensive Gibson with a flower design in white on a black pickguard, without the inlaid pearl ELVIS PRESLEY on the necks of his previous stage guitars. The makeup of the new group Elvis last introduced in Vegas, Voice, has changed already. Sherrill Nielsen, the lead singer of the trio who duetted on stage with Elvis during 'Spanish Eyes' in Vegas was replaced on the tour by another lead singer. In Hampton Roads Elvis singled him out with a personal introduction by saying he is a fantastic piano player and a great singer from Sweden. The intro was garbled but I think his first name was Lars. Elvis had a healthy glow to his complexion for all three shows, and he has lost most of the extra weight he had in Vegas. The songs in order for Roanoke follows, and with a few exceptions was almost identical with the content of the Hampton and Richmond shows.

C.C. RIDER / I GOT A WOMAN / LOVE ME / TRYIN' TO GET TO YOU / ALL SHOOK UP / STEAMROLLER BLUES / TEDDY BEAR-DON'T BE CRUEL medley / LOVE ME TENDER / JOHNNY B. GOODE / HOUND DOG / FEVER / POLK SALAD ANNIE / WHY ME LORD / SUSPICIOUS MINDS / intros / I CAN'T STOP LOVING YOU / HELP ME / AN AMERICAN TRILOGY / LET ME BE THERE / FUNNY HOW TIME SLIPS AWAY / CAN'T HELP FALLING IN LOVE

In Hampton Roads Elvis added 'How Great Thou Art' after 'An American Trilogy', and in Richmond he substituted 'You've Lost That Lovin' Feelin' instead of 'Help Me', and added 'Mystery Train'-'Tiger Man' after 'Funny How Time Slips Away'. The response to all the songs at every show was overwhelming, but 'An American Trilogy' brought the house down at every one of the concerts, as 'Dixie' is almost the national anthem of the South. In Hampton almost the entire crowd went to their feet at the start of the song, and stayed like that till the end, roaring their approval. There's really no adequate way I can describe the intensely happy mood Elvis was in, as his face constantly broke into a wide grin at the antics of some of the fans in the front rows. Groups of girls constantly charged the stage to get closer to him, and after two particularly savage attacks in Roanoke and Hampton by girls on the left side of the stage, Elvis quickly backed up and stood behind the drums for the rest of the song with a devilish smirk on his face.

Roanoke, Virginia, March 10, 1974
Elvis came on stage wearing the white jumpsuit with multi-coloured stones that he has worn the last two closing shows in Vegas. Elvis was pleased with the hysteric reaction during 'Fever', and as he went to Charlie to get a drink he did a brief Bill Cosby Imitation of "Hey, hey hey", making the group crack up. His closing words before the last song, summed up the kind of mood he was in. "I'd like to tell you, ahhh, Ladies & Gentlemen, that the last time we were here in Roanoke, we had a good time. We're having a better time tonight, thanks to you. After the end of this tour, we're all having a party at my house". The response to this line was deafening, as 12,000 people yelled "I'll be there", or screamed out something else. Elvis broke into a wide grin and remarked something in response that was said partially off-mike. I couldn't hear it clearly but it sounded something like, "I hope they know I'm just kidding."

Hampton Roads, Virginia, March 11, 1974
Elvis wore a white jumpsuit with aqua stones and gold trim in a flower effect. It must be a favourite of his because he's worn it many times recently in Vegas. It isn't as striking as some others, but ELVIS probably likes it because it's less decorated and probably much lighter in weight. Fans were constantly throwing things on stage, including many stuffed animals. Just at the start of 'Teddy Bear' someone threw a jumbo stuffed bear to him which he picked up and carried around with him the rest of the song. He did a fabulous version of 'Polk Salad Annie', moving all over the stage and ending the song with a tremendous karate kick. At all three shows he did a great, elongated jam ending for 'Hound Dog', but at Hampton he really got into it, extending his leg in a half crouch and hanging the floor with his foot. 'Why Me Lord' got a tremendous response, so Elvis quickly sang his way into a reprise of the last verse. He asked for the house lights and turning around spotted a girl standing on the lower level behind the stage waving something at him. "What do you have there?, what is it?, a lollipop?". During the final song he walked back toward her and she threw it down. It was a huge, bright orange and black paper fan on a long stick which Elvis promptly stuck down the back of his jumpsuit and walked around singing with the fan circling the back of his head. When he came to the line in 'Can't Help Falling In Love' where he was supposed to sing "Take my hand", he pulled it out of his suit and presented it to Estelle while singing instead, "Take my fan."

Richmond, Virginia. March 12, 1974
In Richmond Elvis wore the American Eagle Aloha suit again, coming out with a huge smile on his face which stayed there almost the entire show. The Richmond show was the best of the three because Elvis was moving constantly across the stage, never standing still. The couldn't keep a straight face, and every time he tried to get serious somebody in the group would crack him up again. After 'I Got A Woman' he took the guitar off and made believe he was going to toss it any direction except to Charlie, and when he finally did Charlie just barely caught it. "Thank you very much, ladies and gentlemen". "As you can see, it's a pleasure to be back here in Richmond". He did a superb version of 'Tryin' To Get To You', bending over so low he almost touched the floor while singing. 'Hound Dog' again was something special, with Elvis drawing out the ending with "It's all right, it's ok", over and over again. 'Mystery Train' and 'Tiger Man' was tremendous, faster than usual, and the screams Elvis drew with each movement was ear piercing. "You're a fantastic audience, ladies and gentlemen, and it's a pleasure to be here in Richmond, and until the next time we're here, we bid you an affectionate adios". He started 'Can't Help Falling In Love' and the waves of girls began their final assault on the stage, the guards up front in a sea of flying bodies trying to protect the stage. Someone threw a fuzzy pink hat on stage near the end so Elvis reached down, picked it up, and stuck it on his head for awhile, then struck an arm-outstretched pose without a cape to all sides of the stage and turned around and ran off.


March 11 1974 (Monday)
Coliseum, Hampton Roads, Virginia
Recorded on Soundboard
       

March 12 1974 (Tuesday)
Coliseum, Richmond, Virginia
Recorded on Soundboard
       

March 13 1974 (Wednesday)
Coliseum, Greensboro, North Carolina
Recorded on Soundboard
       

March 14 1974 (Thursday)
Middle Tennessee State University Athletic Center,
Murfreesboro, Tennessee
Also Sprach Zarathustra
      Murfreesboro '74 CD1 (FTD)°
C. C. Rider       Murfreesboro '74 CD1 (FTD)°
I Got A Woman / Amen       Murfreesboro '74 CD1 (FTD)°
Love Me       Murfreesboro '74 CD1 (FTD)°
Tryin' To Get To You       Murfreesboro '74 CD1 (FTD)°
All Shook Up       Murfreesboro '74 CD1 (FTD)°
Steamroller Blues       Murfreesboro '74 CD1 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Murfreesboro '74 CD1 (FTD)°
Love Me Tender       Murfreesboro '74 CD1 (FTD)°
Johnny B. Goode       Murfreesboro '74 CD1 (FTD)°
Hound Dog       Murfreesboro '74 CD1 (FTD)°
Fever       Murfreesboro '74 CD1 (FTD)°
Polk Salad Annie       Murfreesboro '74 CD1 (FTD)°
Why Me Lord       Murfreesboro '74 CD1 (FTD)°
Suspicious Minds       Murfreesboro '74 CD1 (FTD)°
Introductions       Murfreesboro '74 CD1 (FTD)°
I Can't Stop Loving You       Murfreesboro '74 CD1 (FTD)°
Help Me       Murfreesboro '74 CD1 (FTD)°
An American Trilogy       Murfreesboro '74 CD1 (FTD)°
Let Me Be There       Murfreesboro '74 CD1 (FTD)°
Funny How Time Slips Away       Murfreesboro '74 CD1 (FTD)°
Can't Help Falling In Love       Murfreesboro '74 CD1 (FTD)°
Closing Vamp       Murfreesboro '74 CD1 (FTD)°

March 15 1974 (Friday)
Stokely Athletic Center, University Of Tennessee,
Knoxville, Tennessee
Recorded on Soundboard
       

March 16 1974 (Saturday - Afternoon Show)
Mid-South Coliseum, Memphis, Tennessee
Also Sprach Zarathustra
      Bringing It All Back Home CD1°~Hello Memphis°
C. C. Rider       Bringing It All Back Home CD1°~Hello Memphis°
I Got A Woman / Amen       Bringing It All Back Home CD1°~Hello Memphis°
Love Me       Bringing It All Back Home CD1°~Hello Memphis°
Tryin' To Get to You       Bringing It All Back Home CD1°~Hello Memphis°
All Shook Up       Bringing It All Back Home CD1°~Hello Memphis°
Steamroller Blues       Bringing It All Back Home CD1°~Hello Memphis°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Bringing It All Back Home CD1°~Hello Memphis°
Love Me Tender       Bringing It All Back Home CD1°~Hello Memphis°
Johnny B. Goode       Bringing It All Back Home CD1°~Hello Memphis°
Hound Dog       Bringing It All Back Home CD1°~Hello Memphis°
Fever       Bringing It All Back Home CD1°~Hello Memphis°
Polk Salad Annie       Bringing It All Back Home CD1°~Hello Memphis°
Why Me Lord       Bringing It All Back Home CD1°~Hello Memphis°
Suspicious Minds       Bringing It All Back Home CD1°~Hello Memphis°
Introductions       Bringing It All Back Home CD1°~Hello Memphis°
I Can't Stop Loving You       Bringing It All Back Home CD1°~Hello Memphis°
Help Me       Bringing It All Back Home CD1°~Hello Memphis°
An American Trilogy       Bringing It All Back Home CD1°~Hello Memphis°
Let Me Be There       Bringing It All Back Home CD1°~Hello Memphis°~Welcome To The
Jungle - Way Down°
Funny How Time Slips Away       Bringing It All Back Home CD1°~Hello Memphis°
Can't Help Falling In Love       Bringing It All Back Home CD1°~Hello Memphis°
Closing Vamp       Bringing It All Back Home CD1°~Hello Memphis°

March 16 1974 (Saturday - Evening Show)
Mid-South Coliseum, Memphis, Tennessee
Recorded on Soundboard        

March 17 1974 (Sunday - Afternoon Show)
Mid-South Coliseum, Memphis, Tennessee
Recorded on Soundboard        

March 17 1974 (Sunday - Evening Show)
Mid-South Coliseum, Memphis, Tennessee
Also Sprach Zarathustra
      Hometown Shows CD1 (FTD)°
C. C. Rider       Hometown Shows CD1 (FTD)°
I Got A Woman / Amen       Hometown Shows CD1 (FTD)°
Love Me       Hometown Shows CD1 (FTD)°
Tryin' To Get To You       Hometown Shows CD1 (FTD)°
All Shook Up       Hometown Shows CD1 (FTD)°
Steamroller Blues       Hometown Shows CD1 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Hometown Shows CD1 (FTD)°
Love Me Tender       Hometown Shows CD1 (FTD)°
Johnny B. Goode       Hometown Shows CD1 (FTD)°~48 Hours To Memphis (FTD)°
Hound Dog       Hometown Shows CD1 (FTD)°
Fever       Hometown Shows CD1 (FTD)°
Polk Salad Annie       Hometown Shows CD1 (FTD)°
Why Me Lord       Hometown Shows CD1 (FTD)°
Suspicious Minds       Hometown Shows CD1 (FTD)°
Introductions       Hometown Shows CD1 (FTD)°
I Can't Stop Loving You       Hometown Shows CD1 (FTD)°
Help Me       Hometown Shows CD1 (FTD)°
An American Trilogy       Hometown Shows CD1 (FTD)°
Let Me Be There       Hometown Shows CD1 (FTD)°
Funny How Time Slips Away       Hometown Shows CD1 (FTD)°
That's All Right       Hometown Shows CD1 (FTD)°~48 Hours To Memphis (FTD)°
Can't Help Falling In Love       Hometown Shows CD1 (FTD)°
Closing Vamp       Hometown Shows CD1 (FTD)°

March 18 1974 (Monday)
Coliseum, Richmond, Virginia
Also Sprach Zarathustra
      Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
C. C. Rider       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
I Got A Woman / Amen       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)° (Tape damaged - Repaired with part of March 20
version)~Tape°~Guaranteed To Blow Your Mind°
Love Me       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Tryin' To Get To You       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
All Shook Up       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Steamroller Blues       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Love Me Tender       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Jailhouse Rock / Hound Dog
      Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Fever       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Polk Salad Annie       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Why Me Lord       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Suspicious Minds       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Introductions       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
I Can't Stop Loving You       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Help Me       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
An American Trilogy       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Let Me Be There       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Funny How Time Slips Away       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Can't Help Falling In Love       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Closing Vamp       Elvis Recorded Live On Stage In Memphis (Legacy) 2°~48 Hours To
Memphis (FTD)°~Tape°~Guaranteed To Blow Your Mind°
Announcements       Elvis Recorded Live On Stage In Memphis (Legacy) 2 °~48 Hours To
Memphis (FTD)°~Guaranteed To Blow Your Mind°

March 19 1974 (Tuesday)
Middle Tennessee State University Athletic Center,
Murfreesboro, Tennessee
Also Sprach Zarathustra
      Murfreesboro '74 CD2 (FTD)°
C. C. Rider       Murfreesboro '74 CD2 (FTD)°
I Got A Woman / Amen       Murfreesboro '74 CD2 (FTD)°
Love Me       Murfreesboro '74 CD2 (FTD)°
Tryin' To Get To You       Murfreesboro '74 CD2 (FTD)°
All Shook Up       Murfreesboro '74 CD2 (FTD)°
Steamroller Blues       Murfreesboro '74 CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Murfreesboro '74 CD2 (FTD)°
Love Me Tender       Murfreesboro '74 CD2 (FTD)°
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Jailhouse Rock / Hound Dog
      Murfreesboro '74 CD2 (FTD)°
Fever       Murfreesboro '74 CD2 (FTD)°
Polk Salad Annie       Murfreesboro '74 CD2 (FTD)°
Why Me Lord       Murfreesboro '74 CD2 (FTD)°
Suspicious Minds       Murfreesboro '74 CD2 (FTD)°
Introductions       Murfreesboro '74 CD2 (FTD)°
I Can't Stop Loving You       Murfreesboro '74 CD2 (FTD)°
Help Me / Introducing Larry Gatlin       Murfreesboro '74 CD2 (FTD)°
An American Trilogy       Murfreesboro '74 CD2 (FTD)°
Let Me Be There       Murfreesboro '74 CD2 (FTD)°
Funny How Time Slips Away       Murfreesboro '74 CD2 (FTD)°
Mystery Train       Murfreesboro '74 CD2 (FTD)° (incomplete)

March 20 1974 (Wednesday)
Mid-South Coliseum, Memphis, Tennessee
Also Sprach Zarathustra
 
DPA5
0902 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°~Sold Out In Dixie°
C. C. Rider  
DPA5
0903 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°~Sold Out In
Dixie°
I Got A Woman / Amen  
DPA5
0904 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(edited - multi-track)~Fifth Time Around°°~Sold Out In Dixie°
('I Got A Woman')~Steamroller Blues°
Love Me  
DPA5
0905 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Tryin' To Get To You  
DPA5
0906 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
All Shook Up  
DPA5
0907 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Steamroller Blues  
DPA5
0908 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Platinum 4°° (multi-track)~Fifth Time Around°°~Thank You
Very Much°~Steamroller Blues°
(Let Me Be Your) Teddy Bear / Don't Be Cruel  
DPA5
0909 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Love Me Tender  
DPA5
0910 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Jailhouse Rock / Hound Dog
 
DPA5
0911 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Fever  
DPA5
0912 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Polk Salad Annie  
DPA5
0913 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (Multi
-Track)~Fifth Time Around°°~Steamroller Blues°
Why Me Lord  
DPA5
0914 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~I Believe - The Gospel Masters 4°° (multi-track)
~Elvis Recorded Live On Stage In Memphis°° (24 Bit) (multi-track)
~Peace In The Valley CD2°° (Multi-Tr'k)~The Definitive Gospel Album°°
(multi-track)~Fifth Time Around°°~Steamroller Blues°
How Great Thou Art  
DPA5
0915 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~I Believe - The Gospel Masters 4°° (multi-track)
~Elvis Recorded Live On Stage In Memphis°° (24 Bit) (multi-track)
~Peace In The Valley CD2°° (multi-track)~Fifth Time Around°°
~Steamroller Blues°
Suspicious Minds  
DPA5
0916 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Introductions  
DPA5
0917 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Blueberry Hill / I Can't Stop Loving You  
DPA5
0918 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Help Me (false start)       Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)
~Fifth Time Around°°~Crazy - The Funny Side Of Elvis Presley°
Help Me  
DPA5
0919 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~I Believe - The Gospel Masters 4°° (multi-track)
~Elvis Recorded Live On Stage In Memphis°° (24 Bit) (multi-track)
~Peace In The Valley CD2°° (multi-track)~Fifth Time Around°°
~Steamroller Blues°
An American Trilogy  
DPA5
0920 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Let Me Be There  
DPA5
0921 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Moody Blue°° (24 Bit) (multi-track - Channels Reversed)
~Moody Blue (FTD)°° (multi-track)~Fifth Time Around°°~Steamroller
Blues°
My Baby Left Me  
DPA5
0926 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Lawdy, Miss Clawdy  
DPA5
0927 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Funny How Time Slips Away  
DPA5
0928 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Fifth Time Around°°~Steamroller Blues°
Can't Help Falling In Love  
DPA5
0929 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°
Closing Theme  
DPA5
0930 Elvis Recorded Live On Stage In Memphis (FTD)°° (remixed - multi-track)~Elvis Recorded Live On Stage In Memphis (Legacy) 1°° (multi
-track)~Complete Elvis Presley Masters 26 (Sony)°° (multi-track)
~Live From Memphis (Franklin Mint Complete Masters Collection 22)°°
(multi-track)~Elvis Recorded Live On Stage In Memphis°° (24 Bit)
(multi-track)~Fifth Time Around°°~Steamroller Blues°

Music Sheets
Music Sheet
Amen
Amen (Thanks to Christopher Brown)
Music Sheet
Mama Don't Dance
Mama Don't Dance (Thanks to Christopher Brown)
Music Sheet
Flip, Flop And Fly
Flip, Flop And Fly (Thanks to Christopher Brown)

Music Sheet
Why Me Lord
Why Me Lord (Thanks to Christopher Brown)
Music Sheet
Let Me Be There
Let Me Be There
 


On Tour, May 10 - May 13 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

May 10 1974 (Friday)
Swing Auditorium, San Bernardino, California
Let Me Be There
      Elvis In California CD1 (FTD)°
Funny How Time Slips Away       Elvis In California CD1 (FTD)°
Big Boss Man
      Elvis In California CD1 (FTD)°~Live In L.A. (FTD)°
Can't Help Falling In Love       Elvis In California CD1 (FTD)°~Live In L.A. (FTD)°
Closing Vamp       Elvis In California CD1 (FTD)°~Live In L.A. (FTD)°

May 11 1974 (Saturday - Afternoon Show)
Inglewood Forum, Los Angeles, California
You Can Have Her
      Live In L.A. (FTD)° (audience recording)

Music Sheets
 
Music Sheet
You Can Have Her
You Can Have Her (Thanks to Glen Johnson)
 


May 11 1974 (Saturday - Evening Show)
Inglewood Forum, Los Angeles, California
Also Sprach Zarathustra
      Live In L.A. (FTD)°
C. C. Rider       Live In L.A. (FTD)°
I Got A Woman / Amen       Live In L.A. (FTD)°
Love Me       Live In L.A. (FTD)°
Tryin' To Get To You       Live In L.A. (FTD)°
All Shook Up       Live In L.A. (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Live In L.A. (FTD)°
Love Me Tender       Live In L.A. (FTD)°
Steamroller Blues       Live In L.A. (FTD)°
Hound Dog       Live In L.A. (FTD)°
Fever       Live In L.A. (FTD)°
Polk Salad Annie       Live In L.A. (FTD)°
Why Me Lord       Live In L.A. (FTD)°
Suspicious Minds       Live In L.A. (FTD)°
Introductions       Live In L.A. (FTD)°
I Can't Stop Loving You       Live In L.A. (FTD)°
Help Me       Live In L.A. (FTD)°
An American Trilogy       Live In L.A. (FTD)°
Let Me Be There       Live In L.A. (FTD)°
Funny How Time Slips Away       Live In L.A. (FTD)°

May 12 1974 (Sunday - Afternoon Show)
Selland Arena, Fresno, California
C. C. Rider
      Elvis In California CD1 (FTD)° (incomplete)
I Got A Woman / Amen       Elvis In California CD1 (FTD)°
Love Me       Elvis In California CD1 (FTD)°
Tryin' To Get To You       Elvis In California CD1 (FTD)°
All Shook Up       Elvis In California CD1 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Elvis In California CD1 (FTD)°
Love Me Tender       Elvis In California CD1 (FTD)°
Steamroller Blues       Elvis In California CD1 (FTD)°
Hound Dog       Elvis In California CD1 (FTD)°
Fever       Elvis In California CD1 (FTD)°
Polk Salad Annie       Elvis In California CD1 (FTD)°
Why Me Lord       Elvis In California CD1 (FTD)°
Suspicious Minds       Elvis In California CD1 (FTD)°
Introductions       Elvis In California CD1 (FTD)°
I Can't Stop Loving You       Elvis In California CD1 (FTD)°
Help Me       Elvis In California CD1 (FTD)°
An American Trilogy       Elvis In California CD1 (FTD)°

May 13 1974 (Monday)
Swing Auditorium, San Bernardino, California
C. C. Rider
      Elvis In California CD2 (FTD)° (incomplete)
I Got A Woman / Amen       Elvis In California CD2 (FTD)°
Love Me       Elvis In California CD2 (FTD)°
Tryin' To Get To You       Elvis In California CD2 (FTD)°
All Shook Up       Elvis In California CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Elvis In California CD2 (FTD)°
Love Me Tender       Elvis In California CD2 (FTD)°
Steamroller Blues       Elvis In California CD2 (FTD)°
Hound Dog       Elvis In California CD2 (FTD)°
Fever       Elvis In California CD2 (FTD)°
Polk Salad Annie       Elvis In California CD2 (FTD)°
Why Me Lord       Elvis In California CD2 (FTD)°
Suspicious Minds       Elvis In California CD2 (FTD)°
Introductions       Elvis In California CD2 (FTD)°
I Can't Stop Loving You       Elvis In California CD2 (FTD)°
Help Me       Elvis In California CD2 (FTD)°
An American Trilogy       Elvis In California CD2 (FTD)°
Let Me Be There
      Elvis In California CD2 (FTD)°
Funny How Time Slips Away       Elvis In California CD2 (FTD)°
Big Boss Man
      Elvis In California CD2 (FTD)°
Can't Help Falling In Love       Elvis In California CD2 (FTD)° (incomplete)

Lake Tahoe, May 16 - May 27 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Al Tronti Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

May 16 1974 (Thursday - Opening Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 17 1974 (Friday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 17 1974 (Friday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 18 1974 (Saturday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 18 1974 (Saturday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 19 1974 (Sunday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Steamroller Blues
      High Sierra (FTD)°
Spanish Eyes       High Sierra (FTD)°
How Great Thou Art       High Sierra (FTD)°

May 19 1974 (Sunday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 20 1974 (Monday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 20 1974 (Monday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 21 1974 (Tuesday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 21 1974 (Tuesday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
C. C. Rider
      High Sierra (FTD)°
I Got A Woman / Amen       High Sierra (FTD)°
Love Me       High Sierra (FTD)°
Tryin' To Get To You       High Sierra (FTD)°
All Shook Up       High Sierra (FTD)°
Love Me Tender       High Sierra (FTD)°
You Don't Have To Say You Love Me       High Sierra (FTD)°
Hound Dog       High Sierra (FTD)°
Fever       High Sierra (FTD)°
Polk Salad Annie       High Sierra (FTD)°
Why Me Lord       High Sierra (FTD)°
Suspicious Minds       High Sierra (FTD)°
Introductions       High Sierra (FTD)°
I Can't Stop Loving You       High Sierra (FTD)°
Help Me       High Sierra (FTD)°
Bridge Over Troubled Water       High Sierra (FTD)°
Let Me Be There       High Sierra (FTD)°
The First Time Ever I Saw Your Face       High Sierra (FTD)°
Big Boss Man       High Sierra (FTD)°
Can't Help Falling In Love       High Sierra (FTD)°
Closing Vamp       High Sierra (FTD)°

May 22 1974 (Wednesday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 22 1974 (Wednesday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 23 1974 (Thursday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
C. C. Rider
      And The King For Dessert° (wrongly dated May 25 Dinner Show)
I Got A Woman / Amen       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Love Me       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Tryin' To Get To You       And The King For Dessert° (wrongly dated May 25 Dinner Show)
All Shook Up       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Love Me Tender       And The King For Dessert° (wrongly dated May 25 Dinner Show)
You Don't Have To Say You Love Me       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Hound Dog       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Fever       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Polk Salad Annie       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Why Me Lord       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Suspicious Minds       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Introductions       And The King For Dessert° (wrongly dated May 25 Dinner Show)
I Can't Stop Loving You       And The King For Dessert° (wrongly dated May 25 Dinner Show)
Help Me       And The King For Dessert° (wrongly dated May 25 Dinner Show)
An American Trilogy       Last Tango In Tahoe°~And The King For Dessert° (wrongly dated May
25 Dinner Show)~A Profile The King On Stage Volume 2 CD1°
Let Me Be There       And The King For Dessert° (wrongly dated May 25 DS) (1st part only)
Funny How Time Slips Away       And The King For Dessert° (wrongly dated May 25 DS) (2nd part only)
Big Boss Man       And The King For Dessert° (wrongly dated May 25 Dinner Show)
It's Now Or Never       High Sierra (FTD)°+Last Tango In Tahoe°~And The King For Dessert°
~Thank You Very Much° (wrongly dated May 25 Dinner Show)
~A Profile The King On Stage Volume 2 CD1°
Can't Help Falling In Love       Last Tango In Tahoe°~And The King For Dessert° (wrongly dated May
25 Dinner Show)~A Profile The King On Stage Volume 2 CD1°
Closing Vamp       Last Tango In Tahoe°~And The King For Dessert° (wrongly dated May
25 Dinner Show)~A Profile The King On Stage Volume 2 CD1°

May 23 1974 (Thursday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
C. C. Rider
      Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
I Got A Woman / Amen       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Love Me       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Tryin' To Get To You       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
All Shook Up       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Love Me Tender       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
You Don't Have To Say You Love Me       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Hound Dog       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Fever       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Polk Salad Annie       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Why Me Lord       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Suspicious Minds       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Introductions       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
I Can't Stop Loving You       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Help Me       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Bridge Over Troubled Water       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Let Me Be There       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Spanish Eyes       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Big Boss Man       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Funny How Time Slips Away       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)
Can't Help Falling In Love       Spanish Eyes By Request° (speed corrected)~Spanish Eyes°
(wrongly dated as May 24 Midnight Show)

May 24 1974 (Friday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard        

May 24 1974 (Friday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Recorded on Soundboard
       

May 25 1974 (Saturday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
C. C. Rider
      Lake Tahoe '74 CD1 (FTD)°
I Got A Woman / Amen       Lake Tahoe '74 CD1 (FTD)°
Love Me       Lake Tahoe '74 CD1 (FTD)°
Tryin' To Get To You       Lake Tahoe '74 CD1 (FTD)°
All Shook Up       Lake Tahoe '74 CD1 (FTD)°
Love Me Tender       Lake Tahoe '74 CD1 (FTD)°
You Don't Have To Say You Love Me       Lake Tahoe '74 CD1 (FTD)°
Johnny B. Goode       Lake Tahoe '74 CD1 (FTD)°
Hound Dog       Lake Tahoe '74 CD1 (FTD)°
Fever       Lake Tahoe '74 CD1 (FTD)°
Polk Salad Annie       Lake Tahoe '74 CD1 (FTD)°
Why Me Lord       Lake Tahoe '74 CD1 (FTD)°
Suspicious Minds       Lake Tahoe '74 CD1 (FTD)°
Introductions       Lake Tahoe '74 CD1 (FTD)°
I Can't Stop Loving You       Lake Tahoe '74 CD1 (FTD)°
Help Me       Lake Tahoe '74 CD1 (FTD)°
An American Trilogy       Lake Tahoe '74 CD1 (FTD)°
Let Me Be There       Lake Tahoe '74 CD1 (FTD)°
I'll Remember You       Lake Tahoe '74 CD1 (FTD)°
Big Boss Man       Lake Tahoe '74 CD1 (FTD)°
Heartbreak Hotel       Lake Tahoe '74 CD1 (FTD)°
Can't Help Falling In Love       Lake Tahoe '74 CD1 (FTD)°
Closing Vamp       Lake Tahoe '74 CD1 (FTD)°

May 25 1974 (Saturday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Johnny B. Goode       High Sierra (FTD)°
I'm Leavin'       High Sierra (FTD)°

May 26 1974 (Sunday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
C. C. Rider (starts late)
      Lake Tahoe '74 CD2 (FTD)°
I Got A Woman / Amen       Lake Tahoe '74 CD2 (FTD)°
Love Me       Lake Tahoe '74 CD2 (FTD)°
Tryin' To Get To You       Lake Tahoe '74 CD2 (FTD)°
All Shook Up       Lake Tahoe '74 CD2 (FTD)°
Love Me Tender       Lake Tahoe '74 CD2 (FTD)°
You Don't Have To Say You Love Me       Lake Tahoe '74 CD2 (FTD)°
Hound Dog       Lake Tahoe '74 CD2 (FTD)°
Fever       Lake Tahoe '74 CD2 (FTD)°
Polk Salad Annie       Lake Tahoe '74 CD2 (FTD)°
Why Me Lord       Lake Tahoe '74 CD2 (FTD)°
You Gave Me A Mountain       Lake Tahoe '74 CD2 (FTD)°
Suspicious Minds       Lake Tahoe '74 CD2 (FTD)°
Introductions       Lake Tahoe '74 CD2 (FTD)°
I Can't Stop Loving You       Lake Tahoe '74 CD2 (FTD)°
Help Me Make It Through The Night       Lake Tahoe '74 CD2 (FTD)°
Bridge Over Troubled Water       Lake Tahoe '74 CD2 (FTD)°
Let Me Be There       Lake Tahoe '74 CD2 (FTD)°
Big Boss Man       Lake Tahoe '74 CD2 (FTD)°
Can't Help Falling In Love       Lake Tahoe '74 CD2 (FTD)°
Closing Vamp       Lake Tahoe '74 CD2 (FTD)°

May 26 1974 (Sunday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 27 1974 (Monday - 3.00am Closing Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
C. C. Rider
      Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
I Got A Woman / Amen       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Love Me       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Tryin' To Get To You       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
All Shook Up       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Love Me Tender       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
You Don't Have To Say You Love Me       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Hound Dog       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
~Thank You Very Much°
Fever       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Polk Salad Annie       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Why Me Lord       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Suspicious Minds       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Introductions / I Apologise (1 line)       High Sierra (FTD)°+Last Tango In Tahoe°~A Profile The King On Stage
Volume 2 CD1°
I Can't Stop Loving You       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Help Me       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Bridge Over Troubled Water       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Let Me Be There       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
The Wonder Of You       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
Big Boss Man       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°
The First Time Ever I Saw Your Face       Last Tango In Tahoe°~A Profile The King On Stage Volume 2 CD1°

On Tour, June 15 - July 2 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

June 15 1974 (Saturday - Afternoon Show)
Tarrant County Convention Center, Fort Worth, Texas
C. C. Rider
      The Man In White Volume 1°
I Got A Woman / Amen       The Man In White Volume 1°
Love Me       The Man In White Volume 1°
Tryin' To Get To You       The Man In White Volume 1°
All Shook Up       The Man In White Volume 1°
Love Me Tender       The Man In White Volume 1°
Hound Dog       The Man In White Volume 1°
Fever       The Man In White Volume 1°
Polk Salad Annie       The Man In White Volume 1°
Why Me Lord       The Man In White Volume 1°
Suspicious Minds       The Man In White Volume 1°
Introductions       The Man In White Volume 1°
I Can't Stop Loving You       The Man In White Volume 1°
Help Me       The Man In White Volume 1°
An American Trilogy       The Man In White Volume 1°
Let Me Be There       The Man In White Volume 1°
Funny How Time Slips Away       The Man In White Volume 1°
Big Boss Man       The Man In White Volume 1°
Can't Help Falling In Love       The Man In White Volume 1°
Closing Vamp       The Man In White Volume 1°

June 15 1974 (Saturday - Evening Show)
Tarrant County Convention Center, Fort Worth, Texas
Recorded on Soundboard        

June 16 1974 (Sunday - Afternoon Show)
Tarrant County Convention Center, Fort Worth, Texas
Recorded on Soundboard        

June 16 1974 (Sunday - Evening Show)
Tarrant County Convention Center, Fort Worth, Texas
Recorded on Soundboard        

June 17 1974 (Monday)
Louisiana State University Assembly Center,
Baton Rouge, Louisiana
Turn Around, Look At Me (part)       Sold Out (FTD)°

June 18 1974 (Tuesday)
Louisiana State University Assembly Center,
Baton Rouge, Louisiana
         

June 19 1974 (Wednesday)
Civic Center Auditorium, Amarillo, Texas
C. C. Rider
      Rockin' Across Texas CD1 (FTD)°
I Got A Woman / Amen       Rockin' Across Texas CD1 (FTD)°
Love Me       Rockin' Across Texas CD1 (FTD)°
Tryin' To Get To You       Rockin' Across Texas CD1 (FTD)°
All Shook Up       Rockin' Across Texas CD1 (FTD)°
Love Me Tender       Rockin' Across Texas CD1 (FTD)°
Hound Dog       Rockin' Across Texas CD1 (FTD)°
Fever       Rockin' Across Texas CD1 (FTD)°
Polk Salad Annie       Rockin' Across Texas CD1 (FTD)°
Why Me Lord       Rockin' Across Texas CD1 (FTD)°
Suspicious Minds       Rockin' Across Texas CD1 (FTD)°
Introductions       Rockin' Across Texas CD1 (FTD)°
I Can't Stop Loving You       Rockin' Across Texas CD1 (FTD)°
Help Me       Rockin' Across Texas CD1 (FTD)°
An American Trilogy       Rockin' Across Texas CD1 (FTD)°
Let Me Be There       Rockin' Across Texas CD1 (FTD)°
Heartbreak Hotel       Rockin' Across Texas CD1 (FTD)°
Funny How Time Slips Away       Rockin' Across Texas CD1 (FTD)°
Big Boss Man       Rockin' Across Texas CD1 (FTD)°
Can't Help Falling In Love       Rockin' Across Texas CD1 (FTD)° (incomplete)

June 20 1974 (Thursday)
Virginia Memorial Auditorium, Des Moines, Iowa
Recorded on Soundboard        

Review

June 20 1974 - Des Moines, Iowa
Review by Sue Knapp, Sherie Antolik & Mauryne Simoens - Strictly Elvis, Issue 77 (September 1974)

Elvis, the superstar of all superstars, was scheduled for an 8:30 Des Moines concert, but we found ourselves racing out of Cedar Rapids at 2:30 to make the two hour drive. The average individual might have questioned the motives behind this seemingly unusual behaviour, but any true Elvis fan wouldn't find this situation less than normal.

As we zipped along the interstate braving rain, wind, traffic, and an agonising 55 mph speed limit, tensions were tight as Elvis' guitar strings. By the time we arrived in Des Moines, hearts were beating in hopes of finding Elvis' hide out. We immediately parked near the Vets Auditorium and made the trek to the Holiday Inn, where we were sure Elvis would be lodged. While we were so busy trying to get to Elvis and his entourage... using only the latest and most advanced detective techniques... Elvis, unfortunately for us, was relaxing in complete privacy in the nearby Ramada Inn. They had arrived earlier in the day using four private jets. Curses, we were foiled again! Finally desperation and hunger drove us to the dining room where we downed a quick snack and headed to the auditorium to locate our seats. We were sure our eighteenth row seats would be a disappointment, but luck was with us. Fortunately, we were able to see the stage area quite well. Fans of all ages and from all walks of life made up the better than 11,000 who thronged into the balcony and main floor areas to catch a glimpse of Elvis.

The show began with Elvis' back up singers, Voice, followed by Jackie Kahane's comedy routine and the Sweet Inspirations. An intermission followed and then the '2001 Theme' began... Elvis strolled onto the stage, Flashbulbs went off like fireworks on the 4th of July. Though Elvis had not been in Des Moines for nearly 20 years, his welcome couldn't have been more receptive or warm. He was cheered, applauded, and the crowd only diminished their fervour and excitement when Elvis began the familiar 'C.C. Rider', His white jumpsuit was emblazoned with a blue sequinned eagle on the front and back with blue designs down the legs and a wide belt, looped with chains, which he occasionally hooked his thumbs into as he sang. This, as well as his leg action and karate chops brought roars of approval from the fans and he enjoyed teasing them repeatedly. His whimsical grin and devilish looks into the audience brought screams of delight as we all hung on his every song.

Elvis said, "Good evening, my name is Glen Campbell." This brought a wave of laughter from the audience and then he said, "I hope you have a good time here this evening," and started to say something else when someone in the back yelled out. Elvis said, "What's the matter back there?". The audience yelled, "LOUDER!" So Elvis turned around and faced the band and said, "Sound engineers, they can't hear back there," in a very low, drawn out bass voice. This was wild and really brought screams and applause.

Elvis starts to sing 'Love Me' and the first scarf of the evening comes off. Screams of delight. Elvis did a lot of the oldies: 'Hound Dog', 'All Shook Up', 'Heartbreak Hotel', 'Teddy Bear' and 'Don't Be Cruel'. These were done with a lot of leg action, crouching and karate chopping as he teased the audience into complete hysteria. When Elvis did 'Love Me Tender', it brought ear. piercing screams from the girls in the balcony, as Elvis would give them a side-eye glance and that tantalising smile. Here was an audience who loved that man and he loved them right back.

Elvis warmly introduced his entire group with special emphasis to John Wilkerson, whom he claimed was from Des Moines. Scarves were intermittently tossed out to the arm waving fans. At one point, when Elvis noticed the small boy he had just given a scarf to, he asked, "Where is your scarf?" The little boy replied, "My mother took it". Elvis gave a hearty laugh and handed the little fellow another scarf. This is so typical of his unselfish generosity.

Elvis said, ''I've got a new single out called 'If You Talk In Your Sleep' and I would like to sing the other side for you. It's called 'Help Me'". This is a beautiful song and Elvis really poured his heart into it. Then came 'An American Trilogy', which came on very strong and powerful and received tremendous audience reaction.

The house lights were turned up by Elvis' request and the crowd went wild. He looked out over the audience and shook his head. Then he pointed to the balcony and gave them that famous Presley grin. I thought some of those girls were going to climb right out of there. At this time, Elvis said he had been reminded just before the show began, that he had played this very auditorium nearly twenty years ago. "Why that," he said mischievously, 'was when I was a mere child." The fans roared their approval.

All too soon the closing song, 'Can't Help Falling In Love', began. Several more scarves were tossed into eager waiting hands and instead of leaving the stage immediately, as he usually does, he walked to the left of the stage and started shaking hands and giving out more scarves and kisses to those lucky ones in the first few rows. He continued across the stage shaking hands, dispensing scarves and somehow, Sue was lucky enough to have been touched by Elvis. As he greeted his fans farewell, Sue was nearly in shock, as she floated back to her seat as Elvis left the stage surrounded by his four bodyguards.

We grudgingly left the auditorium feeling wrung out from our emotions spent, and began our trip back to Cedar Rapids. We later learned that near-tornado winds had ripped through Cedar Rapids during our absence... but can only concede that quite a different tornado had ripped through the auditorium in Des Moines, touching the hearts of all present.


June 21 1974 (Friday)
Convention Center Public Hall, Cleveland, Ohio
C. C. Rider       Sold Out (FTD)°
I Got A Woman / Amen       Sold Out (FTD)°
Love Me       Sold Out (FTD)°
Tryin' To Get To You       Sold Out (FTD)°
All Shook Up       Sold Out (FTD)°
Love Me Tender       Sold Out (FTD)°
Hound Dog       Sold Out (FTD)°
Fever       Sold Out (FTD)°
Polk Salad Annie       Sold Out (FTD)°
Why Me Lord       Sold Out (FTD)°
You Don't Have To Say You Love Me       Sold Out (FTD)°
Suspicious Minds       Sold Out (FTD)°
Introductions       Sold Out (FTD)°
I Can't Stop Loving You       Sold Out (FTD)°
Help Me       Sold Out (FTD)°
Bridge Over Troubled Water       Sold Out (FTD)°
Let Me Be There / Good Time Charlie's Got The Blues (1 line) Sold Out (FTD)°
Funny How Time Slips Away       Sold Out (FTD)°
Big Boss Man       Sold Out (FTD)°
Can't Help Falling In Love       Sold Out (FTD)°

Review

June 21 1974 - Cleveland, Ohio
Review by Rex Martin - Elvis News Service Weekly, Issue 156 (June 1974)

If Cleveland is anything to go by, then the security on this tour is very bad. I don't have tickets for this show - I had a letter from the Public Hall - Convention Center - that it was all sold out, a good six weeks before the show.

Looking around Cleveland the Thursday before, it was difficult to imagine that Elvis would be appearing in this City. Nothing in the Newspapers - No Billboards - not even a "Sold Out" sign or poster on the Convention Center Building.

On Friday, a couple of record stores had Elvis LP displays and I found a five-line mention in one of Cleveland's papers, plus an advert for A.F.C. called Elvis Headquarters, which we definitely don't recommend. Two hours before the Show, around five-hundred people had gathered outside the Center, plus twenty fans at one of the side entrances, hoping to catch an early glimpse of Elvis arriving - (Some hope, as he doesn't usually come into the area until the intermission!)

From then on, things got a lot more hectic. I met some friendly faces from New Jersey, bought myself a $12. from someone who had decided they wouldn't be seeing this Show - it was for Sec. 4. Row 50. Seat 46. On the main floor - not a very good seat, but interesting. By this time, it was just gone 8 p.m. so I walked back to my Hotel to pick up a few items I needed and then got into the aud. At 8.30 - the place looks very large from the outside, although the actual main hall only seats a little over 8,000 - by the time I was in, it was almost full messages about no films or tape recordings, etc. were being put out on the state PA. system. They don't seem to mind still cameras and I saw a lot of good ones in the auditorium, several on very expensive tripods! The Elvis Hawkers were all over the place inside the lobby and hall, plus wandering around outside. Prices tend to be higher than in Vegas. All over the place you are bombarded with the advertising patter of, buy now, just available, photo books - buttons - hound dog - posters - mini tour books, etc. etc.. I got the impression they had a lot of Elvis items to sell, and not long to do so.

Well, I got to my seat, the Show started almost on time, the lights dimmed and the audience got really excited, flash cameras clicked all over the arena, girls screamed, rows of people ahead of us stood up, which sort of annoyed those at the back and out walked Voice, who sang a few numbers, and left the stage after five minutes. Jackie (with a groan) Kahane came on next, he warmed up with a good few Elvis-style jokes and quips before launching into his more Vegas-style of act. He was on for a good twenty to twenty-five minutes. This act is really getting drawn-out longer these days. The Sweet Inspirations came out next for ten minutes plus, by this time, the crowd is getting a little restless; the sound system isn't that good, all the speakers are up front, so the further back you go, the worse it sounds on the floor level, (I haven't heard it in the balcony yet). The Inspirations finish their Act and Al, the M.C, announces Intermission Time (more groans!)

Time for more Elvis goodies - "Buy 'em now! Now! Now!" plugs. Plus a mention to get Elvis' Memphis album now in all record shops, only thing is, I think RCA haven't gotten up all week in this area and a lot of other places, because I haven't been able to find any copies on sale YET!

Interval over, '2001' starts and a much-shortened intro, Elvis appears on stage and the place erupts, people start moving forward standing on chairs, and very little control over the masses. A lot of police up front, I moved over to the right side of the arena (looking at the stage) and walked down to level with Row 14 from the stage, along with a lot of other people.

I'm now fairly close, with a good view of Elvis. No checking on people taking films, or any attempts to move us back to our seats, so I stood at the side and watched the complete Show. Linda and his father are near the stage.

The stage is a permanent structure - not specially constructed -as at many of the concert arenas; the lighting seemed reasonable and effective, although I was told it was dark compared to some of the newer arenas.

Elvis came out in a white Jumpsuit torq. leaf-type patterns, with a design of a peacock on the front and back. He was handed a guitar from Charlie and into 'C.C. Rider' - 'I Got A Woman' with a very long ending on the 'Amen' part, and repeated a second time (with JD) and lots of up-beat clapping. 'Love Me' and the start of a lot of scarfs being given away, in fact, I lost count of how many deep blue/light blue and white scarfs it was, certainly more than usual for a concert tour.

'Tryin' To Get To You' followed - really love this. Despite the sound system, Elvis' voice came over very strong and full, he sounded just great. He looked really good and was in a happy joking mood. He shook his body a lot, especially that left leg on later songs; and did a lot of exaggerated karate stances, plus kicks, which the crowd really appreciated.

Going back to this song, Elvis changed the words to "I've been travelling, night and day, I've been streaking all the way, baby, tryin' to get to you".

Elvis was given a lot of things on stage, someone handed him a large bunch of flowers, which he stuffed down the front of his jumpsuit, and yelled out about the thorns, as he removed them.

'All Shook Up' followed with some forceful "Ah-ha's"! Between Elvis and The Sweet Inspirations - 'Love Me Tender' was greeted with a lot of screams, I was a little surprised at how close a lot of the girls got to a down front. He kissed a lot, and handed out more scarfs 'Hound Dog' dry fast version and he has a new ending instrumental jam thing. With the Orchestra playing heavily. 'Fever', with all the usual movements - some much more exaggerated than before.

Elvis shouts his name out loud at one point. 'Polk Salad Annie' has a new arrangement at the start with the Orchestra's brass crashing with Ronnie Tutt's drums. At the end of this song walked over to our right of the stage and sat down for almost a minute, then asked J.D. to sing a number 'Why Me Lord', starts with a dim red spotlight on J.D. only - Spotlight in blue back on Elvis for the "Lord help me Jesus", chorus (which Elvis sings lead on) -

'You Don't Have To Say You Love Me' - followed by 'Suspicious Minds' then introduce the Group, first of all the young girls who came out earlier in the show the Sweet Inspirations - Elvis then stands asking The Sweet Inspirations , "what have you done to your hair"? - Next introduces JD Sumner and The Stamps (by individual names) - "The little girl who does our high voice singing is Kathy Westmorland" - "On lead guitar from Shreveport, Louisiana is James Burton" - "On rhythm guitar from Dayton, Ohio, John Wilkinson", - "On the drums from ? Texas Ronnie Tutt" - "From Baton Rouge, Louisiana Duke Bardwell" - "On piano from Lubbock, Texas Glen Hardin" - "The guy who drinks my scarfs Ah! - Hand me my water and brings me my scarfs, sings Harmony with me, is called Charlie Hodge - where you from?" - "The guys that opened our Show tonight, I found them in Nashville, I call them Voice" - "From Vegas, my conductor, Joe Guercio" -- "The Joe Guercio Orchestra" - "Know what I can't do"? and into 'I Can't Stop Loving You'.

"This next song is from my new single, on one side 'If You Talk In Your Sleep', and the other side is 'Help Me'. Let's do 'Bridge Over Troubled Water'" - and next, 'Let Me Be There' with the crowd clapping along with him. - With a repeat of the last verse -

After this song, Elvis sang a few lines of 'Good Time Charlie's Got The Blues'. He asked for the lights to be turned up so he could see us. 'Funny How Time Slips Away' - followed by 'Big Boss Man', really great this nice arrangement, with Ronnie thundering away on the drums.

"Ladies and Gentlemen, I'd like to tell you something, we have played here before but you have been one of the most exciting audiences we have had for a long time". Then he wished us all an affectionate farewell, before singing 'Can't Help Falling In Love'. The security for this show had been very poor, but at the end, a hundred or so fans must have rushed the stage on the left, and while everyone was trying to keep the fans of the stage on that side, several got on stage on the other side and one broke across the stage towards Elvis, but was stopped just behind him. The show lasted just under one hour.


June 22 1974 (Saturday - Afternoon Show)
Civic Center Auditorium, Providence, Rhode Island
         

June 22 1974 (Saturday - Evening Show)
Civic Center Auditorium, Providence, Rhode Island
         

Review

June 22 1974 (8.30pm Show) - Providence, Rhode Island
Review by Steve and Nancy Toli - Strictly Elvis, Issue 76 (August 1974)

News of an Elvis concert in Providence, R.I. first broke in late April when there was a small mention of it in one Boston paper. It was such a small article that many people nearly missed it and we had to be told about it by a friend who reads the paper more thoroughly than we do. We immediately rushed out that same night to put our ticket order in the mail, hoping an early postmark would get us better seats... but things don't always work out that way, do they? The Civic Center was so swamped with mail orders they not only were forced to disregard postmarks, but they didn't mail out tickets as soon as they'd promised. When our tickets finally came, they were upper balcony, quite a ways back from the stage. But we were able to borrow binoculars, so all was not lost.

It had been two years since we saw Elvis at Madison Square Garden and we were really looking forward to seeing him again. We wanted to try meeting his plane, so we went to the airport early the morning of June 22. While waiting around, we were approached by a man who offered to take us up for a ride in his plane. Feeling adventurous, we went up for an aerial tour of Rhode Island. Our guide, Ted Hopkins, was kind enough to radio in and ask if Elvis had landed yet. He'd come in a 2:00 a.m., so we went on to the Civic Center.

We saw both the 2:30 matinee and the 8:30 evening show. This review is of the 8:30 show, although both shows were basically the same.

Elvis came running out on stage in a white jumpsuit with a blue Rainbow swirled around his body and down his leg. He didn't wear a cape for either show. He went into 'C.C. Rider', obviously in a great mood, doing a spirited "one.. two, three.. four" followed by a corresponding number of thrusts of a leg. Then he did 'I Got A Woman' combined with 'Amen', giving special recognition to J.D. Sumner's deep voice. This was followed by 'Love Me' and 'Tryin' To Get To You' (in which he says, "I've been travelling night and day, I've been streaking all the way..." which the crowd just loved). Next came 'All Shook Up', 'Love Me Tender', 'Hound Dog' and 'Fever'. He did a great version of 'Polk Salad Annie', which was really loved by the crowd. When he finished 'Why Me Lord', the reaction was so good, he repeated the chorus once again.

Linda Thompson was at both shows, coming out just before Elvis and sitting up front, to the side of the stage. When Elvis did 'Suspicious Minds', instead of doing the line "I never lied to you...no, not much," he left out the "not much" and looked in Linda's direction.

Next, he paused long enough to introduce the band. At the matinee he introduced John Wilkerson as being from Providence and at the evening show he introduced Charlie Hodge as being from Pawtucket... both times he had a mischievous grin on his face and you could tell he was putting everyone on, but the crowd really loved it.

"Know what I can't do?"... "I Can't Stop Loving You", and with those words, he launched into a beautiful version of the song.

Then he mentioned having a record out entitled 'Help Me' and 'If You Talk In Your Sleep' and said they'd like to do 'Help Me'. This song has so much more impact when you hear it live than it does on record--fantastic.

During 'An American Trilogy', he clowns slightly when he sings "... look away Disney... dixieland."

Something fairly new for Elvis is 'Let Me Be There'. As he's done before, he can take someone's hit song and make it his own, putting such vitality and life into it. This song was a great new treat and we hope he'll continue to do it.

After having the house lights turned up so he could look at the audience, he sings 'Funny How Time Slips Away' (Steve thanks you, Elvis). At the matinee he sang... ''Never know when I'll be back in town...8:30 tonight."

Something different for a live concert was 'Big Boss Man', which he did marvellously. One older man down in front of us kept calling out "Teddy Bear" all during the show, and we were so happy for him when Elvis did a 'Teddy Bear' / 'Don't Be Cruel' medley.

Naturally, the saddest part of any concert is the beginning of 'Can't Help Falling In Love', and this was no exception. Elvis had put on such a fantastic show, had been in such a great mood, and looked so darned handsome, we all hated to see this song come. But he gave the crowd a beautiful surprise by not rushing off the stage at the close of the song, but spending some time shaking hands around the edge of the stage.

Time had stood still for an hour, but suddenly it was all over and the clock started up again. We met many fans outside afterwards and everyone agreed that it had been a magnificent concert; one we will long remember. Thank you, Elvis, for such a beautiful gift.


June 23 1974 (Sunday - Afternoon Show)
Spectrum, Philadelphia, Pennsylvania
Recorded on Soundboard        

June 23 1974 (Sunday - Evening Show)
Spectrum, Philadelphia, Pennsylvania
Recorded on Soundboard        

June 24 1974 (Monday - Afternoon Show)
International Convention Center, Niagara Falls, New York
Recorded on Soundboard        

June 24 1974 (Monday - Evening Show)
International Convention Center, Niagara Falls, New York
Recorded on Soundboard        

June 25 1974 (Tuesday)
St. Johns Arena, Columbus, Ohio
Recorded on Soundboard        

June 26 1974 (Wednesday)
Fair & Expo Center's Freedom Hall, Louisville, Kentucky
Recorded on Soundboard        

June 27 1974 (Thursday)
Indiana University Assembly Hall, Bloomington, Indiana
Recorded on Soundboard        

June 28 1974 (Friday)
Arena, Milwaukee, Wisconsin
C. C. Rider
      In Dreams Of Yesterday (Memory)°
I Got A Woman / Amen       In Dreams Of Yesterday (Memory)°
Turn Around Look At Me (part)       In Dreams Of Yesterday (Memory)°
Love Me       In Dreams Of Yesterday (Memory)°
Tryin' To Get To You       In Dreams Of Yesterday (Memory)°
All Shook Up       In Dreams Of Yesterday (Memory)°
Love Me Tender       In Dreams Of Yesterday (Memory)°
Hound Dog       In Dreams Of Yesterday (Memory)°
Fever       In Dreams Of Yesterday (Memory)°
Polk Salad Annie       In Dreams Of Yesterday (Memory)°
Why Me Lord       In Dreams Of Yesterday (Memory)°
Suspicious Minds       In Dreams Of Yesterday (Memory)°
Introductions       In Dreams Of Yesterday (Memory)°
I Can't Stop Loving You       In Dreams Of Yesterday (Memory)°
Help Me       In Dreams Of Yesterday (Memory)°
Bridge Over Troubled Water       In Dreams Of Yesterday (Memory)°
Let Me Be There       In Dreams Of Yesterday (Memory)°
Funny How Time Slips Away       In Dreams Of Yesterday (Memory)°~Kansas City Blues°
Big Boss Man       In Dreams Of Yesterday (Memory)°~Kansas City Blues°
Steamroller Blues       In Dreams Of Yesterday (Memory)°~Kansas City Blues°
Can't Help Falling In Love / Closing Vamp       In Dreams Of Yesterday (Memory)°~Kansas City Blues°

June 29 1974 (Saturday - Afternoon Show)
Municipal Auditorium, Kansas City, Missouri
Recorded on Soundboard        

June 29 1974 (Saturday - Evening Show)
Municipal Auditorium, Kansas City, Missouri
C. C. Rider
      Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
When My Blue Moon Turns To Gold Again (1 line)
_/ Blue Christmas
    Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°~Thank
You Very Much°
I Got A Woman / Amen       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Love Me       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Tryin' To Get To You       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
All Shook Up       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Love Me Tender       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Hound Dog       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Fever       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Polk Salad Annie       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Why Me Lord       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Suspicious Minds       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Introductions       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
I Can't Stop Loving You       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Help Me       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Bridge Over Troubled Water       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°
Let Me Be There       Kansas City Blues°~A Profile The King On Stage Vol. 1 CD2°

June 30 1974 (Sunday - Afternoon Show)
Auditorium Arena, Omaha, Nebraska
C. C. Rider
      Omaha, Nebraska CD1 (FTD)°
I Got A Woman / Amen       Omaha, Nebraska CD1 (FTD)°
Love Me       Omaha, Nebraska CD1 (FTD)°
Tryin' To Get To You       Omaha, Nebraska CD1 (FTD)°
All Shook Up       Omaha, Nebraska CD1 (FTD)°
Love Me Tender       Omaha, Nebraska CD1 (FTD)°
Hound Dog       Omaha, Nebraska CD1 (FTD)°
Fever       Omaha, Nebraska CD1 (FTD)°
Polk Salad Annie       Holiday Season In Vegas (FTD)°+Omaha, Nebraska CD1 (FTD)°
Why Me Lord       Omaha, Nebraska CD1 (FTD)°
Suspicious Minds       Omaha, Nebraska CD1 (FTD)°
Introductions       Omaha, Nebraska CD1 (FTD)°
I Can't Stop Loving You       Omaha, Nebraska CD1 (FTD)°
Help Me       Omaha, Nebraska CD1 (FTD)°
An American Trilogy       Omaha, Nebraska CD1 (FTD)°
Let Me Be There       Omaha, Nebraska CD1 (FTD)°
Funny How Time Slips Away       Omaha, Nebraska CD1 (FTD)°
Big Boss Man       Omaha, Nebraska CD1 (FTD)°
Steamroller Blues       Omaha, Nebraska CD1 (FTD)°
Can't Help Falling In Love       Holiday Season In Vegas (FTD)° (faded)+Omaha, Nebraska CD1 (FTD)°
Closing Vamp       Omaha, Nebraska CD1 (FTD)°

June 30 1974 (Sunday - Evening Show)
Auditorium Arena, Omaha, Nebraska
C. C. Rider
      Holiday Season In Vegas (FTD)° (1st part only)+Omaha, Nebraska CD2
(FTD)°
I Got A Woman / Amen       Omaha, Nebraska CD2 (FTD)°
Love Me       Omaha, Nebraska CD2 (FTD)°
Tryin' To Get To You       Omaha, Nebraska CD2 (FTD)°
All Shook Up       Omaha, Nebraska CD2 (FTD)°
Love Me Tender       Omaha, Nebraska CD2 (FTD)°
How Great Thou Art       Omaha, Nebraska CD2 (FTD)°
Hound Dog       Omaha, Nebraska CD2 (FTD)°
Fever       Omaha, Nebraska CD2 (FTD)°
Polk Salad Annie       Omaha, Nebraska CD2 (FTD)°
Why Me Lord       Omaha, Nebraska CD2 (FTD)°
Suspicious Minds       Omaha, Nebraska CD2 (FTD)°
Introductions       Omaha, Nebraska CD2 (FTD)°
I Can't Stop Loving You       Omaha, Nebraska CD2 (FTD)°
Help Me       Omaha, Nebraska CD2 (FTD)°
Bridge Over Troubled Water       Omaha, Nebraska CD2 (FTD)°
Let Me Be There       Omaha, Nebraska CD2 (FTD)°
Happy Birthday       Omaha, Nebraska CD2 (FTD)°
Funny How Time Slips Away       Omaha, Nebraska CD2 (FTD)°
Big Boss Man       Omaha, Nebraska CD2 (FTD)°
My Way (intro only)       Omaha, Nebraska CD2 (FTD)°
Steamroller Blues       Omaha, Nebraska CD2 (FTD)° (incomplete)

July 1 1974 (Monday)
Auditorium Arena, Omaha, Nebraska
C. C. Rider       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
I Got A Woman / Amen / I Got A Woman       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Love Me       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Amen       Fashion For A King CD1 (FTD)° (Edited in after 'I Got A Woman')
~Wahoo From Omaha (Venus)°
Tryin' To Get To You       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
All Shook Up       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Love Me Tender       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Hound Dog       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Fever       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Polk Salad Annie       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Why Me Lord       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Suspicious Minds       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Introductions       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
I Can't Stop Loving You       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
You Don't Have To Say You Love Me       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Help Me       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
An American Trilogy (false start) /
_Bridge Over Troubled Water
      Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Let Me Be There       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Funny How Time Slips Away / I'll Be There (1 line)   Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Big Boss Man       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°
Can't Help Falling In Love       Fashion For A King CD1 (FTD)°~Wahoo From Omaha (Venus)°

July 2 1974 (Tuesday)
Salt Palace, Salt Lake City, Utah
Steamroller Blues       Fashion For A King CD1 (FTD)°

Las Vegas, August 19 - September 2 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

August 19 1974 (Monday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Big Boss Man
      Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Proud Mary       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Down In The Alley       Nevada Nights (FTD)°~A Legendary Performer Vol 8°~From Sunset
Blvd To Paradise Road CD2°~If You Talk In Your Sleep°
Good Time Charlie's Got The Blues       Nevada Nights (FTD)°~A Legendary Performer Vol 8°~From Sunset
Blvd To Paradise Road CD2°~Thank You Very Much°~If You Talk In Your Sleep°
Never Been To Spain       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
It's Midnight       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
If You Talk In Your Sleep       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
I'm Leavin'       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Let Me Be There (with reprise)       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Softly As I Leave You       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
If You Love Me (Let Me Know)       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Love Me Tender       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Polk Salad Annie       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Introductions       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Promised Land  
HRA1
8643 Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°~Live In Las Vegas CD4°
Introduction of Telly Savalas       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
My Baby Left Me  
HRA1
8650 Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°~Live In Las Vegas CD4°
Bridge Over Troubled Water       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Fever       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Hound Dog       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep°
Can't Help Falling In Love       Nevada Nights (FTD)°~From Sunset Blvd To Paradise Road CD2°~If
You Talk In Your Sleep° (Incomplete)

Review

August 19 1974 Opening Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

Elvis did only one show at 10pm on opening night. His Father, Dee and Linda were present.

He wore the peacock suit. The colours are turquoise, yellow and green for the different feathers of the design. It has gold inserts. He wore only a couple of rings and the diamond-studded Maltese cross he wore for his recent Memphis concerts.

The opening show is often unusual. This time there was no '2001' opening theme, he didn't use a guitar at all, and began with 'Big Boss Man' instead of the usual 'C.C. Rider'. He seemed nervous, and was not helped by a very poor audience who reacted very little. They had given Jackie Kahane an equally quiet reception. I don't know what kind of half-dead people get in for opening nights. It's a pity they can't make it fans' night and get him off to a really rousing start. I'm sure he would appreciate a rather warmer reception. However, he warmed up steadily and by the half way mark seemed more relaxed. To begin with, his voice had seemed a little hoarse with tension. He sang an unusual selection of songs. The only old songs were 'Love me Tender' and 'Hound Dog', and he did 'Good Time Charlie's Got The Blues', 'Proud Mary', 'Never Been To Spain' and 'Down In The Alley', which did not, however, become regular features of the Shows.

Some of the small points of the show I noted down were these. In 'Love Me Tender', he surprised Charlie by kissing at him (as he did to Sarah Lee across the breakfast table in Blue Hawaii when she asked him, "You got some sugar for your momma?") - a sort of blown kiss without using his hand.

The sweat flew off him when he made a rapid movement.

The only gift he got this show was a thing I'm told was a yellow canary on a piece of elastic. It looked more like a yellow snail to me. He bobbed it up and down on its elastic to the tune he was singing - 'Let Me Be There'. He wiped his face, nose and chest on the sponge-end of the microphone.

When putting down the microphone in 'Polk Salad Annie' before doing his knees-bend, he moved it rhythmically in a horizontal figure of eight movement. Eventually he did this each time he did 'Polk Salad', pretending the microphone had a mind of its own, so that he stared at it in wide-eyed fear and fought it out of the front of his suit, and at last brought it under control by seizing it in both hands, sometimes finally crushing it like a snake under his foot. You will see from the rest of this report that Elvis is naturally full of comic invention.

Early on in the show, in fact in the first song - 'Big Boss Man', he gave a frown into the wings, pointed to his right ear and made an "up" gesture with his hand, and Charlie understood to turn the volume of the amplifier up.

In the parts of the show given to audience contact, Elvis really cheered up, and smiled with twinkling eyes at the people he was kissing or giving scarves to. It's evident that this contact reassures him and gives him confidence.

A little girl of about seven was carried by her father from further back in the room down towards the ramp, to receive a scarf and a handshake. The child looked absolutely thrilled and delighted with this experience. Then two men decided that if this was the way to get Elvis attention they would try it too, and one carried the other down to the ramp over his shoulder, transferring him to his arms to receive the scarf. I'm not sure if Elvis perceived the joke at first. It did look a little odd, and he looked wary for a moment, but then laughed.

He gave one girl a scarf and a kiss and then went back for another kiss, but teased her by changing his mind at the last minute and ducking away from under her raised arm. This ruffled his hair up on end as he moved away.

He would make a big issue out of wiping his face on his scarf after a kiss, and he would look at the scarf to see, presumably, if there had been lipstick left on his face.

He pretended to have caught his cuff buttons in the chain loops at the side of his belt. It can be very deceptive when he does these things the first time. He acted them out very convincingly especially if you've seen him in a genuine tangle in previous shows.

Another example of his continual stream of little visual jokes was his puzzled and concerned scrutiny of his thumb which he found pointing upwards and rotating when shaking his hand and arm during one of the fast songs.

During the 'Polk Salad' knees-bend when he had descended to the floor, he bobbed up and down feebly a couple of times, pretending he was stuck.

During 'Bridge over Troubled Water', on the word "bridge", in the final "like a bridge over troubled water", he rose, for a second, to his tiptoes, to give the word emphasis it seemed.

He helpfully picked up one of Ronnie Tutt's drumsticks from the floor, and held on to it all through 'My Baby Left Me', before returning it to him at the end.

He gave away a great many scarves during 'Can't Help Falling in Love' at the end of the show. This became a regular feature of the Shows.


August 20 1974 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C.C. Rider
      Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
I Got A Woman / Amen       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Love Me       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
If You Love Me (Let Me Know)       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
It's Midnight       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Proud Mary       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Tryin' To Get To You       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Big Boss Man       Las Vegas '74 CD2 (FTD)° (incomplete) (wrongly listed as MS)
Fever       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Promised Land       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Love Me Tender       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
All Shook Up       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
I'm Leavin'       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Softly As I Leave You
      Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Hound Dog       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
You Gave Me A Mountain       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Polk Salad Annie       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Little boy jumps on stage / Introductions       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
If You Talk In Your Sleep       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Why Me Lord       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Las Vegas '74 CD2 (FTD)° (incomplete) (wrongly listed as MS)
Bridge Over Troubled Water       (not recorded on Soundboard)
Hawaiian Wedding Song       Las Vegas '74 CD2 (FTD)° (incomplete) (wrongly listed as MS)
Let Me Be There       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)
Can't Help Falling In Love       Las Vegas '74 CD2 (FTD)° (wrongly listed as Midnight Show)

Review

August 20 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

His father, Dee and Linda were there - Elvis wore the jumpsuit with a rainbow of different blues in a broad stripe down his back and front and down the side of each leg. This suit has a matching belt. This belt had a weak chain loop to Elvis' left, and only minutes after he came on there was a long loose bit of chain swinging down by his side instead of a neat loop. He held up the chain for a while but soon took the belt off to the appreciative cries of the audience. A girl tied a sash round him while he was singing 'Love Me' (an audience-contact song) but it had a large square label on it saying ELVIS and this she left dangling down in front of him, probably on purpose. Elvis looked a bit sheepish for a moment and headed in mock bashfulness for the wings, but turned back and let the audience appreciate the joke for a little while. Then back came his proper belt, either an identical one, or mended by a minion in the wings - Elvis just stood and raised his arms slightly while it was put on him. He didn't put it on himself.

He received many more gifts this show. The Hilton Gift Shops were selling little soft round hats with a brim with Elvis' name and picture all over them. He was given one of these and wore it all through a song looking very child-like and sweet. He wore the brim up at the front, and then down all the way round. It seems Elvis will always wear a hat if you give him one. He received quite a variety as the engagement progressed, and wore them all.

He was given a white necklace which stuck on his nose for a while when he put it on, a green scarf which he also wore (he doesn't wear all these things at the same time, I should point out!). and a large white toy ram, very handsome. He hands over all these presents to Charlie, and when he had given Charlie the ram, Charlie held it under his arm while trying to put a new scarf over Elvis head, but Elvis kept shying away as if he didn't want to be given one by Charlie. "You got my goat", he explained.

His hair was very beautiful this show. When he shook his head, his hair would always fall back into place. It still parts naturally in the middle, but falls across his forehead in an unintended fringe. It looks about the length it was in Elvis On Tour, but more layered in out. He would begin each show with it neatly combed back in the typical Elvis style, but even when he had been shaking his head around in the course of the show, it never looked untidy.

Elvis was in a very good mood this show, and seemed energetic, as he did in fact for the whole of the time I saw him. This engagement he seemed very happy and talkative and sometimes he just, literally, quivered and vibrated with energy and well-being. When he's in a state of mind and body like this, it's easy to see the reason why he has had such phenomenal appeal over the years. The magnetism of this energy and enthusiasm is terrific. You can feel the show and the mood of the audience take off and soar. This must have been what the lady in That's The Way It Is, meant when she said, "You could just feel the love in the room". Elvis Presley is some fantastic kind of man, but when he's like this, the result and feeling of happiness and affection between him and his audience is almost beyond description. Clearly this is why he's the most fascinating and adored entertainer ever! I took a glance at his Father at the height of this wave of whatever it is he generates and he was sitting there, head on one side smiling at Elvis, apparently ag absorbed as any other member of the audience.

Sometimes in this kind of mood, I sense that Elvis is beginning to puzzle the audience slightly - or those of them unfamiliar with his sense of humour. They begin to quieten down, not quite sure what's going on, but this show Elvis sensed it too and became more business-like until the audience knew where they were again! Sometimes he's too quick for them and speaks and acts so fast that the audience gets lost, and just wonders what's going on between Elvis and his musicians and a few cognoscenti near the front. It's curious how this idea has developed that Elvis isn't bright. Frequently he was a couple of steps ahead of everyone else in response to what was happening around him, and one found oneself thinking quite hard to keep up with him.

When he was given the white chain and got It stuck on his nose, the people who gave it to him must have said to each other, "It don't fit", because Elvis suddenly sprang onto a "caught you!" posture leaning forward pointing his finger at them and said, in "triumph," "HA! It don't fit!". They stared back in surprise and Elvis held his pose, still triumphant for some reason at over-hearing them, and said by way of a warning to be careful what they said, "I have ears like a deer!" I'm still not sure what that was all about, but Elvis seemed very pleased with the efficiency of his ears.

He was given a crown with red jewels which he put on Charlie's head saying, "I crown you.." but got no further, so pretended to knee him, and at this one of the jewels fell out of the crown.

This show he sang the 'Hawaiian Wedding Song' for the first time, and seemed to want it to be a surprise to the audience, as he didn't say its title, but mouthed it mysteriously to Glen Hardin a couple of times before Glen could guess what he meant. The song improved as he did it during succeeding shows and the band and singers gradually understood what they were meant to be doing during the song. Elvis used to get rather exasperated at various peoples' failure to come in at the right time. I wonder when they rehearsed it. Still, he stuck to it every show and it always received great applause. He walked over to Kathy at the end and they alternated the final lines "I do," I do," "'Love you", "'Love you," "with all my heart" only Elvis sang the few Hawaiian words at the end instead of "heart" while Kathy sang "heart". The lights went off on the last notes, and Elvis would kiss Kathy while they were off, responding nicely to the mood of the song. In later shows, this became a quiet audience-contact song. Audiences always seemed to love hearing the old romantic songs. He also received great applause for 'It's Now or Never', and 'Spanish Eyes', when it occurred to him on odd occasions to do those too.

Elvis moved energetically in many of the songs this season, particularly in 'Fever' where, towards the end of the song, he seemed to pretend that his knees were completely out of control, and he would whack at them and cry, "Quit! Quit!" and end up with a comic spasm of wriggling. Is this what they mean by sending himself up? Anyway, this show when he finally controlled his knees and stood straight-up with a blank face and then a laugh, the audience gave him a round of applause and so prevented him singing the last little bit of the song.

He pretended to have his hand stuck in the loop of his belt. When they sang 'Let me be There', he and Estelle would always give each other a victory sign on the line, "only two can share". and then Elvis would try variations, such as the showing three fingers, or four, or putting up his little finger and fore-finger to make the two - This is like the Hawaiian peace sign he gives at the end of Aloha. Sometimes Elvia would do a variation and Estelle didn't notice, but I expect a good many others were taking it all in.

In this show, he began his habit of trying to make JD laugh when he sang 'Why Me Lord'. This show Elvis and Charlie were talking together tete a tete in the dark as if plotting something while JD sang, but Elvis only made irreverent comments and laughed into the microphone to put JD off. He thought of other methods later....

A little boy of about ten got onto the stage, for a scarf, I think, and then didn't seem able to find his way off again and had to go back to Elvis to ask how to get off. Elvis said, "Get off the way you got on - just go and jump off the stage." He didn't sound quite his usual indulgent self! I think he was just joking. Sometimes when he gave a scarf to a child sitting by the stage, he would dangle it down by the child's head and whip it round go that it wrapped loosely round the child's eyes, as he did this show.

Two little girls gave him a toy cement mixer lorry, and said something about it to him, and he said, "oh yes", nodding as if he quite understood.

When they were doing 'Why Me Lord', Elvis had to talk right over to the Stamps so that his spotlight illuminated them too, to show the light-man that they should be lit up when they sang. He was slightly annoyed that this had been forgotten, and sand, "The lights are in your hand", instead of "My soul's in your hand." During a later show, he did this too for Charlie in 'Bridge'.

He held JD's hand very affectionately when he was introducing him. There is clearly an affinity and respect between the two of them.

He balanced the towel over his face twice, as in Elvis On Tour, holding his head back and seeming to relax like that for a second.

This show resumed the use of '2001', the guitar and the usual 'C.C. Rider' and 'I Got A Woman' opening, and in consequence, seemed more natural and impressive than the opening show. There were standing ovations for 'Bridge', 'Softly As I Leave You', and at the end of the show.


August 20 1974 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C.C. Rider
      Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
I Got A Woman / Amen       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Love Me       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
If You Love Me (Let Me Know)       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
It's Midnight       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Big Boss Man       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Fever       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Tryin' To Get To You  
HRA1
8653 Live In Las Vegas CD4°+From Sunset To Vegas (FTD)°
+Las Vegas '74 CD1 (FTD)° (all wrongly listed as Dinner Show)
Love Me Tender       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
All Shook Up       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
I'm Leavin'       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Softly As I Leave You
      Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Hound Dog       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
You Gave Me A Mountain       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Polk Salad Annie       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Introductions (part missing)       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Higher And Higher (1 line) / Introducing Jackie Wilson   From Sunset To Las Vegas (FTD)° (not listed - edited in after 'Trying To
Get To You')+Las Vegas '74 CD1 (FTD)° (both wrongly listed as DS)
If You Talk In Your Sleep       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Why Me Lord       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Heartbreak Hotel       From Sunset To Las Vegas (FTD)°+Las Vegas '74 CD1 (FTD)° (both
wrongly listed as Dinner Show)
Bridge Over Troubled Water       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Hawaiian Wedding Song       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Let Me Be There       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)
Can't Help Falling In Love       Las Vegas '74 CD1 (FTD)° (wrongly listed as Dinner Show)

Review

August 20 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

Elvis wore a white jumpsuit with a pale-silvery phoenix design on the front and back, with a white belt with stripes of the same silvery-blue. The suit has recently been on the cover of an American Movie Magazine, but in that picture he's wearing a different belt. He also wore the diamond studded Maltese cross.

When he opened his mouth for the first words of 'C.C. Rider', there was no sound on the microphone, and in disgust he threw it and its stand back towards Charlie. He used a hand microphone, therefore, right from the start of the show, and this meant that he wasn't able to use his guitar at all although, he was wearing it. This annoyed him - He is always irritated if something goes wrong when it ought not to. He muttered something sarcastic about the show being very professional.
He received many little presents from Japanese fans, including a little lantern he spent ages trying to fix to his belt, but ended up breaking it - He was given many single roses, some wilting already.

Often he would draw out the start of 'I Got A Woman', reacting to the screams or sighs that came from the audience when he did the slow "Well, well, well," beginning. He would stare in surprise in the direction where the sound came from and would always make the audience laugh by his reaction to the girls' reactions. Then he would swing his left knee round and Ronnie would make the appropriate accompanying sound on the drums. Elvis would do the other knee, then one after the other, until he worked himself into a rhythmic swivelling movement, rather like a loose-limbed marching on the spot, accompanied still by Ronnie on the drums. The audience would respond with screams until it all broke up with Elvis and everyone else laughing. Then he'd go back to 'I Got A Woman'! JD still does his long bass groan at the end, and Elvis still loves to hear it, and pretends JD didn't do it well enough the first time and makes him do it again. Elvis would stand back from the microphone, still wearing the guitar, and would hold his arms out on either side and bend his knees with his feet wide apart, as if he were pretending to be an aeroplane, and he'd yell ''Wo!" in appreciation - sounding small and different because he was off the microphone. Then he'd pull towards him on an imaginary joy stick and fly his aeroplane upwards with JD's rising voice his face expressing extreme tension, until he was upright again. He would smile in real appreciation at JD. When JD's voice became hoarse, perhaps with a touch of the flue they all had, Elvis would say, "JD's lost one of his engines."

When he introduced JD, he again took his hand. Introducing Charlie he puts his right arm out horizontally and rests his wrist on Charlie's head, and in this show Charlie looked up at him with an expression of devotion.

A girl in the audience pulled down Elvis' head to speak to him or he kissed, by pulling down on both ends of his scarf. This time all the scarves were white or pale blue and were just like the ones available at Colonel's Souvenir stand. They had Elvis' autograph embroidered on them. I think he also had some dark blue ones to wear with different coloured suits.

Elvis gave an irritable flick at the microphone cord to get the loose yards of it out of his way. He gave a meaningful look towards the wings. "I take it there is someone there responsible for keeping in all the slack chord when it's not needed"?

On 'If You Talk In Your Sleep', for this and every show, he would start off but putting his chin on his chest and bending his knees and doing very slow slithering sideways steps across the stage to create a brooding sort of atmosphere to suit the song. Just before beginning the song he would look up from this and grin at one of the members of his back-up groups as if to say he knew it was faintly humorous to start off like that.

in 'Polk Salad Annie' he would do violent sideways kicks to the rhythm not always at the same point, but where he felt it appropriate on that particular day. On the lines "Sock a little Polk Salad to me", he would do three different kinds of karate blow to the rhythm, with his elbow and with his fist facing palm up and then palm down.

He was given a very long loop of white heads and was examining them and was about to put them round his neck when he thought of something, smiled at the audience and changed his mind.

This was one of the best of Elvis' shows I've ever seen. He sang hard and well, was energetic, didn't puzzle the audience by fooling around in a way they couldn't follow, and maintained a happy and good-natured control throughout. It was one of those shows where the whole thing went over beautifully and there was that wonderful warm rapport between Elvis and his audience. At the end of the show, there was an almost complete standing ovation. Not only did the people at the front and round the ramp stand, but everyone all the way to the back and everyone in the balcony. The feeling produced by this kind of show is a unique and quite moving experience. Elvis gave out many scarves and ended the show in a very happy mood, full of self-confidence as he acknowledged the audience fixing and thanking the audience to both sides of the ramp as well as in the body of the room and in the balcony. It's very gratifying to see him make the audience happy in a show like this, and to go away so happy himself. This show worked just perfectly and Elvis was inspired. He ended very chuffed by it all that night.


August 21 1974 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 21 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

Linda was at this show, and we saw Elvis' father in the wings as Elvis came on. He wore a suit that is rather difficult to describe. It had a geometric pattern made up of small coloured squared shapes, and the overall effect of this on the back and front of the suit was of a large blunt-topped A-shape. We couldn't even agree on the colours of the pattern. To me the little units of the design seemed to be orange and green in one light, blue and yellow in another, while to Rosalinda they seemed orange and brown!

He was given a foot-high rag doll in a blue jump suit and with a mop of black hair, that was obviously meant to be him, and he considered the doll for a moment and then said, "My baby", in a high-pitched voice.

He received a very long thick toy snake, and another person at the edge of the stage must have tried to get hold of it because he looked back and said, "It's mine!"

He was given a yellow rose with a piece of fern which he tucked into the front of his suit for a little while, and then used as a microphone.

He was given, and naturally wore, a straw hat with very long straws radiating horizontally outwards from its brim - a dreadful thing. He looked like Huck Finn.

He had a little yellow teddy and after handing it over to Charlie, he looked doubtfully at his palm as if the bear had relieved itself on him.

He began ‘Why Me Lord’ in a playful mood - I think he always looked forward to a laugh in this song. His guitar pick was dark red not white, for this show and yet he still began the song by using it as a pair of rabbit teeth and then took it out of his mouth and gave a grin. He always began the song in the dark by Charlie but today walked out into JD's line of vision so that he could just look at him and make his comments to each line of the song, so that JD couldn't sing for laughing. JD would sing, for example, "May be, Lord, I can show someone else what I've been through myself ......." and Elvis would say, "Lord, I hope not", and laugh, his infectious laugh. Instead of that joke in this show, however, JD said in mock exasperation at Elvis' persistent interruptions, "Maybe, Elvis ......" and Elvis was delighted with this, and bent double with his sudden loud laugh.

I think it was in this same song that the spotlight didn't come on to its full brightness and left his face half-illuminated and he looked up in disgust and went and sat on Ronnie's rostrum near the drums as if to say, "Oh well, I quit, I'm not playing anymore."

The back-up singers still didn't manage the 'Hawaiian Wedding Song' to his satisfaction and he seemed a bit cross and imitated the gormless way they stood looking at each other.

When he was introducing Charlie, he pretended to be surprised that Charlie's head was two inches below his arm when he held it out horizontally. Elvis was always trying to make a laughing-stock of John Wilkinson and at this show, he put his foot up on the rostrum and studied John. He remarked on how weird he was, and said he never talked to anyone but just played his guitar all day, and imitated him obsessively twanging away on his guitar all by himself.

He threw a nearly-full glass of water at Glen.

HE was given a tee-shirt and took a brief look at it but didn't open it out. Charlie had a better look at it and it said "Number One", with a large white figure one.

He had a red tie and an orange tie, and when he took one of these off, his scarf slid to the floor. Charlie gave him another scarf, so Elvis now had two to give away. Sometimes Elvis would take off a very wet scarf and give it to Charlie in return for a new one, instead of giving it to a member of the audience. I wonder why. He gave towels to the audience that he'd mopped his sweat with, and even towels he'd blown his nose on! (I don't know why someone can't get him some paper handkerchiefs!)

He seemed to use a lot of hand-movements in this show, in song like 'Bridge'. He opened his eyes wide after an energetic 'Polk Salad Annie', and said it had woken him up.

During this song, on the line "Claimed he had a bad back", he would close his eyes and grit his teeth and violently wriggle his back to the three rapid beats following the line, looking as though he were imitating someone trying to loosen up an extremely painful bad back.

Someone gave him one of the Showroom's pink linen serviettes, presumably for him to mop his perspiration, and return, but Elvis didn't notice what it was at first and just took it and began to take it over to Charlie - Then he saw it and looked back as if to say "What kind of a gift is that?"

There were a number of children at the ring-side to whom he gave scarves, as he always does to children.

At the end of the show, the usual frantic rush for scarves and kisses at the ramp was more frantic than ever, and a number of people climbed onto the stage to get kisses - and many got them, too.


August 21 1974 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Nevada Nights (FTD)°
I Got A Woman / Amen       Nevada Nights (FTD)°
Love Me       Nevada Nights (FTD)°
If You Love Me (Let Me Know)       Nevada Nights (FTD)°
It's Midnight  
HRA1
8644 Nevada Nights (FTD)°~Live In Las Vegas CD4°
Big Boss Man       Nevada Nights (FTD)°
Fever       Nevada Nights (FTD)°
Love Me Tender       Nevada Nights (FTD)°
All Shook Up       Nevada Nights (FTD)°
Dialogue       Nevada Nights (FTD)°
Stop The World & Let Me Off (1 line) / I'm Leavin'
HRA1
8646 Nevada Nights (FTD)°~Live In Las Vegas CD4°
Softly As I Leave You  
HRA1
8649 Nevada Nights (FTD)°~Live In Las Vegas CD4°
Hound Dog  
  Nevada Nights (FTD)°
You Gave Me A Mountain  
  Nevada Nights (FTD)°
Polk Salad Annie  
  Nevada Nights (FTD)°
Introductions /  
  Nevada Nights (FTD)°
Take These Chains From My Heart (part)  
  Nevada Nights (FTD)°
If You Talk In Your Sleep  
HRA1
8645 Nevada Nights (FTD)°~Live In Las Vegas CD4°
Why Me Lord  
HRA1
8647 Nevada Nights (FTD)°~Live In Las Vegas CD4°
(Let Me Be Your) Teddy Bear / Don't Be Cruel  
  Nevada Nights (FTD)°
Hawaiian Wedding Song  
HRA1
8652 Nevada Nights (FTD)°~Live In Las Vegas CD4°
The First Time Ever I Saw Your Face       Nevada Nights (FTD)° (incomplete)
Let Me Be There       Nevada Nights (FTD)°
Can't Help Falling In Love       Nevada Nights (FTD)°
Closing Vamp       Nevada Nights (FTD)°

Review

August 21 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

Linda, Elvis' father and Dee were at this show, and also Elvis' cousin whom he introduced as, I think, Bobbie Jean, or Bobbie Jo. He wore a new kind of suit for this show and said Bobbie had given it to him. It was a separate jacket and trousers in white soft leather, with red pipping, and braid around the collar and along the seams, and also decorated with lines of tiny round silver studs down the sides of the legs and along the seams. It didn't have a stand-up collar like the jump suits but a large rounded collar, and the trousers had a red lace-up fastening. I didn't like the suit at first, being conservative, but he had four like this for the shows that I saw with different decorations, and I grew to like them quite a lot. The sleeves were gathered to a deep stiff cuff with two buttons, but he always left the buttons undone. He gave away scarves during the shows when he wore these suits, but came on always without a scarf.

For 'Why Me Lord' we couldn't work out why Charlie was bending down doing something to Elvis' boots, but when he stepped out into the light to comfort poor JD, we understood Charlie had been fitting him with huge inflatable white feet with black toes painted on them and out walked Elvis having to lift his feet very high off the ground, as he did with his flippers in Blue Hawaii. JD, purple in the face, just couldn't sing at all, and the tune had to limp along with no-one singing, but everyone roaring with laughter instead. I had thought Elvis was going to do the song straight for once, his face had looked so severe as JD began and Elvis walked over to Charlie in the dark. Still, I've always said he's full of surprises. Elvis thoroughly enjoyed the joke, and bent double with laughter, no doubt delighted at succeeding in completely disabling JD.

Another interesting facet of this show was the way in which several girls were allowed to stand, unmolested, on the stage for various purposes. The first climbed up, put her arms around his waist and rested her head on his chest, and then began chatting pleasantly with him as if in the privacy of her own home. He responded once or twice and then had to free himself and when safely over on the other side of the stage he said something like, "I'm sorry, I can't talk, I have to do a show".

The next lady to climb up put her arms round him, and another girl climbed up too, but Charlie put his arms round her to prevent her getting to Elvis, and the next thing we knew Elvis and his girl were quietly dancing together, Elvis looking soulfully into her eyes, and then Charlie and his girl followed suit! A very unusual spectacle. Elvis winked down at his girl's boyfriend and said, to make everything all right, "He's a sport".

As you can tell, he was in an excellent humour this show. He moved a lot, very happily, as if he were truly enjoying it. This season, in shows such as this, his natural joie de vivre was really back in evidence, and he was really a delight to watch, so happy and so well. During the various instrumental breaks in songs, he would stand between Charlie and Ronnie in front of the rostrum, face the Inspirations and Stamps, and vibrate his legs stiffly and energetically, and would sing the tune they were playing, his face beaming with pleasure. He can be the most charming man to watch. Sometimes like this, he would look all of eighteen, and seemed to be literally quivering with energy.

Two girls held up a long narrow blue rug they had made with ELVIS on it in large white letters. He stared at it and they said, "It says 'ELVIS"". He said, "I can see what it says - Elvis". Then he said it again, apparently imitating a child's way of saying it, because he added, "that's how my little daughter says it, 'Elvis'. She calls me Elvis. She says, 'What you gonna do, Elvis"?. I say, "Don't call me that, you're supposed to say Daddy, and she says, "OK, Elvis". Then he wore the rug like a rather thick evening wrap until it slid off his shoulders.

He sang ‘The First Time Ever I Saw Your Face’, for Linda.

He didn't sit down on his tall blue chair to do, ‘Softly As I Leave You’, I think because he wasn't yet too confident about his new suit. When he had first come on he had said rather self-consciously, "I look like an ice-cream man". I don't think he ever did get back into the habit of sitting down for this song again, although he did it every show. Incidentally, Sherrill Nielsen now sings the song (beautifully), as a background to Elvis' recitation of the words, the two of them singing the final words "I will leave you there" in unison. It was always one of the highlights of the show and received great applause.
Charlie would always stagger out with the blue chair and place it in the middle of the floor for him, and would then go and sit secretly on the floor behind the stamps until it was time to re-appear and stagger off with the chair again.

He was given a gilt metal guitar with a clock and his name on it, and he had a go at playing it but decided it couldn't have been tuned properly. He also had a long guitar strap from someone else, and said to Charlie, "What is it"? and Charlie said, "A guitar strap".

He put his hands together in prayer before doing the knees-bend in ‘Polk Salad Annie’, obviously not too confident about the strength of the new suit's seams.

This was one of the most beautiful shows I saw. It built up in feeling and happiness as it went along. He and the audience seemed to encourage and excite each other just by being together. Again, there was a mass standing ovation at the end, and he gave away numerous scarves. Red and the other guards were on hand to subdue the wildest among the girls who stormed the ramp, one fat lady getting so far as seizing Elvis about the waist before being ignominiously hauled away.

It had been a most happy and exciting show.


August 22 1974 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 22 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

Elvis wore his new eagle suit. The eagle's wings are fitted in with solid red, yellow and blue, instead of being indicated by red, gold and blue studs like the Aloha suit. There are brown pouncing eagles down each leg, too.
This show seemed less lively and happy than some previous ones. The audience was not particularly responsive and this always seems to affect Elvis in such a way that he feels unenthusiastic too. He didn't smile as much as he had done when the audiences seemed appreciative. He went through his usual joke version of Fever with its exaggerated knee-swinging, but the audience were taking a nap at the time and no-one gave so much as a squeak in response. Fortunately, Elvis didn't seem to mind much. Sometimes he's a little sleepy himself at the early show, so perhaps he didn't notice! Actually, a lot of girls did stand up for scarves and kisses this show, but didn't seem to scream or call out. It's strange how the characters of individual shows differ : one can he hectic and noisy and another quiet and restrained, for no obvious reason.

Elvis did ‘Why Me Lord’, straight this time, but JD still sneaked a look at him and smiled at the thought of previous renditions of the song. Incidentally, the backdrop had a church Window design projected onto it whenever they did this song.

When Elvis was introducing the singers and group, he used to hold JD's hand for a moment or lean with his hand resting on JD's knee. In this show he thought of a new little joke, which was to pretend that JD was enjoying holding hands with him, and he had to say patiently, "Let me go, JD," before he could get free.

He was given a very small black tee shirt which he held up against himself doubtfully, as if unsure of the fit. It had his name on it in rhinestones or some form of glitter. He also had a tiny Elvis doll in a white jumpsuit, about seven inches tall. It held a card for him under its arm. He seemed quite a mused at it. He again received lots of roses, and a big white fluffy teddy bear. He looked into its eyes and gave it a bit of a cuddle.

He had another trick to make poor John Wilkinson look foolish when he introduced him. He had come on stage this show carrying a long narrow card of some kind, something like the joke greeting cards you can buy. When it was time for the introductions, he took this over to John and looked at him up on the rostrum with an expression of scorn and disgust in his eyes. He said that John had sent this card to him and read it out to the audience, pausing now and again to look at John with his "you weirdo" expression, and John would look embarrassed and remorseful. He said, "This letter is sent to you for we know your interest in chain letters. This is a fertiliser club and it won't cost you a cent to join. You won't be the only one so don't be embarrassed. Make five copies of this letter leaving the top name off and adding your name and address to the bottom". (Here he paused and looked up at the audience as if to say, "Can you imagine - my name and address?") Send it to five of your best friends and urge them to do the same. You won't get any cheques or money, but within five days of this chain not being broken you will have 3216 people - er - on your lawn. Your reward next summer will be the greatest lawn on your block."!!

Well! Did John really give him that - or was it another product of Elvis' ever-original train?

He again told the story of how he had painted the "ugly doll" on the wall, pointed to a number of people he recognised as he sang the opening song, and knelt on the ramp to give scarves to children.

He discovered that a sheet or wire gauze had come adrift from the front of one of the amplifiers, and spent some time lifting it off and putting it back on, enquiring how it had happened and exchanging comments with his people in the balcony who were trying to explain it to him. He didn't seem in the mood for work at times in this show!

Linda was in the audience, and Dad was in the wings when Elvis walked on. I don't know if he always stays there for the duration of the show, or if he wanders off after a while, having seen Elvis on all right.

As we were coming out of this show Colonel and Mr Parkhill were just outside the doors selling and waving aloft copies of the new talking LP, and encouraging the people to buy it. I just caught Colonel's voice saying, "Well, you could miss a lot of sales ........."


August 22 1974 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Suspicious Minds / Blaue Donau
_(Blue Danube - instrumental)
      From Sunset To Las Vegas (FTD)°
Help Me  
HRA1
8648 Live In Las Vegas CD4°+From Sunset To Las Vegas (FTD)°

Review

August 22 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

Elvis wore his first two piece suit again. Dad was in the booth until Linda arrived, a little later, and then he left. He seemed to have been saving the seat for her. When Linda arrived, for what turned out to be her last show of the engagement, Elvis said pleasantly, "Where have you been, honey?" and didn't seem at all annoyed at her lateness.

At the end of 'Suspicious Minds', (the only time I heard Elvis do this song this time), Elvis was just hovering for a second while the audience applauded, and I think he had his back to Charlie and was facing Ronnie or the stamps, when all of a sudden a girl leapt up from her ringside seat, shot across to Charlie, seized him, kissed him and shot back again to her seat. Elvis turned as soon as he sensed a sudden violent commotion and then looked in astonishment as the girl shot past him and grabbed Charlie instead. Charlie's little arms were raised in alarm at this new and terrifying experience, and the audience roared with laughter at Elvis' and Charlie's obvious bewilderment. Then Elvis laughed and said, "Go ahead, Charlie," and Charlie, who had now recovered his senses, flew to the edge of the stage and he and the girl seized each other again. It's a tragedy to miss any Elvis show at Vegas : something peculiar happens at every one! At the end of it all, Elvis winked at the girl, and at later shows there were a couple of allusions to Charlie's ability to steal Elvis' girls, and to Charlie having his own fan club now.

Among the gifts he received were a grey and pink elephant, a little notebook, a picture of Lisa, a little plastic ape whose slouch he imitated, roses, and many envelopes with messages which he seemed to enjoy opening and reading. One girl gave him a necklace made of a single narrow gold band, like a choker, and she fastened it for him at the back of his neck, but he found he couldn't sing properly in it, and had to get Charlie to unhook it again. He said, "It was a beautiful gift, honey, but it was choking me."

At one point, he was talking about the things people used to think he did, just to look sexy, and mentioned his crooked smile. But, he said, he couldn't help it - he had a "curved lip".

He also received a glass of water which he had to take a drink from and return, after checking that it was really just water; and someone else gave him a bottle of champagne.

He had three dirty little spots on his right trouser leg.

He was ready for a good laugh again in 'Why Me Lord' But I don't think he could find anything much to laugh at, and could only raise about one good guffaw to bend double over. However, he succeeded in nearly putting JD off his solo, but although JD's face went red and his voice wobbled, he did manage to keep on singing in spite of Elvis.

'Let Me Be There', and 'What Now My Love' received very good applause.

At the end of the show when he was singing, 'Can't Help Falling In Love', so many girls reached out so desperately to him, that he went and stood by John on the rostrum where he would be out of harms way. Lots of girls had walked to him on the stage this show, but if they ran and looked dangerous, they would be caught and dragged away from him.

The last I saw of Linda this time was at the end of this show, when she and a girlfriend got out of their seats and squeezed their way through the crush to Elvis on the ramp. Linda gave him a pair of yellow knickers and she and her friend were squealing with delighted laughter at the success of their trick, but Elvis didn't really seem to notice who it was or what she had given him, in the final hectic moments when so many were trying to attract his attention.


August 23 1974 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 23 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

Elvis wore the blue rainbow suit, and again we saw Dad in the wings seeing Elvis on stage.

He seemed slightly tired this show, saying how surprised he had been when they named the street where he lives in Memphis, "Elvis Presley Boulevard," He said he had known nothing about it until he was watching television one day and the newsreader announced it. Here Elvis showed how he'd shot forward in his chair and stared pop-eyed and open-mouthed in astonishment. But he said it still sounded strange to hear his name used for a road, and gave the example of the newsreader on TV saying "Four guys raped a chicken on Elvis Presley today."

His hair looked very beautiful again this show and bounced back into shape when he'd been shaking his head.

Gifts: He received a strange multi-coloured paper decoration, perhaps a gift from a Japanese fan. It was about two feet long and had lots of separate strings of coloured paper flowers or something. He obviously didn't know what it was for, but discovered he could either whirl it round spectacularly, or wear it in his belt. He had a little yellow hound, and a creature made of green fluff on elastic. A little boy gave him a small white monkey and he imitated its expression. He had a red tie and made a great show out of trying to get it off again, and got a little piece of it left stuck in his hair. I won't list all his presents, he had so many this show, except to mention that he nearly got stabbed in the eye with one of them - a gold metal Eiffel Tower - that a silly girl was trying to give to him by rushing him at the end of the show and thrusting it at him under his outstretched arm just as he was bowing. He never did get it after all. She made him jump back out of the way of it.

When he was talking once to Estelle, he rested his hand on her knee, and she put her hand over his and patted it gently as she listened to him.

He used to throw his white towels to members of the audience, sometimes after blowing his nose on them if they asked for them, but usually after mopping off his sweat. In this show he gave one away after giving himself a thorough mopping all over, including his knees.

He gave scarves to a tiny little boy in white shorts who got onto the stage, and also to a very small girl.

He grabbed at the necks of James' and John's guitars in 'Hawaiian Wedding Song', to see if he could put them off.

He was going through one of his twitching routines, where Ronnie plays an accompanying series of beats on various drums, rather as in That's The Way It Is, when they're rehearsing at MGM. and to end a song Elvis flicks his hand, kicks twice, and sits, on the last note. Elvis had done his shoulders, knees, head etc, and then twitched his mouth as he used to years ago. Unfortunately, he forgot that Ronnie could only see his back, and so he didn't get the appropriate accompaniment until he turned round to face Ronnie and did it again, and this time they synchronised beautifully.

Later on, he made a mess of his introduction of Ronnie, by mistake, not in revenge, and shrugged and went on to the next person, Duke Bardwell.


August 23 1974 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 23 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

Again we saw Dad in the wings at the start of the show. Elvis wore a different two-piece leather suit. This one had a sort of mermaid in a long blue chiffon skirt instead of a fishtail, on the back of his jacket, with the usual additional designs of yellow flowers and trailing green ivy leaves on the back and front of the jacket and trousers, and down the trouser legs.

He did his show graceful karate movements at the end of 'If You Talk in Your Sleep'. and when he had finished, he took a sidelong smiling look at Charlie and some of the others, seeming to say, "Don't you think it's funny?", or perhaps covering that slight self-consciousness which is never far under the surface.

A girl in orange gave him a rather wilted looking little orange flower, and later on made another brief attack on him which left him a momentary wreck sitting weakly on Tutt's rostrum by the drums.

He was given two long chains to wear round his neck, and he and Charlie deliberately tangled them up in their combined efforts to take them from round Elvis' neck. They did this slowly and solemnly together, doing a Laurel and Hardy, I think!

Someone gave him a small monkey which he carried on his shoulder for 'Why Me Lord' holding onto its paw to keep it in place.

He split his Gatorade on Charlie's little patch of rug. He drinks half a glassful of Gatorade or water at a time now, whereas formerly he has seemed to take only a mouthful. Perhaps he had a dry throat with the impending flu.

The monkey he wore in 'Why Me Lord' had been given to him a little earlier on in the show, and, as in the last show on September 2nd, 1973, he wore it for 'I Got A Woman', and sang "I Gotta Monkey", holding it cheek to cheek and giving it his microphone to sing into. Later, he said "My baby'', to it, and sat it on Charlie's table after he'd finished playing with it, but as soon as Elvis' back was turned, Charlie removed it and put it back on the floor.

As I've said before, if anyone gives Elvis a hat of any kind, he always wears it. This time as he was about to do 'Fever', someone handed him a turquoise blue cowboy hat, which was slightly too small for him, and Elvis put it on. He stood there on the ramp on his tight leather suit with his head well up so that his blue hat couldn't possibly be missed. Every time he jerked his head and shoulders on 'Fever' the hat would slide forward over his eyes, but he would not take it off. On the contrary, he tightened its chord under his chin to keep the hat firmly in place, and proceeded. However, at last reason prevailed and he removed it before his final bout of wriggling, during which no mere chord could possibly have held so small a hat in place.

He did a very energetic 'Let Me Be There', vibrating his legs and enjoying it all very much.

He sat down for 'Softly As I Leave You', which was unusual, because he seemed to get out of the habit of sitting for this song after he began to wear his leather suit, although Charlie continued faithfully to haul out the blue chair each time, just in case, and then to haul it back again.


August 24 1974 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 24 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

He wore the same suit as at the previous show, or an identical one perhaps, unless he knows of a lightning quick cleaning service.

We saw Dad in the wings, and Colonel and Elvis' friend Lamar were in the audience.

A Japanese fan wearing traditional costume (a man) was very appreciative during this show, and in turn, I think Elvis especially appreciates applause from the male members of his audience because he knows it's not just his looks they're applauding. So eventually he went over to this man, and he was given a short string of white beads, made of bone or ivory perhaps, on a black leather thong. The man made him understand that he had made them himself for Elvis. Elvis seemed to like them immediately because he didn't go straight over to Charlie and give him the gift like he usually does, but just loosely wore them over his wrist, until he could get Charlie to put them on for him properly, and tie the thong behind his neck. Later on, they dropped off, and Charlie had to tie them on again, and after this Elvis always wore them with his two piece suits, and they went together very well.

The funniest thing in this show was near the beginning, when Elvis was singing 'I Got A Woman'. A man called out enthusiastically, "Sing it, Elvy", and Elvis stopped dead, said "Elvy!" in a tone of horror and disbelief, he took off the guitar and began to walk off in disgust, while the audience laughed at his dismay. He came back and got a little further with his song when the man called out again, this time calling him, "Elvy, Baby". I think it made Elvis feel a bit daft, but he was quite amused too. He said, "I don't care, but it's my Daddy's middle name and he's very sensitive". Then he wondered how come he had such a strange name and wished he had a more sensible name like "Blank": He can't really like the name Hank, can he? After that the Inspirations would sometime tease him by calling him "Elvy, Baby" and Kathy called him "Hank". Elvis said to the orchestra, "Don't any of you guys get any ideas about that Elvy Baby thing". Later, when Charlie went to straighten his guitar straps for him or tie the leather thong behind his neck, the audience would go, "Aaaah", teasing him, because he was "Elvy Baby" and had to have things done for him! Come people in the audience tried to tease him a bit after that, calling out various things, but he doesn't like the audience to get smart with him and he ignored it without so much as batting an cyclid In response to any of it, and so they stopped.

He seemed slightly tired again for this show, and his voice wasn't as strong as it can be. but he still moved enthusiastically as though he were enjoying it.

A fly flew around him and he looked at it meanly and stopped singing. It was the same mean look he had given the light man once before for being inefficient with the lights in 'Bridge', and illuminating him too soon.

Today's trick for 'Why Me Lord' was to step solemnly out from the darkness to the spotlight wearing one of his white scarves over his head tied under his chin. He stood there looking at JD and apparently waiting to join in with the chorus, but poor JD was purple and voiceless and quite unable to go on. Another win for Elvis!

He held JD's hand when he was introducing him and JD patted Elvis' hand. I'm told JD would occasionally blow Elvis a friendly kiss at this point, too, but I can't say I ever noticed!

Someone threw their key onto the stage and Elvis picked it up and said, "This puts a whole new light on things."

He received a stuffed blue skunk, a tiger, a feeble silver paper crown which he looked at either in puzzlement or interest, wore for a moment, and said he would give to Lisa, a teddy and a flower from a little girl in a wnite jumpsuit, which he looked at - this time I'm sure in interest.

A girl climbed up onto a table to get to Elvis, but Red told her to get off. She climbed up again to get a scarf, and Elvis held out his hand to her to steady her in case she needed it. I suppose he knew, even if she didn't that the Showroom tables only have one leg each, like a stalk in the middle, and are either very old and ricketty or very badly and weakly made.

When Elvis introduced Charlie, they nearly linked arms, or else Elvis held Charlie's wrist as a sort of "here he is" gesture and Charlie went to take his hand. Something like that happened, and Elvis said, "Don't do that, the magazines will get hold of it". He seemed very touchy about the movie mags this time and frequently remarked on the "junk" they were filled with. He said, "they don't know anything about me, so they make it up, and it's all JUNK"!

Towards the end of the show Elvis went to take off his scarf to give to someone, but had forgotten that there wasn't one there, and had to go back to Charlie and get one. I saw him do this a couple of times. It would be because there was always a scarf there when he wore jumpsuits, but not necessarily when he wore his new leather suits.

Again, near the end, he looked suddenly back to see the back of his trousers as if he suspected the seam had given way - which it hadn't - and he turned back and smiled. All was in order.

I think a drop of water went down the wrong way at one point and made him cough.

He and Charlie did another Laurel and Hardy act over his new Japanese beads, pretending they were caught over his wrist and in the microphone wire.


August 24 1974 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      It's Midnight (FTD)°
I Got A Woman / Amen       It's Midnight (FTD)°
Love Me       It's Midnight (FTD)°
If You Love Me (Let Me Know)       It's Midnight (FTD)°
It's Midnight       It's Midnight (FTD)°
Big Boss Man       It's Midnight (FTD)°
Fever       It's Midnight (FTD)°
Love Me Tender       It's Midnight (FTD)°
All Shook Up       It's Midnight (FTD)°
The Wonder Of You       It's Midnight (FTD)°
I'm Leavin'       It's Midnight (FTD)°
Softly As I Leave You       It's Midnight (FTD)°
Spanish Eyes       It's Midnight (FTD)°
Hound Dog       It's Midnight (FTD)°
You Gave Me A Mountain       It's Midnight (FTD)°
Polk Salad Annie       It's Midnight (FTD)°
Introductions       It's Midnight (FTD)°
If You Talk In Your Sleep       It's Midnight (FTD)°

Review

August 24 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

Elvis wore a new two-piece suit, slightly less decorated than the 'Mermaid' suit, but with yellow and blue flowers, and trails of ivy leaves, and brown stitching and edging. Dad was in the wings again.

He spat alightly behind him after kissing someone. He moved his hand downwards over his face to mime "When evening falls" in 'Bridge Over Troubled Water'.

He didn't sit down for 'Softly As I Leave You'. Once or twice he told Glen to play more quietly, and he said at the end of the song, "You were playing 'Softly' too hardly".

He received a blue skunk identical to the one he received in the previous show; also a bunch of carnations and a thank you card from a Canadian fan whose last show it was, and a gold chain that he promptly got his microphone caught in.

He and Sherrill sang 'Spanish Eyes', the only time I saw it done this season, and both Elvis and Charlie pointed to the solo trumpeter so that the audience would know he was to be given a clap.

It was during this show that Elvis walked over to Charlie in 'Bridge Over Troubled Water', so that his spotlight lit up Charlie too, Elvis obviously intending to jog the light man's memory. I wonder who they had up there this time. I don't remember so many omissions before.

In 'Let Me Be There' on the line "when you need a friend to lean on, here I am", Elvis would always turn to look at Charlie, and this time he winked at him.

In 'Polk Salad Annie' on "claimed he had a bad back", Elvis wriggled his back so vigorously that he missed the next word.

He took off a bedraggled wet scarf and gave it to Charlie in exchange for a new dry one.

He went to attack John with the end of his guitar during one of the opening songs. Incidentally, at the opening of every show, when Charlie gives Elvis his guitar and pick, Elvis still always backs the guitar up suddenly to biff Charlie in the stomach.

In 'If You Love Me (Let Me Know)', on the line "the smile that says hello it's good to see you", Elvis would always flash a silly artificial smile either at Voice on his right, or at the audience, showing nearly all his teeth.


August 25 1974 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 25 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

Dad was in the wings, and Elvis wore the same leather suit as at yesterday's midnight show.

He again rested his hand on JD's knee when he was introducing him, and today this amused someone in the audience. Elvis would put his hand on JD's knee and seemed to put his weight on it and lean back.

He took a jab at Estelle in passing and she ducked out of his way. Just as Charlie and John among the men get the most tricks played on them, so Estelle from the girls is the one he teases most, perhaps because she's on the end and, therefore, accessible for the odd punch or shove.

He was given a green dragon's head glove puppet, but I don't think he had the knack of working it. He should have had his thumb along its jaw. Anyway, he found a good use for it. He used it to distract JD in 'Why Me Lord', tying a scarf around the dragon's head this time, instead of round his own. Isn't he resourceful?

His 'Hound Dog' routine was spoilt for him by someone setting off a little clockwork hound to trot out across the stage. This is a favourite trick with the fans. It amused and diverted Elvis, anyway, and he watched it and chuckled and made it walk in various directions. "Look at his little tail", he said, realising the dog's tail swivelled as it walked. Charlie seemed to know a bit about it because he said, "Pull the loop". "Pull the loop?" said Elvis, and did so, very gently, and the little dog went "Arf arf" in a very tiny high pitched bark, to everyone's delight.

Charlie dropped a glass of water on his rug and got a thump in the chest from Elvis elbow for being so clumsy.

Again, he told how he had painted the doll on the wall, and scornfully imitated the ridiculous posture and inane expression of the male figure. He really doesn't think much of that room's decor!

A girl gave her feather bon to Elvis to wipe his face and chest on, and when he did so, he seemed to get a lot of bits from it on his mouth, and was trying to spit them off his tongue.

He had to wipe the lipstick off his face onto a towel, and said if he didn't he'd get rude remarks from people who thought it was his.

This was a good, efficient, lively show. He seemed to start off in a much livelier mood than he did on a couple of earlier shows, and he smiled a lot and seemed in one of his really nice humours. There was a great deal of vigorous, emphatic movement, and at one point he did that curious all-over tremble, just standing still on the spot and quivering. He must have unusual coordination.

He talked about the silly movie magazines again, and said sternly that if half of what they said was true, he couldn't possibly put on the shows he does, and would be a wreck, and then he promptly collapsed in a heap on the floor.

At the end of the show, he spent a long time giving out scarves on the ramp and kept saying, "One more, Charlie. Just one more". It seemed another happy and successful show and he was enjoying this final bit of contact, even putting his foot over the edge of the ramp onto people's tables so that he could get just a bit closer.


August 25 1974 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 25 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 170-71 (October 2 1974)

On this show we were on the wrong side of the room to see into the wings where we normally looked out for Dad. Elvis wore the 'Mermaid' suit, and the gold ram's head given to him by the Hilton in February '73. However, its weight caused it to fly heavily upwards when he moved and eventually it fell off with a thump. He called urgently to Charlie, "Get that!" as if he wouldn't be too happy if he lost it to a member of the audience, but as it fell close to Charlie, I doubt if anyone would have been able to get at it.

This was another of those beautiful shows which happen when Elvis is happy and enthusiastic and when he and the audience somehow click together. He was in a very good mood and it was one of the best shows I ever saw him do.

He was handed the drawing of himself, naked but for a strategically placed teddy bear, that appeared sometime ago in Playgirl. He was vastly amused and chuffed by this for some reason, and said, "Honey, where did you get this? Oh - Playgirl magazine." Then to the audience, "This is a drawing. I didn't pose for it. The teddy bear isn't real" (!) Then he showed it to Charlie and to Duke, and everyone seemed to have a good look and a laugh, and I think it went right round till it ended up with JD! I think that must have been his second favourite gift after the Japanese beads.

This evening's 'Why Me Lord' trick was a clown mask with a lot of ginger string hair standing up round an otherwise bald head, with the usual white eyes and red nose. I think JD just struggled through in rather throttled tones. To me the funniest things about these jokes of Elvis' are his persistence and constant stream of silly ideas, and also the way he presents himself in each new outrageous mask or hat or whatever. He always stands very straight, and faces JD directly and calmly, with an expressionless face (when you can see it!) as if there's nothing whatsoever out of the ordinary. "What's the matter, JD?" he asks perfectly innocently, as JD's face changes colour and he hangs onto the microphones for support.

JD again patted Elvis' hand when he introduced him, and this was one of the shows where he blew him a kiss. Elvis had explained how he used to go to gospel conventions when he was about sixteen, and went on his own because none of the other kids liked that kind of thing. He used to see JD in the Blackwood Brothers, but never dreamed JD would ever be singing with him on stage. (Then came the kiss). Then Elvis would go on to say that he had wanted to be a member of a gospel quartet, but wasn't so sure now that it would have been a good idea. He said, "Can you see me standing between three other guys, doing this?" and here he would wriggle about violently and his sweat would fly. "Bodies all over the stage", he added, meaning the bodies of those who only moments before had been the other members of the quartet.

He had a request for 'Sweet Caroline', and said he'd do it, but then had to go over to the Inspirations and say quietly, "What's the first line?" However, the rest of the words came back to him as he went along, and all the old movements with the arm too.

This was the first show when Elvis pointed out the fact that there's a mirror in the wings he can see himself in. It's actually a typical dressing-room type of mirror with two wings and light bulbs along the top, only it's a full-length one. He leaned back slightly and patted his hair into shape on either side, and said, "I'm as vain as anyone," and then much later on he leaned backwards for another look, but didn't say anything, just let you notice the joke If you could. It's this kind of thing which makes him so engaging and charming to watch. He's really beautiful in a playful mood like this.

There was a big moth flying about in the showroom which no-one could fail to notice, and everyone seemed very amused when it hurtled towards Elvis, but he didn't make much of it, except to watch it warily.

Charlie for got to hand him a guitar pick and he had to get one for himself and later he gave it to a girl who was eager to have it, and he cast his eyes heavenwards as if to say, "Fancy wanting that!"

Again, he took a lurch at John with his guitar to intimidate him.

He pointed to Charlie in 'Big Boss Man', on the line "You ain't so big", and in 'Let Me Be there', he indicated growth by raising his horizontal hand on "watching you grow".

Both Charlie and Elvis ended the show in style, Elvis giving out all his scarves as usual, taking them from Charlie who was following him about with a pair of pink knickers over his entire head, placed there by Elvis, who had received them from one of the ladies of his audience.

It was impossible to foresee from this beautiful show that Elvis was sickening for something, and would be entirely out of action the following day. We arrived downstairs the following morning to find the "Cancelled" notices had been up since 10.00 a.m., and because this news was so sudden and definite, we began to imagine the worst. Had Elvis taken it into his head to improve one of his beloved fat angels in the showroom and taken a dreadful tumble in the attempt? We were told "it's the 'flu", by everyone we asked but somehow didn't entirely believe it was as simple as that because of the suddenness and finality of the attack. As it turned out, it wasn't quite as simple as they made out, and the temporary complications to his flu that we've discovered since explains how come they were so sure he wouldn't be performing that day.

When we saw him again on the 27th, he was again in such a good mood, so communicative and so cheerful, if a little pale and pouring in sweat, that it was hard to believe he'd been so unwell the day before. As Martha Collins has covered the remainder of the shows I saw, I won't add anything further, except to echo her in saying that this was the happiest and free-est that I've ever seen Elvis, and my only regret was that there was no way of preserving each of these warm and beautiful shows so that everyone could see him as he was : to quote the lady in That's The Way It is, a wonderful and warm human being".


August 26 1974 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

August 26 1974 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

Review

August 26 1974 Dinner & Midnight Shows
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

It was 103° in Las Vegas when we arrived at McCarren Airport, Elvis signs were everywhere (we also saw them in L.A.) and the Hilton was having its usual "Elvis Summer Festival"! The souvenir booth set up in the lobby entrance contained few new items - "straw" hats, sane photo buttons and booklets, but also the new "talkng-only" album! It's called Having Fun On Stage With Elvis, put out by Col. Parker's "Boxcar Records" and 18 about 40 minutes of Elvis talking, girls screaming, and Elvis and audiences giggling. I think it could have been much, much better, but it is interesting! The booth was run by volunteer workers from Paradise Sertona for the Aurally Handicapped Children of Las Vegas.

When we made our way to the show reservations desk to confirm our reservations, we found Jerry moaning into a telephone that both shows Monday night were cancelled!! The flu had struck 25% of Las Vegas - and Elvis, with his weak respiratory system, had caught it! So Monday night we spent chatting with fans and Hilton workers and worrying. Sean Shaver was there, also Paul Lichter (we didn't meet them though) and many Australian and Japanese fans, "The King's Court" FC of New York was there too and we learned from two members that Elvis had had 5 shots that day and according to his stepbrother David, (who' the girls had met earlier) had spent the day on a couch, wearing black silk pyjamas and robe, and throwing up! (David also added there was "some girl" with him. Many of the fans said Linda Thompson had been there but had left a few days earlier.)


August 27 1974 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 27 1974 Dinner Show
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

Bill Cosby flew in to replace Elvis if necessary. A sign to this effect was posted by noon near the showroom, and we saw Cosby in the casino, the coffee shop, and in Artie Norman's office. Lines began forming by 4.00, but rumours abounded that Elvis still couldn't go on. The sign had disappeared though so we had high hopes of seeing Elvis.

I got a seat down front and to the right side, No seat in the Showroom is too far, really, from the stage, and it's a joy to be so close to vis! It's almost "intimate" (even though it's the largest showroom in Yogas) compared to on-tour coliseums! In case you hadn't guessed, the minimum price downstairs is up - to $17.50 for both dinner and midnight shows, plus 131% tax, plus tipping! The houselights dinned and the band struck up that jazzy version of 'Love Me Tender' that we heard on tour. Then, Voice opened the show, singing 'Come Go With Me To My Father's House', 'Killing Me Softly', and 'Let Me Be The One', with a short recap of 'Come Go With Me'. Don Sumner does the introducing and thanking. The Sweet Inspirations came out doing their Oriental fan dance, and wearing African-inspired outfits - white feather halter tops and draped white skirts with large orange earrings and necklaces. Although Sylvia was catching the flu, they did their usual fine job on 'Mighty Love', 'You Make Mo Feel Brand New', and 'Put Your Hands Together'. Jackie Kahane followed with the same jokes - all together the warn-up took 45 minutes.

While Jackie was on, towards the very end of his monologue, the girl at our table right next to the stage lifted the gold curtain just enough for all of us to peek under. There were lots of plain white boots moving back and forth, and several inner curtains behind the gold one. Then we all caught our breath as a pair of white boots with gold heels came into light - alone. There was some curtain rustling but our eyes were riveted on those white boots! Slowly they raised up and down on the balls of the feet, then paced some - one could see their owner was nervous and eager to go on! They were, of course, Elvis' - we verified the gold heels when he came out on stage!

The shows were never exactly the same but here is a list of the basic songs: '.CC. Rider', 'I Got A Woman'/'Amen', 'Love Me', 'All Shook Up', 'If You Love Me (Let Me Know)', 'Big Boss Man', 'Teddy Bear'/'Don't Be Cruel', 'Why Me Lord', 'Hound Dog', 'Fever', 'Softly As I Leave You', 'It's Midnight', 'Hawaiian Wedding Song', 'Love Me Tender', 'Let Me Be There', 'If You Talk In Your Sleep', 'Can't Help Falling In Love'. For this show, he added 'i'm Leavin', 'Polk Salad Annie', 'You Gave Me A Mountain' and 'It's Now Or Never'.

Elvis is looking and sounding great - his hair is layered and shorter, even the sideburns have been trimmed. More important, he is extremely relaxed and VERY TALKATIVE!! We saw him in two new outfits. At this show, he wore a two-piece white leather suit. The cut is Western, and all the seams are topstitched in red. The pants are stitched above the knee in a curve, up the middle. of the back and around pockets and middle in the front. They lace up, rather than zip. The shirt, worn loose with no bolt, had curved seams and a yoke and cuffs; the collar, yoke, cuffs and sides of pants were painted delicately in yellows and blues.

Elvis, as usual, had his problems with his clothes! He had to keep pulling his pants up and ripped the right knee during this show. He was quite disgusted - told us his cousin had made it for him as a gift and he knew it had cost $500. At that point, he revealed how open and human he intended to be, how unreserved and informal his attitude was. As he was complaining about the rip, a girl yelled: "That's OK; I didn't like it anyway!" Elvis turned and snapped at her: "I don't give a goddamn! I don't like your hair either!"(!!!) I've never heard Elvis respond like that, but I must say the young lady deserved it! Later in the show, he went up to her and said, "I'm sorry if I hurt your feelings, I just thought I'd try something now...if you don't mind..."

He is using 'Love Me', 'Hound Dog', 'All Shook Up', 'Teddy Bear'/'Don't Be Cruel' and 'Love Me Tender' as audience participation, kissing and scarf-throwing tine, 'Big Boss Man' is a terrific production, and he still happily repeats a chorus of 'Let Me Be There'. 'Softly As I Leave You' is a beautiful, very roving love song: Elvis begins with the stage nearly dark, talking about how the song care to be written, "There was a man who lay dying in a hospital, for three days and three nights, His wife stayed by him, and one night" (he raises a hand dramatically) "between midnight and dawn" (the music begins) "she lay down beside him and fall asleep. Well, he felt her doze off just as he felt himself starting to die, He didn't want her to see him pass away, so ho took his notepad from the side of the bed and wrote..." Sherrill Nielsen begins singing the tune here, but Elvis continues talking the song in a deep voice, "Softly. I will leave you softly." At the last line, Elvis joins Sherrill in harmony. It is quite sad - many around us were openly sobbing. Very different - very beautiful! For the 'Hawaiian Wedding Song', Elvis asks "How many of you saw Blue Hawaii?" to which there is always affectionate and loud response. "This is the most requested song from that show." He asked the audience to join in if we liked - it was fantastic hearing most of the showroom singing together with Elvis loading - a wonderful feeling of love in the room! At the closing phrase "I do - love you", Elvis stands back by Kathy Westmoreland and she echoes him then she holds the last note while vis goes down the scale singing in Hawaiian, Each night he then kissed Kathy very sweetly - delightful! In 'If You Talk In Your Sleep', Elvis doos some very slinky movements to the funky into, and some karate, which he elaborated later on in the week. The new single is 'It's Midnight' and is a sad ballad but with a boat. Once again, Kathy Westmoreland echoes Elvis on "It's midnight...and I miss you." Very well-received and may well be good chart material. Really an excellent song!

As I said, vis is talking A LOT! Here are a couple of his stories - the first while introducing JD Sumner. "When I was a child, I always wanted to be a gospel quartet, I mean in a gospel quartet! When I was about sixteen, I'd go to Ellis Auditorium (in Memphis) to all-night gospel-sings, I wont alone because none of the kids my age liked that kind of music, JD was a member of the Blackwood Brothers Quartet. I never dreamed then that someday I'd be on the same stage with him."

"The other night there was a minister in town, Why, JD?" Silence, "I didn't mean to stump you!" "To raise money for a new evangelical church," Charlie answers, "Oh", Elvis went on, "He had an all-night telethon and JD and the Stamps and Voice - they had to find Sherrill: he was buried somewhere in a pillow! - and two of the Sweets went over and sag. The minister asked JD if maybe vis would come by and JD said 'if he does, I'll jump in the pool!' Later I called and told the minister that because of my contract I can't appear in Las Vegas outside the Hilton. But I told him I'd donate $2500 1f JD and the Stamps did jump in the pool! And they did! With their uniforms on!! Then I told the minister I'd give another $1000 if he'd jump in the pool." A smile. "They had to throw him in."

He had bandaid problems - he uses them to hold his rings on. Couldn't get one off and a girl offered to help so he let her - while the rest of the girls stage side went wild with jealousy! He was very solicitous and always thanked those who gave his gifts (he received many each show) and wiped his face, A man called out - "How do you feel?" Elvis answered: "Fine, thank you, It's just a little cold. The fever broke - that's why I'm sweating so much up here. The fever is why they wouldn't let me go on last night. Thank you for asking! You know, in 18-19 years, I've only missed 4 or 5 shows because of illness." The audience applauded and he bowed slightly. "I know you come from miles around and I don't like to disappoint you," More applause, "It's my life's-blood - I love it." More enthusiastic applause.

The introductions have been elaborated, Elvis announced that Charlie Hodge now has his own fan club, and said Glen Hardin can arrange anything fantastically - even (or because of being stoned all the time! Elvis and Charlie have a new game they play here, Elvis loans his arm on Charlie's head at which Charlie fans his face as if the smell were overwhelming! The audience laughs; then Elvis says seriously, "Don't do that, Charlie, I use - what is it?" Charlie mouths the words and vis says innocently, "Stay-Free Mini pads!" (The audience howls - if you don't know, those are "sanitary napkins"!!) "No, I mean 9-day? 5-day? deodorant pads? Oh, well..."

His father Vernon and Dee came in just as Elvis went on. He asked "my stepbrother David" to come out on stage from backstage, "This has been bothering me for a year now, come here, David. See that guy (in the orchestra) - you look just like him! No, not the black guy!" David goes up and looks; then Elvis seemed to forget about him and went on with the show, and David shyly walked off! The show lasted 1 hour and 15 minutes,


August 27 1974 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
The Wonder Of You
      From Sunset To Las Vegas (FTD)°
An American Trilogy       From Sunset To Las Vegas (FTD)° (wrongly listed as August 22 MS)
Elvis Talking / We Shall Overcome (part)       From Sunset To Las Vegas (FTD)°
Hawaiian Wedding Song       From Sunset To Las Vegas (FTD)°
Elvis Talking ("Nigger" dialogue)       From Sunset To Las Vegas (FTD)° (wrongly listed as August 22 MS)
It's Now Or Never  
HRA1
8651 From Sunset To Las Vegas (FTD)°~Live In Las Vegas CD4°

Review

August 27 1974 Midnight Show
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

At this show, Elvis wore the peacock jumpsuit. He added 'The Wonder Of You', and sang 'An American Trilogy' especially for a couple from Detroit who had been there a week and requested it. He left out 'Polk Salad Annie' and 'I'm Leavin'. He introduced his karate instructor from Korea, Last night, when Elvis was sick, this man granted Elvis his 8th degree blackbelt! Elvis was very pleased and said, "He's little - but don't mess with him!" He also introduced Red West - said he runs a karate school and wrote 'If Every Day Was Like Christmas', 'Separate Ways' and 'If You Talk In Your Sleep'. "I'm quite proud of him," Elvis smiled.

JD had a lot of trouble hitting that low note in the 'Amen' during all the shows, and Elvis lost no opportunity in teasing him about it! He called him the "father-figure" on stage; added that John Wilkinson is the "mother-figure." Tonight he gave JD a lecture on how to sing - "inhale, exhale" - and pointed out a line JD consistently did incorrectly. Then he criticised JD for not giving all the Stamps a special ring (with a piano on it) and told us he had just given JD a great watch - which fell off shortly thereafter! "That's what you get," Elvis snorted at him.

Something said from the audience prompted Elvis to give a brief lecture on the word "Nigger" He said, "In the dictionary, the word 'nigger' means 'lazy and shiftless'. There are a lot of white niggers. Just watch Hee Haw (a TV show) and see". The band and the audience applauded, and the Sweets sang a bit of 'We Shall Overcome', Elvis put them down quickly, with mock disdain. "We shall overcome - humph! That's what the Chinese said - that's why there are so many of them!" (The audience was silent a moment, then went "Oooooooo" as we all caught his meaning - quite a pun!!!)

Elvis gave another lecture on the man he calls "El Flippo, the showroom decorator!" He declared that the designer must have boon "freaked out of his gourd!" said the whole thing was too wide and the figures up on the walls were dumb. He had spotlights put on the figures and pointed out the "fat angels with the wrong end in your face," Then he spotlighted one black figure on the right and said she had suddenly turned black since he'd boon there but the hotel either hadn't noticed or was afraid to mention it! Very slyly he admitted that he and Red and Jerry Schilling, and David had stacked tables, gotten some back paint, and around 4.00 one morning, he, Elvis Presley, had painted that very statue!!! (The place fell apart, - can't you just picture that?!1)

Elvis introduced his father - who got a tremendous hand. He also thanked Bill Cosby for coming to help. He said Kathy Westmoreland had sung a year with the Metropolitan Opera and two years with the L.A. Vice Squad! He saluted the Japanese fans and said how much ho'd like to go to Hong Kong, Japan, and Europe, "I've never been out of this country except when I was in the army." He also mentioned that while he was in the any, he asked someone to write new English words to 'O Sole Mio' and that idea became "my biggest selling record", 'It's Now Or Never'. (which he then sang.) One girl near the front kept screaming on and off - a single high squeal, Elvis looked at her each time and said: "He got you again, huh?" After about the fifth time, he said: "Again?! You're gonna be too sore to walk out of here!" Doing karate poses he stopped abruptly and told us there was a big mirror in the wings and he loved to watch himself. He then postured humorously and added, as we all laughed, "I'm as vain as the next guy!" Near the end of the show, he gave a girl a scarf and a kiss, As he straightened up, he said, "What? You want my belt?!" He thought a minute, then took it off and handed it to her, asking, "Do you want the suit too?" The audience, of course, went wild! He was on one-and-a-half hours. "The hotel doesn't like me to be on more than 55-60 minutes, but we don't give a damn! We work as a team and have a lot of fun and hope you do too."


August 28 1974 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Help Me
      Las Vegas '74 CD2 (FTD)°
My Boy       Las Vegas '74 CD2 (FTD)°
How Great Thou Art       Las Vegas '74 CD2 (FTD)°

Review

August 28 1974 Dinner Show
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

He wore the white leather suit again, commenting on having torn it earlier. He also mentioned the laced-up pants: "They're fine on stage, but not if you have to go to the bathroom!" He walked about then as if the laces were pulled too tightly! JD sounded bad again - Elvis called him "senile" and offered to bring out a cot for him. When vis ventured to the left side of the stage, so many girls went wild that he hid behind a sound box! Given a book, he read the title aloud : "Jokes for the John!" (An American term for toilet) He cracked up and said, "I need it!". He sang 'How Great Thou Art', 'An American Trilogy', 'Help Me' ( a request) and 'My Boy' (another request) and was on one-and-a-half hours hours again! Karen Carpenter was at the show and he introduced her. "Where's your brother - doesn't he want to come see me?! He broke his leg?? Oh, I'm sorry! Well - it could have been worse!". Someone shouted "Where's Linda?" (!!!!) Much to our surprise, Elvis replied: "Oh, Linda, She's not here. There's a Sheila-thing there" - he gestured at his booth, "So let's not talk about Linda!” he added, laughing. Very unusual for him to be so open.


August 28 1974 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 28 1974 Midnight Show
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

Elvis wore another new outfit tonight, a two-piece creme-coloured crepe, laced and top-stitched as was the leather suit. This had diamond designs on yoke and collar, in front and back, and on the sides of the legs below the knees. The balcony crowd was quite vocal and in response to their screams, Elvis went to the extreme right of the stage to try to get a scarf up there, (An impossibility.) He asked Charlie for a weight so Charlie tied a knot in one.

Elvis chided him, with a fantastic pun (he seems to think those up so easily!) : "Not a knot, a whatnot!" Charlie added something but when Elvis threw it (to the rolls of Ronnie's drums) it just collapsed into the audience, along with one of Elvis' rings which fell off somehow! Elvis was disgusted and decided, striding back to stage center, that he needed "a baseball or a goddamn gun" instead.

Charlie was introduced as "Holly Charge" and both he and Glen got soaked when Elvis threw water on them! An older woman handed Elvis a beautiful painting of Lisa Marie. He showed it to us, saying very proudly, "That's my daughter!" In 'Fever', of course, he still fools around a great deal, One line in particular he sings "fever when you hold my... uh, me... tight!" to the amusement of the audience. He was given a yamulka and put it on, not understanding at first what it was. He also repeated his apology about cancelling the two shows.

Then, all smiles, he introduced "my favourite singer - and do not believe any of the junk you read in magazines about us! Tom Jones!" Tom stood and took a bow, cigar in mouth, and they gave each other the thumbs-up sign, Elvis called him "Tommy" and asked "Is Wales in Mississippi?" Tom's "natural" hairdo led to another discussion of the awful showroom and figures, Elvis asked Tom what period the figures were from. "Are they Elizabethan? Who? Charlton Heston?! Oh, Charles I?" Then he repeated the statue painting story.

Elvis donned a black karate shirt and his sunglasses for 'If You Talk In Your Sleep' and did a more elaborate karate routine. When the song was over, he explained his black belt. The large solid red section indicates 5th degree; added to that are single lines, "That's 5-6-7-8," Elvis showed us, obviously very proud. (He was well-applauded. He said he'd been studying for sixteen years. "It's for mind and body control, not to hurt people, My Hollywood instructor, Ed Parker, is a Mormon and teaches Sunday School!"

During JD's solo in 'Why Me Lord', Elvis walked back to Charlie, then into the spotlight with an ugly hairy mask over his head! JD had been having trouble all along with Elvis' teasing comments between lines (JD - "Why me, Lord ?", Elvis - "Yes, why??" JD - "What have I ever done?"; Elvis - "Not much!") and at this broke up completely, unable to sing! We were all hysterical! During the next verse, having removed the mask, Elvis tried staring JD down, and was winning until JD changed the words to "Tell me, Elv..." and Elvis nearly fell down laughing!

He showed us his rings: "I wore this on the Aloha special," Applause, "It's not just ono big diamond at all. The center stone is eleven-and-a-half carats - altogether it's sixteen carats. It was a Christmas gift to myself. I was just looking for gifts for my grandmother, my father, and my daughter, and when the jeweller came, this just accidentally fell out of his case! I was really suckered into buying it! I'm showing you these just to make Tom jealous!" There was another diamond, a karate ring, and another of variously-shaped ("square, pear, fruitcake") diamonds "Just for the stage. The real reason I'm showing you all this is --- you helped pay for then!!!" There was much laughter from Elvis then and the audience as well! Elvis chortled all through the show - such an infectious, child-like laugh - adorable - and it's impossible not to laugh with him! He was on 1 hour and 15 minutes.


August 29 1974 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Why Me Lord
      It's Midnight (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       It's Midnight (FTD)°
How Great Thou Art       It's Midnight (FTD)°
Let Me Be There       It's Midnight (FTD)°
Introduction       It's Midnight (FTD)°
Early Mornin' Rain       It's Midnight (FTD)° (1st part missing)
Hawaiian Wedding Song       It's Midnight (FTD)°
Can't Help Falling In Love       It's Midnight (FTD)°

Review

August 29 1974 Dinner Show
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

Elvis strode out, smiling, in his white leather suit, and said, "Good evening! I'm Tom Jones and you're in the wrong place!" (Tom was opening at Caesar's Palace.) And we laughingly sat back for 1 hour and 20 minutes of Elvis!

In 'Softly As I Leave You', he said he missed a note and insisted on repeating the ending, apologising to Sherrill. He looked over at JD and said, "See! I make mistakes too!" He apologised again for missing two shows (this must have really upset him!) and added, "I have ten guys working for me and only three of them are down here - they all have the creeping crud".

In 'Hound Dog', he repeats "You ain't" Something akin to the "Well's" of 'I Got A Woman', "You !... you just think you are!" "You know, JD is the lowest man I know! He is the original Deep Throat! No, no, I no I mean his voice! He can hit a low flat - he goes right off the piano scale. Of course, we just pick him up and set him back again... What is a low flat?" The band yelled various crazy things him like "mud turtle" and "platypus" so Elvis gave up. He still feels every low note and makes like an airplane or a bird while JD is struggling, lately he pretends to rave up an imaginary engine,

Tonight he sang 'How Great Thou Art' and 'An American Trilogy' again. He introduced his father again and he received heavy applause, which he acknowledged by victory sign! Elvis teased, "What a ham! He's worse than I am! That's where I got it from!" He also introduced a Dr. Canon ("he got me through the flu") and the doctor's son - about ten years old ("one of my karate students") and "my girlfriend Sheila - I better not talk about that!" He dedicated 'Early Mornin' Rain' to his father and when finished added, "That was for you, Daddy."

He used the karate shirt again during 'If You Talk In Your Sleep' and continued his explanation of it. "Every night at 6.00, we have a two-hour karate class - Sonny, Red, Jerry, Ronnie (Tutt.) I've practiced karate 3-6 hours every day of my life for sixteen years! With the 5th degree blackbelt, is the title Professor; 6th degree is Senior Professor; 7th degree is Associate Master; and 8th degree is Master of the Art. This emblem (on front of the shirt) is called 'ken po'; this on the back (he turned) is 'passa ru' - a Korean combination of many versions of karate"


August 29 1974 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 29 1974 Midnight Show
Review by Martha Collins - Elvis News Service Weekly, Issue 167-68 (September 24 1974)

Elvis came out in the creme-coloured outfit and showed us immediately that he was in high spirits by starting 'C.C. Rider' with his back to the audience! He snaps his head and moves his leg out to numbers called to Ronnie Tutt - ends up nearly doing a split! After receiving applause for several "Well's" preceding 'I Got A Woman', he laughed and said, "If that's all I got to do, I've got it made!" He made low groans into the mike, trying to sound like JD, and put his guitar-pick in his mouth like a giant protruding tooth. During the introductions, he stabbed Duke with his TCB chain and later to tease Charlie, he changed the words in 'Big Boss Man' to "You're just short that's all!" Given two apples, he inserted them in his shirt-front and marched around, while the audience roared. He added 'Until It's Time For You To Go', and sang 'Suspicious Minds' for "Dane Nichopolous, a friend from Memphis." He introduced his father, "girlfriend Sheila" and Vicki Carr. ("She sings from the gut!") For Vicki he sang 'It's Now Or Never'. He teases John Wilkinson terribly "Bill Baize (a Stamp) sings high as a cat's back, John, do you how high that is? Do you know much about cats? You should - you mess with enough of them! You don't trust me, do you, John?! Heh, heh..." Someone gave Elvis a little animated hound dog run on batteries, He brought it center stage and watched it a while, held the mike to its mouth, and finally turned to the audience with big innocent eyes and said, "Is that all the son-of-a-bitch does?!"

Again, after 'If You Talk In Your Sleep', he expounded further on the art of karate. "I spend as much time on karate as I do on music, I started in 1959 and got my 1st degree black belt in 1960. There are seven degrees before the blackbelt. Kung fu is the Chinese word for karate - meaning open hand - there is no difference. It began with the Buddhist monks and the observation of nature, The tiger fights on his back, clams up; the eagle uses its talons; the cobra mesmerises by swaying, then strikes quickly. No weapons are allowed. Karate takes from all these - improves mind and body, balance, confidence. All students are given the name of an animal - mine is Tiger" (The audiences delighted with that!) "If I did one-tenth of what the movie magazines say I do, I could not do karate; I could not perform on stage". He was very serious and very moralistic, and was well-applauded.

As usual, he received a standing ovation for 'How Great Thou Art', often for 'An American Trilogy', and at the end of every show, but unlike other performers, who would "milk" such applause, Elvis smiles almost shyly, and thanks the audience, almost with embarrassment, always in a rush to go on. Listening to comments from people leaving the showroom, without exception, all said "He's great - what an entertainer!" (One should realise a fair percentage of the audience is not fans but rather elder vacationers and gamblers.) I noticed the men seemed to enjoy Elvis particularly well this time (there is often a lot of teasing jealousy!) - expressing admiration for Elvis' singing ability and surprise and pleasure at finding him so witty and funny!


August 30 1974 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 30 1974 Dinner Show
Review by John Andrews - Elvis News Service Weekly, Issues 172 & 174-75 (October 1974)

The presence of Charlie Hodge peeking out from the curtains whilst Jackie Kahane was still extolling the virtues of Mr. Maurice, Mr. Cecil and Louis The Blade signalled another wild show was to follow the high jinks of the previous night's shows.

Resplendent in the white two-piece suit with blue and yellow floral designs which have been vividly described in earlier reviews, Elvis almost ambled on to examine the audience. Peering at people in the first few rows gives those seated there the most disconcerting feeling of wondering whether he was looking at you or the person six rows beyond you. I don't know who the 15-pound overweight performer was that people had been saying was Elvis, here was a very sleek, streamlined Elvis who in all honesty looked a young man in his twenties, no kidding. his tour of inspection over, Elvis moved over to Charlie to collect the black J-200 model Gibson guitar (which no longer has the words Elvis Presley printed along its neck, I guess he thinks we all know him now). Poor Charlie, even though standing on a raised platform, he could well do with some steps when struggling to place the guitar around Elvis' neck. For his efforts he is rewarded by Elvis ramming him with the guitar.

Okay, having got something together over to the mike stand, kick out the base to lay the mike back at an angle and adjust the height to match his 6' 1". By this time the world's greatest group (and to quote Elvis, "highest paid musicians in the business,") are really kicking into 'C.C. Rider'. Elvis starts pumping his left leg and continues to examine the audience with a grin and then gets hard into 'C.C. Rider' himself. During James' guitar solo, amongst other things Elvis decides to attack John Wilkinson, ramming him in the chest with the guitar until John is forced back off the platform. back over to a microphone, still wearing the guitar, for a powerful finish of another highly-personalised Elvis show-opener.

"Thank you very much, good evening, Well, well, well, well, well, well, well," from Elvis is echoed on tne guitar by James, followed by laughter from everyone including Elvis who then remarks, "You drove all the way to see this.... well, well, well, well, well, well, - Well, well - well, well," then a very deep, "Weeellll," from Elvis who then turns to JD to ask, "Is that right JD", repeating again, "Well, well, - Weeellll," (in accordance to Elvis a falsetto bass). JD joins in on the deep note at the end for reinforcement and adds a few of his own. After yet more laughter both on stage and in the audience they get it on with 'I Got A Woman'. Needless to say, halfway through Elvis decides to introduce the 'Amen' sequence, but after a few "Amens" Ronnie and Elvis start to jam with Elvis reminding us of the reason that Elvis the Pelvis was once one of his nicknames. "That's it," commands Elvis, after a few moves, sings another "Amen" and tells JD to, "Go get it," JD obediently goes into a sliding bass note, followed by several low down grunts. To all this Elvis is pulling the most amazing facial expressions, very similar in part to the expression he pulled in Stay Away, Joe, when asked by L.Q.Jones, "What do you need a bull for, Joe?" JD comes back up the scale again with another sliding note, "That's good ladies and gentlemen. He's the world's lowest bass singer ("ha, ha,"), he really is ("Ha, ha, ha"). He's a - he can do better than that, he, he, he kind of Mickey Mouse's his way out of it. You know. decides he's going to chicken-mouth his way out," comments Elvis, repeating quizzically to himself, "Chicken-mouth? Gotta be careful with kids in the audience, you know. I'll be in the lounge tomorrow night. Listen to him this tine though, he can go right off the piano keyboard - and we pick him up and set him back on it. He goes down to a low flat - what is a low flat?" Charlie replies, "A chick's apartment," Elvis laughingly repeats, "Chick's apartment - little bitty chick - Charlie, you'a know about that stuff wouldn't you?" Another chorus of 'Amen' follows, in turn followed by another, "Go get it JD," from Elvis. JD slides down to the low flat whilst Elvis still wearing the guitar and arms outstretched sinks almost to his right knee with the left leg outstretched. As JD grunts a few more low notes, Elvis attempts to adjust an imaginary control in front of him, calling out, "Lost an engine" (Is this anyway to run an airline? Fly me, I'm Elvis). Gradually, as JD "regains height", Elvis rises off the ground (his feet are still on the ground hasten to ada). Elvis then walks back over to the mike to finish the last few lines of 'I Got A Woman', in one slick movement slips out of his guitar and facing in one direction throws the guitar, without looking, backwards to Charlie who skilfully catches it by the neck. Just to make sure though, before looking back Elvis had put his hands together and looked upward in prayer.

At last Elvis starts an introduction of himself with, "Good evening ladies and Gentlemen, my name is Tom Jones, you went to the wrong show. I have had a little touch of the 'flu, everybody here has in this whole town. So I missed one night and it's only about six days in nineteen years that I've missed from Elvis and that's not too bad (loud applause). Because I like to be here, because I know people come here from all over and, uh, I'd rather be here. I don't like to be, you know. Now the night I missed here this week, I had a temperature. A temperature does this to you" (and Elvis staggers around a bit to emphasise the point, in the process showering the front row with sweat as he shakes his forehead), they think you're out of your gore and you're really not.

'Love Me' comes straight in then to screams followed immediately by 'If You Love Me (Let Me Know)'. Elvis has really improved this song and turns in a fantastic performance on it. This time its performance is embellished by a fly buzzing around Elvis. After two near misses at a third attempt, Elvis catches the fly in his hand to the delight of the audience. This in no way affected the performance Elvis turned on for this song, which he obviously enjoys as he gets both pegs pumping alternately at points to emphasise the beat that Ronnie is hammering out. Before the applause has died away, Glen is playing the intro to the next song which Elvis then announces with, "This next song is a new record we have coming out in a couple of weeks, I think, two or three weeks. Hope you like it, it's called, 'It's Midnight'". A really beautiful, powerfully yet sincerely rendered ballad is then perfectly sung by Elvis, with some nicely blended orchestration. James' guitar work and the crystal-clear soprano notes from Kathy come over especially well in this song. The applause has not subsided at the end of this song before first Glen starts hammering away on the keyboard, Ronnie bursts in a few seconds later, Elvis growls, "Aahhh", and then in we go, with the group kicking like man and both Elvis' legs shaking out the beat, to 'Big Boss Man', wnich just has to be one of the hardest kicking, grooviest, rockingest solid chunks of music Elvis has EVER Socked to an audience, on disc or live. The whole arrangement is so tight with great driving brass work, great vocal backing from all on stage and tremendous keyboard hammering from Glen and a fantastically tight arrangement in blending James and Ronnie together.... and way out in front is Elvis giving the whole thing life and boundless energy, his legs moving like pistons with the beat and his vocalising proving yet again why he can still show anyone in the world, bar none, now to sing rock the only way it should be sung..... Presley-style! (You'll gather I liked this son). It will be a crime if it doesn't get on record. Even in this great performance though he slipped in some humour by singing at one point, "Want a little drink of water" (as he takes one from Charlie), followed later by, "You ain't so big, you're just short that's all" (grinning at Charlie). The next time he sings this line, "You ain't so big, you're just tall that's all." he points at JD.

'Big Boss Man' (phew!) delivered (wow!), the lights go out and red lights set under perspex in the ramp come on as James licks the familiar opening bars of 'Fever', whilst the voice of Elvis from the darkness as he finds his way to the ramp proclaims, "Lord, you can get lost up here," adding as he reaches the ramp a very articulately pronounced, "There we go .. see what I do now I'm out here." After giving someone a scarf before starting the song, they also demand a kiss to which Elvis comments, "Just wait a minute, let me do the song and we'll get it on with a kiss, okay? We just aim to please". With that he then proceeds to do 'Fever', only not very seriously because he sings, "When you put your ... pause... whistle... pause... arms around me..... ". As the legs then start their customary movements, he comments, "Hope I stay together," taking a good look down at his legs immediately. He adds after the line, "When you call my name .... ELVIS (in a nigh pitched near-shreak)" Soon someone gives him a garter which he asks if it's to go on his leg and then says, "Oh, God, honey, it will nave to do up here" (as he pushes it up on his left arm), "got enough going on down there" (looking again at his legs). "I'm liable to bust a seam or some part". Just as he gets back into the song to sing Captain Smith and Pocahontas, Ronnie adds a few extra drum beats which throws Elvis for a moment so Elvis echoes the extra beats going, "Ban, ball, ban", to which Charlie replies, "That was Captain Smith and Pocahontas", "Oh," says Elvis, as he goes on to sing, "You're just a wise .... (mumble), in the evening, morning, whatever," adds a few more leg movements and the audience are falling apart. So Elvis asks, "What are you all laughing at?" Towards the end one of the leg movements develops to the point where Elvis flashes his right hand across his quivering knees, then his left leg starts to stamp "uncontrollably" on the ramp as the song closes.

A very short 'All Shook Up' follows quickly and just as quickly ends. "Hone, what is that, is it a Polar Bear,?" asks Elvis as someone hands him a large white polar beer (about two feet high). "Oh, that's pretty... I'll give it to my little daughter, is that okay?"

Saying that he'd like to share something with the audience, "A beautiful love song that's been around for a number of years. I've never recorded it, never sing it. I found out the story why it was written... I'd like to share it with you if I could". Elvis then starts to speak in deep husky tones, very movingly with just a tinkling piano in the background and Sherrill echoing Elvis' voice in high tenor the sad words to, 'Softly as I Leave You'. This really is dramatic and you could hear a pin drop in the showroom. The spell it casts on the audience is almost magical. For the last line of the song Elvis again displays his unequalled vocal range by duetting on high tenor with Sherrill. It sounded superb, but Elvis insisted that he missed the last note, so they both re-did the last line together.

Then some matronly soul from way back in the showroom shouted out for a scarf and a kiss. Elvis replied, "You come down here and you got it," and then handed a scarf frost the end of the ramp for his father to pass to this body fighting her way down. He introduced his father at this point, but then was immediately grabbed and smothered by kisses from some girl, so much so he said, "Wait a minute, my girlfriend's out here," Sheila was in the booth.

"I'd like to get serious for a moment", declares Elvis who pauses then for a moment and then says, "We just go- serious for a moment". Just then another bug attacks him which prompts, "tell you what John (Wilkinson), there are bugs flying around here and little things. That bug that I caught, in that song, It's Midnight, (actually it was 'If You Love Me (Let Me Know)'), that one I caught. Keep those bugs, John..... to yourself..... I'm just kidding, I'll give this to Lisa, I'll keep the big one". With that, 'Hound Dog' gets under, fairly short and sharp, but with a big jam with the group at the end as Elvis stands, left foot on the group's platform as he faces them, vibrating with the rhythm, but forcing them to kick even harder, he really drives this group along.

'An American Trilogy' follows, but apart from singing, "I wish I was in Dixie, I wish you were too," to the Stamps, this is performed straight, but oh boy the power in that man's voice, when he lets rip as he does in this song, you think the ceiling and balcony will fall in with the vibration. During the flute solo, he did lend a hand by pretending to play the flute on his microphone, thinking he can't be seen as the only spotlight is on the flute player. Oh, he did also manage to sneak in a, "Look away, look away, look away... Disneyland". With the applause and cheers for this song still continuing Elvis turns to Charlie and then manages to confuse Charlie who doesn't know whether to give him a scarf, drink or towel, in the process Elvis tells him that "You just wiped the Polar Bear". A girl then starts screaming to Elvis so he tells her, "Honey, I'll make the rounds, just give me a little time... it just takes a while... I've got two legs and ten pips and that's it." (Now we know he has a lot more than that don't we?)

"The young ladies that, er, the young ladies that have been in the same show tonight, I think they're fantastic, the Sweet Inspirations... ... nothing sweet about 'em, used to be called the crew-cuts" (in reference to their hairstyles), "do you remember them." Then follows an in-joke between Elvis and the Sweets and a few others as he says to them, "Look now, ha, ha, don't get into any....I know Lercy Abernathey..... just kidding Flip (Wilson?). You know I painted that sign, that statue, don't you?.... Yes you did too," he scolds the Sweet playfully, then to the audience he explains, "Let me tell you something that happened the other night folks really. See them statues over there (he points to the two statues halfway up the showroom on stage right), I have never liked the way this showroom was decorated. If you take the spotlight up a little higher" (as the spotlight moves up to reveal the fat funky angel right up at the far end, stage right, of the balcony. This angel is facing the stage face downwards), see them angels," he asks and then instructs to the light man, "Can you take it out in front of the angels a little bit.... they're bad, they're facing those people, see, the wrong way. Looks like something JD would date after the show." Then he continues as he walks over to face the two statues halfway along the showroom on the opposite side. As we were sitting right at the front at this side of the stage it meant that he stood right over us, which made us feel rather awkward in not turning to look at his art-work, but with Elvis standing about six feet away, would you? Man, did he look good from this close range, fantastic, unbelievable, we nearly went out of our minds for he stood over us in this way for some few minutes whilst stating, "If you look over here on the left, look at these two. You will notice a remarkable difference, uh, me and three or four guys that work for me came down here the other morning, about 4.30. We climbed the fence, er Red West, friend of mine who wrote, uh, a lot of my songs and things and, uh, all around general, you know, gruesome guy... he climbed a fence as high as this curtain (a large metal-grille fence some 20-30 feet high, with incidentally four fairly large colour prints of Elvis, circa 1970 hanging on it, runs around part of the back of the stage enclosing paint and general hardware (Who's he?), where they keep all the supplies, all the paint. We came in and stacked two tables up over there and I had a bucket of black paint. I climbed up on the tables and I carefully painted that statue (actually he hadn't noticed but we did later that he had spilt some black paint down the statue on the red dress of the lady he painted). Now I haven't heard a word about it from the hotel. They have said nothing. I don't think anybody's noticed it, but I just told you about it."

With that he went on to introduce the group. He started to introduce the Stamps separately saying they were the, "Only ones don't get introduced, except for the big band (actually he doesn't introduce the Sweets individually either) and then always mention the black guy there from Booker T and the MG's (this was the guy on the piano/organ in the orchestra) and the Indian kid down there, on the bongos... see him...he used to be on the head of a nickel (Elvis made this guy turn profile to look just like the head that used to apparently appear on the head of nickels).....no, I'm only kidding and they know it. Don't throw any tomahawks or stuff." Then he introduces the Stamps separately and then moves on to Kathy suddenly observing that Kathy and the Stamps were all dressed in green, commenting, "You're dressed alike tonight, you guys look just like jolly green giants and she happened to be in green. How'd that happen... d'you dress together. I never know about this group." he continues then with the other introduction including the routine with Charlie about five day deodorant and the Stay-Free pads with the added bonus of a kick up the rear for Charlie. The Sweets are by now, killing themselves with laughter so Elvis remarks, "Now look over there Sweets, you're no, You're no angels, you know, really. I'll bring in the Jackson 5 or somebody, the Supremes tomorrow night with Diana Ross and whatever". He then turns to introduce his blue stool saying, "Who's there, oh, nobody," then moving over the Voice he says, "The guys that opened our show.... you did open the show?.... are you sure?" and so he introduces Voice. Turning his attention then to the orchestra, "Our conductor from Buffalo, New York ladies and gentleman, Joe Guercio, Although he's from Auburn he's never corrected me either... stands up here with the baton". Incidentally, mentioning his blue stool, it's very comfortable to sit on, I know, I tried it the night he cancelled several of us managed to walk around backstage and look around, that's how I know about those four photos of Elvis on the wire fence backstage, we also saw the long mirror at far stage right he used to fool around looking into when doing 'Hound Dog'. There was also an empty bottle of Mountain Valley water back there.

"I would like to do something a little bit different here. A lot of people will know that Ive studied the art of Karate, but they don't know to what degree, and what I'm going to do is just give a little demonstration, it's called A-KAT-A (my apologies Elvis if that's spelt incorrectly). It's a series of moves set to music. I hope you take it for what it is (recent article-writers please note) because it's not to show-off. It's just some thing I've been doing for sixteen years, every day of my life". Then when James and Ronnie slam heavily into the intro. for 'If You Talk In Your Sleep' as Charlie and a couple of others help Elvis into the black Karate jacket, belt, white scarf and shades. Having got into the gear Elvis collects the microphone from Charlie and starts to move slinkily karate-style to the music, makes a few mind-bending and leg and arm bending movements and then commences to sing. There's a section in the middle where the musical bridge comes in that Elvis makes some really wild moves, at one point in front of Charlie who stands obediently in the centre of the stage with hi hands meekly behind his back as Elvis' arms hands and legs fly past and over him and at him, but skilfully avoiding harming him. Charlie and Elvis show how much they know each other because Charlie hardly blinks as Elvis mock-attacks him and believe you me sitting as close to him as we were he really looked menacing almost frightening at some stages...you certainly wouldn't want to mess with this U.S. Male.....however he soon re-assured everyone with a smile as he removed his scarf and continued with the second part of the song which finally ended with another amazing display of Elvis' prowess in Karate. Phew, what a performance. Something that everyone who witnessed it will surely never-forget.

The The quiet sincere way in which Elvis told us all this was quite moving. He seemed to become so relaxed and talk in the quiet way in which people who have met him backstage say he talks. How anyone can have got the impression he was being conceited about things I'll never know. Incidentally, he is the most compelling person to listen to when he talks... he would make an excellent lecturer, especially since he knows his subject so well.

'Until Its Time For You To Go', followed together with several kisses and scarves at the end of which Elvis declared, "They don't like me to stay out here, let me tell you, they don't like me to stay out here because they have a hard time getting the people in and out. So they don't want me out here more than 55-58 minutes, and you can see, they have to change and so forth, but uh, how long have we been out here .... almost an hour....I tell them if the audience is enjoying it and so forth, we try and give them a little, we try and give you more!" This drew a great cheer from the audience.

Then came 'How Great Thou Art', on which Elvis gave a fantastic performance. With such a sincere powerful performance, it makes one realise how false the recent article must have been which quoted Linda Thompson as saying that Elvis was not very religious, he only included a couple of gospel songs in his act, that's all.

By now, Elvis was really driving on again into 'Let Me Be There' before the applause for the last song had even begun to subside. This song includes the usual glance and grin to Charlie in the lines, "Watching you grow," and "You need a friend to lean on". Elvis really forces the pace along in this song driving the whole group with both his legs dancing alternately and several powerful, "Yeah's", from Elvis which soared right up the scale.

An uncannily close to the original version of 'Hawaiian Wedding Song', came next. Elvis' displayed in this song that he has lost none of his unequalled vocal range, he just keeps adding to it. The whole song was very moving and almost nostalgic. At the end the very appropriate Hawaiian Lei that he had been given was placed around Kathy's neck by Elvis as he took her hand as the lights faded and he sang the last few Hawaiian words of the song and in the final seconds in the darkness on the stage, gave Kathy a quick kiss.

So to the closing song, as usual, 'Can't Help Falling In Love', complete with a tour of the stage front and a finale in which he spent an extra long time looking at all sections of the audience and acknowledging all.

English fans often ask is it worth spending, say, several hundreds of pounds to see Elvis? You'd better believe it, even if for only one show such as this one. It's so moving, exciting, unpredictable and has the effect of making you leave the showroom really exhausted and yet tingling with excitement and proudness for Elvis, and with the dinner shows, the knowledge that in just a few hours he'll be back again giving everyone the same, yet somehow a different electrifying experience, Phew!

"Let me tell you a little story", Elvis starts, but not before he can be interrupted by someone in the audience declaring, "Elvis your nurse is here from the Baptist Hospital in Nashville".

"Oh, yeah, when I had the eye, eh... right. On, great, she took good care of me", Elvis declares as a most interesting expression crosses his face as if to say ... really, fancy bothering to shout that out in front of 2,000 people. Then he goes on. "Let me tell you a little bit about this thing, because for those who are not familiar with the art, it is an art, it's not a sport. Because of the Kung Fu series and all and so forth. Kung Fu and Karate. There is no difference. Kung Fu is a little softer (which he demonstrates with a few flowing movements), Karate gets on with it (and this he clearly demonstrates with a few chops). But anyway, let me tell you ... I started in 1959 when I was in the Army ... and so I've been taking it every day, ever since ... and I study .... and I learn, every day. It's helped me, uh, in self-control, body discipline, mind discipline and, uh, in my stage work, even it's helped a lot. I would advise anybody who would really want to do this for not..... I didn't take it up for self-defence ... I took it up because it was fascinating to me, as an art. Then I really got involved in it and it became to me like a way of life. They teach you everything in your daily life, from your diet, to your body exercises, the proper way to breathe. It increases your balance. There's no age limit to it, a child can take it or a person getting on in years, who thinks I can never do that. A fellow walked into my instructor's school about three years ago, and he said "I guess it's too late," he watched the class, he said I guess it's too late for me to get a black belt. He was 54 years old. The instructor said how bad do you want it, and the man, he's a businessman in Beverley Hills, he started taking lessons and he's now a 2nd Degree Black Belt. He's about 57 years old now. He does it every day, comes down in his lunch-hour and does it. It really helps him a lot".

Following all this, Elvis then goes on to talk about the various degrees of belts and how and when he obtained them much in the way that Martha Collins has already described from previous shows. He again mentioned how he had been awarded the 8th Degree black belt three days ago, which made him Master Of The Art now. When getting out of the outfit he referred to the belt when stepping out of it by saying, "Look how long that thing is, and the belt, too". He then went on to mention Ed Parker and introduce Kheng Rhee (I think that's right) from Korea with whom he studies in Memphis (Memphis being pronounced the way he says it should be on the Having Fun album). At the very end of this some 10-15 minute talk he says, "The idea is not to use it... I have never had to use it, on anybody, on the contrary, it's to make you a better person. To keep you from wanting to hurt anyone. So you see, there's a big difference in what a lot of people understand about it. I just wanted to share it with you, that's all .. no big deal."


August 30 1974 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
I Got A Woman / Amen       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Love Me       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
If You Love Me (Let Me Know)       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
It's Midnight       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
~A Legendary Performer Volume 6°
Big Boss Man       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Fever       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
All Shook Up       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Softly As I Leave You       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Hound Dog (intro)       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Hound Dog
      Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
An American Trilogy       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Suspicious Minds       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Introductions / You Are My Sunshine (1 line)       Black Angels In Vegas° (complete)~Night Fever In Vegas° (listed as
3.00am Show - edited)
Karate Intro       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
If You Talk In Your Sleep       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
~Bilko's Gold Cuts°
Karate Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Elvis Introduces Kang Rhee       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Help Me       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Let Me Be There       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
How Great Thou Art       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Hawaiian Wedding Song       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Dialogue       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
You Gave Me A Mountain       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Can't Help Falling In Love       Black Angels In Vegas°~Night Fever In Vegas° (listed as 3.00am Show)
Closing Vamp       Black Angels In Vegas°

Review

August 30 1974 Midnight Show
Review by John Andrews - Elvis News Service Weekly, Issue 174-75 (October 1974)

This Show saw Elvis in a similar design two-piece suit to earlier shows. However, this one was amber in colour and had rhinestone designs on it. He also wore a gold medallion, stone encrusted Maltese cross and the white necklace given to him at a previous show by one very proud Japanese fan. Elvis really took to this necklace, wearing it at most shows and even after Vegas.

'C.C. Rider' was delivered in the normal powerful manner, complete with beams exchanged between Elvis, the group and the audience, Elvis balancing the microphone (still in the stand) against his chin, in between snapping his head back viciously with the drum beats and shaking his body and stretching his legs successively further out when calling out to Ronnie, "One ... two ... three ... four."

At the end of this song, Elvis got some feedback from the microphone, so Elvis explained, "We're trying a new microphone out here and I don't know if I like it or not." Then after having asked the audience if it's okay, and they reply that it's not loud enough, Elvis asks, "Do you hear that Bill (Porter), my engineer's up in the balcony. Do you want it louder, okay, I don't want to, you know, part your hair out there really...... I don't want it to get too loud".

He just gets the first, "Well," in, 'I Got A Woman' out before commenting, "Damn Band-Aids, I could never got in this suit, I mean I could never got in this suit. The guy that made it for me and brought it down, they had to pour me in it. I can't move. My breath is gone, nothing, I'm sorry folks." All these two-piece leather suits were a bit tight in places and they certainly clung to him making it difficult to move as freely as normal sometimes. He then decides to add, "I have no control over nothing down here (His legs and hips are starting to move), the guitar..., no, I don't mean to embarrass you, I'm just playing, just a sense of humour". Then the "Well's" start up again, which leads to more experiments from Elvis who after pretending that both he and JD have trouble getting one of the lowest notes he calls on the trombone plater, "Hey, Marty, get on the saxophone, er trombone," and Marty obliges with a deep raps on the trombone. Elvis thanks him by saying, "You saved our life, Marty, we both of us missed it." 'I Got AWoman' finally continues complete with movements to match the 'Amen' sequence Elvis has with the group and JD in the "Lost an Engine", sequence, in which sequence Elvis remarked that JD was known as the original "Deep throat". Not satisfied, he says with JD's first efforts at the low notes, Elvis decides on a re-run, but first asks, "Let me, let me ask a question Mr. Sound Engineer up there.... what is the difference in this mike and the one he is using?"

"Very little," shouts Bill from the balcony.
"Ha, ha, okay. I'm going to let him do it on this microphone of mine, okay?" enquires Elvis.
"Right", replies Bill.
Elvis mimics him by saying, "Right ... uh, what's the other one like, is it like this one?"
"No", says Bill. "This one's a lively dude man, I like it... So I gotta use it", declares Elvis. "Okay," from Bill. "What,?" asks Elvis, "Uh, we cannot take it, can we?" "Yeah, go ahead," Bill confirms.
"Alright, man, bless you," from Elvis signals the end of this highly-amusing conversation... whose else but Elvis could do this sort of thing in the middle of a show before 2,000 people? Yet the audience loved it, it was at moments such as this that you saw Elvis at his most natural.

Having got "permission" to let JD use the microphone, Elvis then walked slowly over to JD, trailing the microphone complete with its stand behind him, as he yells to someone to push the wire out. Then with the added bonus of this new mike JD does another deep bass slide, really rattling the speakers in the progress, whilst Elvis stands alongside him telling JD that he cannot help him with this bit. That over, Elvis then walks back to stage centre again dragging the mike on its stand behind him like Albert (from Live a Little, Love A Little) on a lead.

Finally, then managing to complete 'I Got A Woman', Elvis comments, "I had a cold one day this week, and I had to quit, I had to miss two shows, no that's all, I missed two shows. This one night I had a temperature. They wouldn't let me go on, you know, cause with a temperature you lose your equilibrium and balance and so forth". (This point he demonstrates too by swaying around and unintentionally in the process sprays people in the front row with sweat from his forehead). "But in the whole nineteen years I've only missed 6 or 7 shows".

'Love Me', follows, always a great favourite. Another very powerful version of 'If You Love Me (Let Me Know)', comes next. This is a song Elvis obviously enjoys very much, this time, he added a pirouette, first one way and then in reverse to unwind himself, skilfully not getting himself entangled in the mike lead. It also included the usual pounding of both of his legs to emphasise the beat and also he, several times, smoothed down and pulled at the front of his jacket which would not seem to hang to his satisfaction.

A quick glass of water is then taken as Glen starts the intro. to 'It's Midnight'. Elvis then comes in to deliver another powerful, yet beautifully-controled version of this song. (Incidentally, I wonder if there's any truth to the rumour that Jackie Kahane is bringing out a sequel to this single, called, 'I Stood There and Cuckoo'd Nine More Times' (!!!)

From this, with the sweat still pouring off him, off he launched into 'Big Boss Man', sparing neither himself or the group in socking this gem to us. "You ain't so big, you're just short that's all", was dedicated to Charlie as was a laughingly delivered, "Want a little drink of water?"

'Big Boss Man' delivered, lights out and on with the intro. to 'Fever', Elvis' voice proclaiming from the darkness as the dim red lights came on, "The place is on fire". The line, "Fever all through the night," Elvis delivered in a very two-toned sexy voice. Then a few lines later, I think he must have heard with his "Ears like a deer", someone remarked that in his suit he looked like an ice-cream cone. He immediately picked this up, commenting, "Ice-cream cone?", "Ice-cream cone with hair on?" In the line, "Cats were born to give you fever", he repeats the words to himself quickly, counting them out on his fingers to make sure he hadn't forgotten a word. He sang, "Fever when he holds my ... uh... me tight," and then towards the end as the leg movements really began to get wild he tells his legs, "Quit, quit, quit it.. you've had enough, you're not doing any more. Freeze. You're liable to split and there's nowhere to go. The lounge. They're coming to lock you up, ha, ha, ha, ... I can't do that homey... Jones can ... no, I'm only kidding... he's a good guy... He's just ..... ha, ha, ha," (as a wide grin crosses his face).

'All Shook Up', follows quickly and ends again almost as quickly, allowing just enough time to distribute a few scarves and kisses and handshakes. He instructs one girl struggling to reach him to be careful.

At the end of the song, a girl from the balcony lets out a loud shriek for Elvis and Elvis asks her, "Honey, could you repeat that again, back there, do it again, do it just the way you did it . .no, honey, do it the way you did before", and the "Honey", obliges which causes Elvis to pull a puzzled bewildered expression for a moment before saying, "Hone, you can have anything I've got. I have to keep the pants, otherwise I will wind up at the Hacienda or someplace like that."

Just as he is about to share 'Softly As I Leave You', with us, the same "Honey" from the balcony screams out again, but Elvis decides to ignore her this time and continue with the introduction of the fantastically-moving version of this song which Elvis does. This song was always performed seriously and without any fooling around. At the end, he acknowledged the special contribution by Sherill.

Then, just as he is about to get into 'Hound Dog', when he is leaning down resting his left arm on his left knee he suddenly wonders singing, "I don't know if this suit will take it or not, but I'm going to give it one more try." Then he tries to clear his throat, decides he will need a drink to help and so walks over to Charlie explaining, "I'm going to get me something ... towel, scarf, rug, hoof and mouth, ha, hoof and mouth... hoof and mouth, that's your foot, huh, Charlie. Give me some Gatorade, that's it Gatorade is good for your gator. It's got a taste of water, but it tastes like the devil or something... Panther". Then as he moves over to take up position for 'Hound Dog' again, he clears his throat and this causes a scream from some girl. Elvis puzzled says, "I just said hhmmm". Then one of the Sweets say some thing to him calling him Elvy. "Elvy?" he retors, "Elvy, don't call me that, Elvis is my name.... twenty years then Elvy," as he playfully scalds the giggling Sweets. Then yet again he tried to start the song singing, "You ain't ... you just think you are," then just as the song begins Elvis commands, "Hold it, hold it.... what's wrong with you guys, really. I don't know whether your thumbs or fingers you know, .... your nose, uh, ha, ha,.... lipstick? .....highest paid musicians in the world and they blew it, folks, in that very beginning. Really, one guy was over here and James had his fingers caught in the strings, Duane Eddy's stuck between the pages of his heart." Finally, he manages to get through the song with another great heavy jam at the end with the group.

At the beginning of 'An American Trilogy', a girl screams out, "I love you, Elvis".
Elvis replies, "I love you, too."
Then, some guy yells out trying to be funny, "I hate you, Elvis."
His bit of glory seeking is soon quelled by Elvis' reply of very uncharacteristically (I hope!), "F--- you," which causes great howls from the audience and a buzz from everyone who are so surprised at hearing Elvis swear in this manner. By this time, however, Elvis is already well into 'Trilogy', perhaps not wishing to dwell on what he had just said although he not very convincingly tries to perhaps redeem himself a little when he slips in the comment, "Just kidding." 'Trilogy' itself is the usual powerhouse performance, Elvis once again making the whole showroom vibrate (including us in the audience) with the power of his voice. He also shows how much he directs those on stage when he tells everyone, "Easy," when he feels they are playing the song a little hard and fast.

Unusually next he decides to do 'Suspicious Minds', which suddenly prompts request for several other songs. Elvis replies, "I can't do them all at once, honey," as he then proceeds to try and sing several songs all at once which comes out to sound something like a gobbling turkey in high tenor. Elvis tells us that doing this has caused us to bite his tongue. He then dedicates 'Suspicious Minds' to the son of his doctor as the son taught him how to play hand-racket ball. He adds, "I committed him, I made him commit himself. If I would do the song, when I got back to Memphis he would come to our karate school and put on a little white suit and come out and I'd go" (and here Elvis does a few Karate moves to demonstrate what he would do). He then does a quite straight and powerful version of 'Suspicious Minds'.

Then comes the introductions for the group and in the process he talks about his interior decorating and also mentions that he had the ramp at the Hilton stage built to enable him to move out into the audience. When talking about his interior decorating for this show, he also comments, "The decor of this room is not to the best of my liking". As he has the spotlight put on the statues on the stage right of the showroom he says, "Tom Jones was in here the other night and I said, "What is that, Tom, you're from over there in Wales, Mississippi, or wherever, He said that was King er what was the one .... King George, well goody for him". When talking about the statues, one of which he had painted, on the other side of the showroom • he said, "You will notice a slight difference ... those of you of the caucasian race.... well, we are ain't we? It was on my army draft card. Caucasian, I don't know what it means .... thought they were going to circumcise me. Anyway, the other night, about 4.30 in the morning....as I lay sleeping (snug)," and on he continues with his tale of how he painted the statue

He included Red in the introductions this time, saying that Red was a 2nd Degree black belt who had a Karate in Memphis. He also mentioned three of the songs that Red has written for Elvis. With, "Some of the finest voices in the land.... I wish they were here," he introduces "The Stamps". Whilst introducing the Stamps, Bill Baise was proudly displaying what looked like a small gold badge or card and Elvis explained that just before the show he had given everyone connected with the show a card which certified that each was a member of the Elvis Presley Show and had inscribed on it also the holder's name, the group they belonged to musical notes and a lightning bolt AND Elvis' signature. When introducing Ronnie Tutt, he mentioned that Ronnie was one of his best karate students, but went on to add that, "Every time I mention that about him being a student ...." (Elvis ducks as Ronnie bashes the cymbal and bass drum) "........ big old bass drum in my ear."

Elvis then started to mention about his involvement in Karate and just before he started 'If You Talk In Your Sleep', having said he was going to give a small Karate demonstration he said, "I hope you take it in the right way", "You don't mind, you do?" to which question, which incidentally sounded so polite and modest, he received a big, "NO," from the audience who couldn't wait to see Elvis show us what Karate was all about. The song then started as Elvis put on the Karate Jacket, belt and the shades. (Three shades were designed more like the ones in the gospel sequence in On Tour, only this pair had silver frames.) An equally fantastic performance of the song and the Karate that we were treated to in the Dinner Show followed. So convincing was his Karate that he frightened one girl in the front row and Elvis quickly noticed saying, "Honey, I wasn't going to hit you, goddam, I wouldn't hit you, I just came close."

He then talked about his involvement in the Art, mentioning that he spent 2 to 3 to 6 hours a day practising and adding that it wasn't only in order to break bricks or boards. "How many times does a brick come out and attack you." Then followed a very vivid description of how the Art of Karate evolved by Buddhist Monks studying how animals ..... the tiger, the cobra, the eagle survived. He showed us with very descriptive movements the style in which the tiger fights on its back with claws.... how the cobra snake mesmerises its prey before striking (he was certainly mesmerising us).... and the eagle striking with its powerful talons. Apart from telling someone to shut-up when they started to say something, he was completely, it seemed, at ease with the audience and we could have listened to him in that way all night long. At the end of his talk, he said, "Hope I didn't bore you." Elvis.... you'd better believe it .... you were fascinating to listen to, just great!

'Help Me', quickly followed, faultlessly delivered by Elvis. Then came 'Let Me Be There', which, as usual, Elvis really swung with. At the end of this song, he was given a huge tiger (not a real one!), which was about three feet tall and had a black karate jacket and a black belt on just like Elvis' having the tabs for the 8th degree on it and the word TIGER and ELVIS PRESLEY. Elvis was really taken with this, saying, "This thing is cute, honey. My little daughter is coming in this week-end, She's six years old, just turned 6. If you don't mind, I'll give it to her, okay? She would love that. What did you do, did you come in the first show and see the thing and then have it made? You made it? You decorated it? That's beautiful, it really is (as he proudly stood the tiger in front of Ronnie's big bass drum on the rostrum.) Then people wonder why I don't want to miss a show. I love it out here. I know people come here from everywhere and different things. We know that people come from all over, they fly, they drive here... and there's not anybody on this stage, I mean anybody, that had rather be here than anywhere else in the world."

With that, he went into a fantastic version of 'How Great Thou Art', complete with a repeated ending. By now, the showroom was bursting with Elvis' personality which reached every crevice in the showroom. The atmosphere was fantastic to be in ... you hoped it would go on for ever.

'Hawaiian Wedding Song' was about to begin when he decided to give a girl from France a kiss, adding to John, who was nearby, that he didn't think he (Sherrill) would want one also. For some reason then he suddenly decided to comment about the junk which was appearing (and I'm sorry to say still is) in the movie mags about him. He said, "If I did one-tenth of the stuff that they said I did, my karate instructors would not allow me to wear that belt, I would not be who I am, I could not perform on this stage, I could not face my father, my six-year-old daughter". It was about time that the writers of this movie mag. trash were taken to task. Let's hope this helps put an end to it, soon. Then just as suddenly Elvis seemed to remember he was about to sing 'Hawaiian Wedding Song', and immediately he started the song, Elvis really performs this so beautifully.... a real gem. Not uncommonly during this song he was given a Hawaiian lei which he gave to Kathy at the end of the song again, with again the added bonus of a kiss. He remarked, "Now that wasn't planned, the girl happened to have that lei back there, swear to God. We don't plan nothing here. No, we plan nothing, everything that happens here is strictly spontaneous. We don't know a thing." He then noticed a woman near the front almost crying with emotion and said, "Now look at her, she's gone into flood. Give me something for this woman up here," he asked Charlie.

Charlie made some comment in reply which made Elvis laugh and so he said to Charlie, "Shut-up, Charlie... and as for your personal device.....," he left the remark unfinished as he handed a scarf to the woman and gave her a kiss.

Requests for songs suddenly started again in this slight interruption and in response to one we received a pounding 'You Give Me A Mountain', from Elvis. 'Can't Help Falling In Love', followed immediately to signal the close of this amazing lengthy show. Showing the warm-h he felt towards the audience though just before starting this song which in one respect we all hate to hear (knowing it means the end of the show) Elvis told us all to be careful going home.

At the close he again stayed in front of the closed curtains held up just in the middle by a few people backstage for quite a little while acknowledging the audience.

Once again, we left the showroom filled with exhaustion, amazement, proudness, excitement and few other things all at once.....such is the unique impact of Elvis.


August 31 1974 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 31 1974 Dinner Show
Review by John Andrews - Elvis News Service Weekly, Issue 174-75 (October 1974)

This show saw a rather sleepy-eyed Elvis appear in the white two-piece suit with blue and yellow floral patterns, gold medallion, Maltese cross shaped necklace and the white necklace from the Japanese fan.

'C.C. Rider' was performed briskly with Elvis enjoying the reflections cast by his guitar around the showroom from the spotlights. During the song he attacked John Wilkinson with the guitar, ramming John in the chest until John was forced back off the group's rostrum. At the end of the song, Elvis said, "Good evening Ladies and Gentlemen, I overslept tonight....no I really did... went to bed at 12 o'clock today, I went shopping and so I overslept until about quarter to eight. You've never seen anybody get dressed so fast, with this tight old leather suit. Had ten guys pulling on me, all trying to dress me. Threw water on my face. Anyway, I'm here, partially. I'm here in body, physically.... now if I can get the throat to work, we got it made". Then he started to shake his left leg to help it wake up, patted his stomach and commented, "I've always wanted to be a Spanish dancer".

"Welling" to the beginning of 'I Got A Woman', Elvis hit a low note and Elvis asked, "What is that note?"
JD replied in a very deep voice, "Low". "I know that, father," Elvis quipped back to JD. Elvis added that he had sung that low note in a falsetto bass, but told how JD hit it in a natural voice. After a little more experimenting with the low notes, the song finally got under way. In the 'Amen' sequence when again JD started to hit the low notes, Elvis asked JD how long he had been on stage. JD replied that it had been thirty-one years. "I have been, uh twenty, and compared in years mine's trifling. No, I'm only kidding, anyway JD is the lowest bass singer in the world, he can go down" (somebody called out, "on the bed") Elvis heard this and repeated "On the bed, huh, huh, no, no please, I'm in enough trouble as it is, painted a statue overnight, the hotel is just kinda weird on me, I don't know why." Then on they went to finish the song.

Good versions of 'Love Me', 'If You Love Me (Let Me Know)', 'It's Midnight', and 'Big Boss Man', came next in a very fast moving segment with hardly a word from Elvis.

At the beginning of 'Fever' once he had found his way to the ramp in the darkness, Elvis noticed all the people in the balcony saying, "It's good to see you.... I went up there to watch Barbra Streisand and she looked like a midget, you know, this big voice and little bitty body." The rest of the song followed with its usual leg movements, Elvis declaring that his legs had a mind of their own. From this song, he went into a very quick short 'All Shook Up'.

At this point, Elvis remarked after giving some girl a kiss, "you know what's so great about it, all the guys really take it the right way. They know it's a part of the show and really their attitude is fantastic, I mean that, really."

Elvis then gave us another sensational version of the true but sad story of 'Softly As I Leave You', although he re-did the final line because he felt he did not hit the last few high notes well enough. He made no mistakes in the repeat, just perfect.

A shorter than usual introduction preceded 'Hound Dog', which came over at a very fast pace. The jam with the group at the end did not finish to Elvis' satisfaction, so they went through it again even harder than the first time. During this Show, he was given a toy dog, with large eyes, so he placed the dog staring at him whilst Elvis made eyes at the dog. This was very funny to see.

"I had a request", Elvis said, "To leave the stage, but I'm not going to do that.... to do 'American Trilogy' right here." The song started, "On I wish I was, in a bale of cotton...." Then followed another showroom vibrating version of this song. Phew, powerful stuff this.

Unusually for this season, 'Teddy Bear' was the next song with Elvis amending one of the lines to, "Put a scarf round my neck." 'Don't Be Cruel' was laid straight on the back of this song in medley format. In the middle of it, there was another small jam with the group during which Elvis talked quietly, quickly in a single tone words which we couldn't really make out. Pity, it would have been nice to have heard what he was saying, but somehow during this whole show his diction was not all that clear at times and I'm sure many of his little cracks were lost even on the fans. Maybe it was because he had not long woken up.

When starting the introductions on mentioning the Stamps, Elvis mentioned, "My desire when I was a child was to be a singer in a gospel quartet, er I was a child, when I grew up at school I was trying to get into a quartet.... I realised later why originally they wouldn't take me, can you see me in the middle of four guys (he then imitated himself standing singing and swayed his body all over the place which if he had been the guy in the middle would have resulted ....) bodies flying everywhere. I tried it, I really tried, I went on stage and I was so bad, this group over one season tried a replacement out with me just as a .... okay, I went out there and I was so bad, the guys had the microphone, the three of them all away standing by themselves." When he got to Voice he introduced them by saying, "The fellows that opened our show tonight..... shouldn't have .... no, I'm only kidding man, I really don't like these guys all that much so.... they think I do... you know, I learnt to act in Hollywood, I did thirty-two movies I had to learn something." He mentioned that once of Voice was JD's son-in-law then corrected that to nephew (he was talking of course of Donnie Sumner) saying to JD, "Son-in-law is the lead Ed Enoch right, how did I get all so many of your relatives on stage?" When introducing Joe Guercio he commented, "That's a very nice shirt, Joe, trying to upstage me?"

From this he started to mention that he was going to do something a little bit different adding, "My Friend, Red West, over there opened a school in Memphis and I was at the school and a picture came out in the paper (Memphis Press Scimitar Karate photo in July). It was then people knew that I was into it more than they thought". Then Charlie helped Elvis into the karate jacket as David Stanley (Elvis' step-brother) brought out Elvis' black belt already tied in the special knot so that Elvis could step straight into the belt. As Elvis stepped into the belt, he gave a few ooh's and ahh's and instructed David (good-humouredly) to be careful, also telling Charlie laughingly not to push him, reminding them both that he still had a show to do. With himself suitably kitted-out complete with the shades Elvis launched into 'If You Talk In Your Sleep' starting it with another fantastic Karate display using Charlie to attack sometimes, and although he never once harmed Charlie he did playfully put Charlie on the floor. There were a few different interesting things that he mentioned in the talk he gave after the song/demonstration in this show. For instance he said, "When I first got out of the army, then I had to warn them a little bit, say hey, this is no ball game son, you know, you swing at me and you might get it back.. no, no that's an egotistical type of scene, but I don't mean that." He mentioned that he got his 1st Degree Black Belt in 1960 after he got out of the army., saying, "I tested for the 1st Degree Black Belt, I tested for five hours, and I had these two guys, one of them was a 4th Degree Black and he really knew what he was doing. The other guy was a 1st Degree Black Belt. I had to fight them each separately and both at once and with the head instructor watching. They beat me all over the place. Man I mean it, this one guy, the 4th Degree had a smile on his face... I want to hit him so bad.... I could not touch him..... he kicked me in the gut, the rib-cage in the something, you know, I'd go flying, but it made me that much more determined, I came back and you know, I did it for five hours. From 7 o'clock to 12 o'clock they tested me. I got the 1st Degree Black Belt in 1960, tested again in '63 got the 2nd Degree Black, they skipped the 3rd and they made me a 4th Degree of Black Belt which carries the title Associate Professor of the Art. Then the 5th Degree, there are ten degrees of Black Belt, the 5th Degree, which is right here, this large patch (he points out the large red patch on his black belt), the large red area. The highest belt there is in Karate is the 8th, 9th, 10th red belt, a lot of people don't know that. But you see, the highest Degree is the red belt according to the tabs on it. I just happen not to have a red belt, I could at this particular point (if he wanted a red belt though we think he would have to give up his career, this being, we think, one of the conditions attached to a red belt.) This signifies five Degrees, it holds the title Professor of the Art. This (6th Degree) Senior Professor. Seven Associate Master of the Art. Eight I got about four days ago. The 8th Degree holds the title of Master of the Art." He said the belt showed his name (Tiger) rank (8th Degree) and serial number but, of course, here he was joking. Later he said that having reached the 8th Degree, he had been told he could form his own association and so now they had their own TCB Karate Association. Also, he mentioned that Red was now a 2nd Degree Black Belt, having his own Karate School with fifty students in Memphis. In a final point he mentioned, "I came to Hollywood, I made a movie called G.I. Blues, in which we used all the Karate movements so fast, that at that time they didn't know how to photograph it. We used it in some 30-odd films and they didn't catch it. The guy said cut and the guy was over here (one side) and the body was over here (way over on the other side) and he said 'what happened'. I said well, if I had time to explain that I wouldn't be here. You know, the guys got a gun on me..." Elvis also once again referred to the, quote, "Junk", which was appearing about him in the movie magazines saying again that even if he was one-tenth of what they said he was, his karate masters would not allow him to wear that belt, he could not face his father, his little daughter, his friends, he couldn't come out and even face an audience but, "This is my life out here," he said in reference to appearing on stage. The whole of this talk was put across in an amazing yet so natural Elvis way. Quietly spoken in a manner so un-assuming almost apologetically for telling us a few of these fascinating details that we long to hear about Elvis. Great.

In mid-sentence Elvis suddenly decided he'd said enough and went straight into 'Until It's Time For You To Go', in which Elvis got a little carried away singing so beautifully that he went wrong. He unusually didn't stop and re-do the part, but just carried on and went almost straight on into 'Let Me Be There'. Several times in this, Elvis let his voice soar right up the scale.

'Hawaiian Wedding Song' came next, another fantastic version which once again came uncannily close to the original in Elvis' vocalising. In the line, "I can hear my heart sing," he said, on the end a little high pitched fast chatter to imitate the sound of his heart singing.

He was about to go into 'How Great Thou Art', when he said he had been on too long. A loud "NO" came back from the audience to which Elvis replied, "Well, it's not us honey, it's the hotel." Somebody decided that was a cue to ask for Heartbreak Hotel and with "I'll give you a couple of lines, okay", off Elvis went into that song. In fact, we got the whole song in the middle of which whilst Elvis was shaking his head left and right to the beat at one point his co-ordination went slightly awry for when he went to sing into the microphone it was held the opposite side to him by his left hand, consequently he sang a few words without his mike before he realised. Mind you, this illustrated how powerful his voice is, for even without the microphone, we could still hear him.

We did get 'How Great Thou Art' after all, a really powerful version even if he did surprisingly forget the words to one line. 'Can't Help Falling In Love', brought to a close another highly-individual and unique Elvis performance. A performance in which, especially during the Karate talk a little more of the off-stage Elvis was revealed to us together with some fascinating points about his life.


August 31 1974 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 31 1974 Midnight Show
Review by John Andrews - Elvis News Service Weekly, Issue 174-75 (October 1974)

Even before he began 'C.C. Rider', you could see that the Dinner Show had really woken Elvis up after having overslept, Dressed in the white two-piece suit with green and yellow floral patterns and the mermaid-type design on the back and again the Maltese cross shaped necklace, gold medallion and Japanese necklace, Elvis really gave the song a hammering.

Getting carried away with the number of "Well's", at the beginning of 'I Got A Woman', Elvis declared, "I must have recorded 400 songs starting out WELL, I could easily go into the wrong one". In the 'Amen' sequence, he said that this was another way of calling for help. He heard a girl in the front say, "I'll give it to you", so he immediately said, "Help, help, help", (Shades of Follow That Dream). A really heavy jam with the group followed, with Elvis moving slinkily and "Chung-Chunging" to the sounds. More high jinks followed as usual with JD before the song was finally finished. One of these high jinks was to imitate Dracula by putting the guitar pick in his mouth at one point.

After it was over, he again introduced himself as Tom Jones saying at first that he had gone to the wrong show, then saying that maybe we hadn't. (He was so right). He then added that they would, "Make you forget about Watergate and all that jazz". Looking for Sheila in the audience he told us that he had been upstairs having a swordfight for about two hours with some girl (might have been Sheila), and that she had wounded him (jokingly). Deciding he had better get on before getting into trouble, he quickly went into a fairly short version of 'Love Me'.

At the close of the song, being given a gift for Lisa he told us Lisa was coming in for closing night and added, "She's really a well-adjusted little child, she's just turned six years old. The only thing is she calls me 'Elvis'. I say honey, don't do that, don't do that. I don't really like my name anyway. No, really, when I was younger I used to try to get everyone to call me Aron, my middle name, 'cause I had a twin brother, his middle name was Garon. Now I liked that, I didn't like Elvis, Aron, I tried to get people to call me that, but oh no.. Elvy, Elvis.. whatever.. or Lisa my daughter.... where you going Elvis..... honey I'm your father, you know I'm your daddy...... can I go with you Elvis".

'If You Love Me (Let Me Know)', followed immediately, Elvis as usual really getting into this song. Again it would be nice to get this on an album sometime. After the song, Elvis asked the group, "Who wrote that song, who wrote that song... does anybody know. Olivia Newton-John recorded it", just then he coughed and declared he had the Olivia Newton-John, then continued, "The guy that was the writer, I've got to find him and choke him until he turns like.... this scarf (he had a blue scarf on)... oh the guy died, no I'm sorry... no, no, no, you're wrong, no, no you're wrong the guy that wrote the other one.. 'Let Me Be There....' he wrote both? ....he overwrote himself .... no, I'm sorry to hear that, I wasn't aware of that, I wasn't aware of that, I really wasn't". Elvis seemed quite embarrassed at what he'd said and so quickly went on. "This is a new one I've got coming out, I hope you like it, It's called 'It's Midnight'". With this, Elvis gave us the song faultlessly delivered.

Elvis and the group gave out another pile-driving version of 'Big Boss Man' before slowing down into 'Fever', at the beginning of which in reference to the perspex Sheets let into the floor of the ramp which let the red lights shine upwards, Elvis said, "It'd be funny if this was a trap-door ... whoosh.... disappear right out... some guy could do that to me... don't say it it's kind of weird standing here anyway 'cause it's plastic, you know". I think he was a bit worried some of his buddies or the group might set this up for him although they wouldn't have been wise to do so. During the song the microphone crackled a little and he he gave a rather irritated look up to Bill Porter in the sound booth.

'All Shook Up' was followed by someone handing him a toy dog with a message on which he read out which said that they hoped he had got over the flu. He mentioned that he had had a temperature of 102.

At this point, he introduced a John Bassett (I think!) who was the coach, manager or something of the Memphis Football Club. Elvis said that he went to see a game from John's special box at the ground. For Elvis they installed a closed circuit television with instant replay facilities. When this John Bassett came into the box, he asked Elvis how come that he had got closed circuit TV when he, the owner of the Club couldn't have one. Elvis apparently replied, "It's who you know, John". He mentioned a few other little small points about the football game they saw. We found out later that the some alter cameraman had spotted Elvis at the game and consequently Elvis was shown at the game on TV. The Memphis Football Team were all at the show.

A moving 'Softly As I Leave You', 'Hound Dog' and 'An American Trilogy' all followed in rapid succession. During 'Trilogy', Elvis once again pretended to help the flute player by holding the microphone sideways to his lips and playing' it. After one powerhouse in 'Trilogy', another in 'Bridge Over Troubled Water'. This was nothing short of a masterpiece, the control, power and range in Elvis' voice seeming to reach even greater heights. Glen, Ronnie and James all did some great intricate work backing Elvis, but - really it was Elvis all the way.

The amusing lengthy introductions through Elvis once again dons his Karate outfit to give us another amazing display whilst giving out a really powerful version of 'If You Talk In Your Sleep' at the same time. In his talk on his involvement on Karate he mentioned, "Kung Fu and Karate are one and exactly the same, there's no difference. People think they're two different arts... no. Kung-Fu is a Chinese version of Karate. Kung-Fu involves a lot of easy.... I'm not putting it down, I'm telling the facts, I know. It looks beautiful, like this (and he demonstrates a few of the movements), but in practicality, they get their ass beat all the time. You know what them dudes did man, I know 'em all. They got a bunch of guys together, Kung-Fu masters, supposedly, went down to Thailand to fight those Thailand boxers. Have you ever seen those... on TV.. Wide-World of Sports. They went down there, them Thailand boxers kicked the Kung-Fu right out of them. They never went back. That was just six months' ago, I couldn't believe it".

'Why Me Lord', by the Stamps came next with Elvis as usual trying to make JD crack-up for in the first line when JD sang "Why Me Lord" Elvis replied, "That's a good question". Elvis kept chuckling throughout the song, that is when he wasn't joining in with the Stamps. Finally, with all Elvis' little cracks JD just couldn't get the words out for laughing.... Elvis won the battle again.

Back to a bit more sanity with 'Let Me Be There', complete with pirouettes from Elvis and some more astounding notes from Elvis soaring right up through several scales. During the song he also found time to help a girl who had climbed up on the stage get back down into her chair. He seemed most concerned that she should get back down without hurting herself and he supported her until she made it back.

Song over, Elvis having taken a drink from Charlie, nearly choked himself and said that he had got water up his nostril adding, "I need a doctor up here all the time, throwing towels at me and everything, bucket of tea, anything, rocks (as he blew his nose into a scarf). Just then some guy ringside got up to go to the bathroom. Elvis noticed him and heard the guy tell Elvis he could have his Wife while he goes. Elvis replied, "I appreciate it, it's very nice, she's beautiful, but.... he said he was having a good time, but he had to go, you know, It'll do you good, man, if it feels bad you should be in my position me in this suit and have the same problem, in front of 2,000 people what do you do?" He must have really embarrassed the poor guy.

'Hawaiian Wedding Song' gave us the chance to hear Elvis mimicking how his heart sang. Having commented earlier that Blue Hawaii had been on TV between shows that evening. Elvis seemed to turn in a version virtually identical to the original. Half of the song was sung with Elvis resting his head on the head of a girl in the front row. Poor girl could never be the same again. As he was not given a lei this show, Elvis gave Kathy a scarf instead adding, "Kathy, likes to do that song because she gets a scarf or a lei..... I mean an Hawaiian lei, you know what I mean, Sherril, grinning like a possum there". An unusual form of humour here from Elvis, thankfully something he only tries at Vegas. He was about to go into 'How Great Thou Art', when someone called out for 'My Way' to which he replied, "I want to do it my way too" 'How Great Thou Art', duly followed, so powerful was Elvis' voice in this you think he would burst apart... incredible, unbelievable. You have to hear him live to appreciate the range and power of his voice.

'Can't Help Falling In Love', brought the very responsible audience to its feet to give Elvis some thanks for his amazing efforts.


September 1 1974 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

September 1 1974 Dinner Show
Review by John Andrews - Elvis News Service Weekly, Issue 176-77 (November 6 1974)

This show saw Tiger Man Elvis make his appearance for the first time in the Tiger Jumpsuit. It was a white suit with a leaping Tiger on the front and back, Tiger stripes in black and gold around the collar and down the sides of his legs. The belt was also in black and gold Tiger stripes with gold chains on it.

'C.C. Rider' gave him a chance to display the suit, to an audience who were really knocked out by it. On the first, "Well" in 'I Got A Woman' - Elvis seemed to get some echo and commented, "What's that, another cat backstage going welll into the microphone", he tried a couple more "Well's", before calling up to Bill to ask him if he'd done something different.

Bill called back, "No, not really."

Sounding a little irritated Elvis shouted back, "Well you did something then - don't tell me not really."
"I turned too much echo up," Bill admitted.

"You were what?... okay, okay, okay... but you did something different Jack. .. people will think we're all nuts up here. Uhh, where was I?"

"Well, well well, well," Charlie put him straight.

Just then Elvis coughed, trying to clear the cold which still was causing him trouble, thumped himself in the chest and declared, "Get the - tiger out of my tank here," as he coughed again and spat into a towel.

'I Got A Woman' this show was a major production complete with the 'Amen' sequence, Elvis' jam with the group, the fooling around with JD as Elvis imitates a plane with a lost engine and also at this show in which Elvis was coughing a lot, the sight of Elvis even coughing in time with the beat.

Before starting the next song someone asked Elvis what he'd done to his right hand which was very swollen. Actually at the Midnight show the night before Elvis had in the middle of a song put both his hands horizontally in front of his eyes, taken a measurement of his swollen hand, compared it to the other hand, then carried on singing without comment. However having been asked this time Elvis explained, "I was working out in Karate, giving a demonstration in board breaking techniques, I can break a brick so, you know, that happens Occasionally. It's nothing new, there's nothing broken it's just swollen up. I was giving a demonstration for a lot of people coming to visit (he didn't say who). That really happens so many times. I did a movie called GI Blues (big applause). At that particular time I as a first degree black belt (he stopped again to cough a few more times). Anyway I did this movie GI Blues and we were working out in between takes. We were doing board breaking and tiles and bricks, demonstrating, showing-off, and I blocked a kick the wrong way - hands like this (he showed us the wrong way to position one's hands to block a kick) which is wrong, and so this happened, this came up the same way. Except I was in the middle of a movie with Juliette Prowse, I did a love scene with a guitar and there was this big fat hand. Nothing they could do, they tried to put make-up on it, nothing, it looked like it belonged to another person. The other hand was normal and here this hand was, except it was worse, it was black. It came out on the album, look at the album. GI Blues sometime look at that hand, looks like somebody blew it up".

With that, another fascinating fact was revealed to us, just think of all the other gems he could tell us. We certainly learnt some things at Vegas this time. Incidentally we checked the album cover and you really can notice the hand and having seen the movie since Vegas it shows up quite a lot now that he's mentioned it and you look for it.

Back to a little more normality we came, if you can call it that as Elvis went into 'Love Me' during which he was given the poster which was on sale at the Hotel. However Elvis' outline had been carefully cut around and mounted onto a piece of wood cut to the same shape. Elvis seemed really pleased with this and said he would put it in his trophy room. Promising to keep it always, seeming quite sincere about this.

'If You Love Me (Let Me Know)' came next.... Elvis really injecting a tremendous feeling of happiness into this song. Elvis' enjoyment of this song was shared by the audience. From happiness to sadness was the contrast that Elvis' sincere performance of 'It's Midnight' brought about. Then from sadness to rockingness (sorry about that, but it rhymes) with a superb 'Big Boss Man'. Here in the space of a few fast moving minutes Elvis- once again proved one of the many: reasons why he'll always be KING. No one could transcend three such varied styles so convincingly and held only just begun, for 'Fever' which followed gave us yet another style of Elvis. At the beginning of this song Elvis revealed he had nightmares - about someone sawing in the perspex part of the ramp on which he stood. At the line, "Now you've listened to my story," he pretended to stutter on the S and try to put his teeth back in. (Joking of course. )

'I'm Leavin' was the song next in Elvis! variety show... it was great to hear this live again... Elvis does a brilliant job on it. Some of the high notes Elvis reached were amazing. 'Softly As I Leave You' followed immediately. We heard people, including Johnny Tillotson talking about Elvis' superb performance on this song when a local TV station, chat show was discussing the shows currently in town.

As Elvis took up position facing stage left for 'Hound Dog', some bald headed coot next to me called out for Elvis to face the other way, which meant he would face away from us. I'm sorry, but he was a bald headed coot who had been know-it-all throughout the show, saying that some of the girls in the front row were planted. During the talk on karate later he said he could have gone to a Karate school to have learnt what Elvis was saying, he had paid to see Elvis sing not lecture. I was just hoping Elvis would sing 'Are You Lonesome Tonight?' for him as he had once done to some bald headed guy in 1969 changing a couple of lines to, "do you gaze at your bald head and wish you had hair". However, unfortunately he didn't, So I sang it under my breath instead. Much to our displeasure Elvis complied with the request, saying, "Oh, okay". promptly turning to take up position this time facing stage right. Then starting off, "You ain't you ain't seen nothing yet, you just think you have," Elvis got into a powerful version of 'Hound Dog'.

Then remembering an earlier request - off he blasted into 'Polk Salad Annie', a really heavy version complete with the new brass arrangement introduced on the June tour. Great, and he really moved a lot in this.

During the introductions Elvis mentioned his interior decorating again. This time when talking about the statues he got confused as to what style they were in.. according to Tom Jones and he first of all said they were King Edward, correcting it to King George-- commenting, "Excuse me your Majesty". whilst telling the story some girl was reaching for a scarf, but Elvis wasn't interested for that moment saying, "Excuse me dear, let me tell the story and you can have the scarf". during the story he added, "I got up with the paint and the brush and I was Michelangelo or a guy who painted the ceiling in the Vatican, whatever.. Cystine Chapel?.. that it,? sixteen chapel, seventeen.."

Introducing Bill Baize as the high tenor he said, "He's higher than a cat's back", then turned to John to ask him if he knows how high a cat's back was, adding, "You sleep with a few, you ought to know."

Saying Ed Enoch had one of the most powerful voices in the world he added, "if you don't believe it - just ask him."
For Kathy... "She was with the Metropolitan Opera for a year, she has a beautiful voice, I wish she could have been here tonight, so standing in for her is Kathy Westmoreland."

The Karate sequence in 'If You Talk In Your Sleep' - saw not only Elvis in the Jacket, belt and shades, but also for this show Red West came on in his white karate outfit and black belt. He was to take the treatment from Elvis instead of Charlie this show. Just before starting Elvis mentioned, "We're sending a team of five of the best fighters to Europe to compete against the European fighters, both in Europe and in Belgium. They're going to take an extra guy along in case one gets injured or something and they're taking my instructor from Los Angeles as a coach, his name is Ed Parker, I'd like you to meet him". (Ed then stands up in the audience). Of Ed he said, "He's about a 10th Degree or something ridiculous you know, he's been doing it for 25 years". It was interesting to hear about a month ago that Ed Parker said about the possibility of Elvis appearing at Wembley Stadium in England - next year after Ed and the team had been there during the trip-Elvis had talked about earlier.

So Elvis led into 'If You Talk In Your Sleep' complete with the Karate movement -- really wild... the mock attacks on Red resulted in Red going down on the floor three times, at one stage doing a virtual somersault. Yet with all this going on Elvis and the group managed to lay down a really gutsy, funky version of the song.

After the demonstration Elvis once again referred to the difference between Kung-fu and Karate by saying, "The art of Karate and Kung-Fu, uh, is a good series, doesn't give a clear cut picture of the art, really, because.... they are the same thing... Kung-Fu is a Chinese word meaning Karate. The word Karate means KARA .. which is open ... Te.. which is tand... called open-hand, .inserts foot ha, ha. so, I can tell you what Gung Fu -- Kung-Fu Whatever.. Kung-fu, Kung-Lul, Hung-Chow you know, that's a puppy, a dog they hung, a Chow... give me some water my mouth feels like Bob Dylan slept in it...." (having taken a drink from Charlie he continues...) "So, Kung-fu is a little more slow in motion (this he demonstrates) phew, pick up sand and throw it in your face... in actual practical use it's not as good as Karate. The best Kung-Fu masters in the country recently went down to Thailand to, uh, compete with those Thailand boxers. Have you ever seen those guys on TV... Wide-World of Sports. Okay, these Kung-Fu guys put down the challenge... those Thailand's beat 'em all the way to where they came from you know, those Thailand boxers just beat the Kung out of the Fu. On the other hand.... is a wart, no, no, on the other hand.. oh well, you know.. on the other hand (by this time everyone is killing themselves with laughter). don't get me started laughing I'll never finish the show. They'll come out here with a hook and pull me off the stage.. or try to". Then he continued in a slightly more serious vain talking about his involvement with Karate, many times referring to Mr. Parker, noticeably addressing him as Mr. and not as Ed. He mentioned how Mr. Rhee (his Malayan instructor) taught the Pasaru style of Karate which incorporates the best ingredients from all the different types. He elaborated slightly on the names of these different styles naming them "Okinawa, Japanese, Chinese, Taiwan, ... Blow-Blow, Ho-Ko-Kow, Chic-a-Kung Kung, whatever." Talking of the amount of time involved in practising Karate, he revealed, "I do mine every day, from two to three to six hours every day of my life. We have a class upstairs in my suite, Ronnie's a member and Sonny over there's taking it, Red is teaching and we have a couple of other people in our group here that study with us. We got a little class up there and we do it every day at six o'clock. (if he means in the evening he obviously missed out the night he overslept) we have about an hour and a half, class". he also mentioned towards the end of his talk,"We're starting out own style of Karate called the American, the American what ? (he enquires of Red).. American Karate Institute, which is going to be an Americanisation, an Americanising of the Art which doesn't mean anything against the other people it just means that we feel there's a need for an Americanised version and uh, for the words instead of using foreign languages - using words uh, words 1, 2, 3, or A, B, C, D, you know, So uh, lets do 'Help Me'".

A Great version of 'Help Me' he did too. This really is a pleasing song to hear Live! with the excellent sound balance Bill Porter can maintain through the Hilton's superb sound system. Let's face it the number one voice deserves the Number One sound system. Immediately afterwards JD and the Stamps were asked by Elvis to do 'Why Me Lord'. They nearly managed to overcome Elvis' attempts to make them crack up laughing at his antics.. nearly, but not quite. Apologising to JD and Co., for trying to mess them up Elvis then went straight into 'Let Me Be There'. Complete with the usual repeated last verse. Again in this song and the one which followed, 'Bridge Over Troubled Water'. Elvis' power of delivery, vocally, was such that you feared any moment either he or the sound system would burst. Mind-bending, it really was!

Since Mr. Ed Parker his wife both come from Hawaii, Elvis dedicated this song ('Hawaiian Wedding Song') to them. As he was not given a Hawaiian lei during the song -- at the end of it he draped his scarf around Kathy, but it fell off. He carried on calmly whilst stooping to pick it up and replace it around Kathy, just as the song finished and he gave Kathy a kiss:

With a thank you to the audience for helping to pay for his rings the strains of 'Can't Help Falling In Love' signalled time. Particularly towards the close of a season you begin to feel even sadder than usual for you know that the good times will soon come to an end of another season.


September 1 1974 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

September 1 1974 Midnight Show
Review by John Andrews - Elvis News Service Weekly, Issue 176-77 (November 6 1974)

Whilst Jackie Kahane's act did seem to go on for longer than usual it was certainly a surprise to see an empty bottle come scudding across the stage towards him. It was a fine shot for it stopped just short and a little in front of Jackie, as Jackie then proceeded to wind things up a white towel suddenly flew across the stage towards him. Wow, this looked like a wild audience if they would do this... but no, wait a moment the empty bottle lying on the stage looks like one of those green Mountain Valley Water bottles. Now we know who drinks that don't we and we also know who might just happen to have a white towel handy. You guessed it, the ICBM (do you see BM, remember Kissin' Cousins) launcher was none other than Elvis "'Tiger" Presley.

With these hints, Jackie made his exit, and the '2001' theme heralded the entrance of an Elvis who revealed slightly more of his physical self to us than usual for the first few minutes of the show until he realised that the zip on the front of his black jumpsuit was undone to just below his navel. The jumpsuit was similar to the black one he wore at the November 172 Hawaii concerts and as pictured on the sleeve for the U.S. single release of 'If You Talk In Your Sleep'. It was black, with a gold floral design and red and gold stones inset in the design. There were red inserts in the flare of his pants. The belt was of goldish colour metal and consisted of several large metal squares. Black boots, a white scarf and the now usual trio around his neck of medallion, Maltese cross-shaped necklace and the white necklace from the Japanese fan completed the outfit.

'C.C. Rider' was completed with the usual thump in the chest for Charlie with the guitar as he collected it from him, the attack on John with the guitar and the balancing act of the microphone on his chin, plus the sight of Elvis motioning to the mike-stand to keep still.

Practising on the low flat at the beginning of 'I Got A Woman', Elvis called on JD and Marty on the trombone to check the note. Then all three of them harmonise on the same note and Elvis declares, "You'd think out of the three of us, one of us, somebody could get it you know.... and the note too". Then the song continues with a quick nod to Sheila in the booth. A very crisp version of the song follows complete with a very funky jam with the group in the middle with some great movements from Elvis to match. This jam seemed to get longer with each successive show. Starting to lose height for the 'lost an engine-quickly zipping it up and commenting, "Jones, could do that, but I can't, I mean, I won't. They'll have me in the lounge tomorrow night with the cutie cuties from Capri or something like that. You see, I had a lot of trouble you know that's really how it all started, I'd start singing (he hums a few notes to imitate himself singing)...... stood me on TV as crazy as a basketball". This leads him to mention about the filming from the waist up and what Ed. Sullivan called him. Just before he got JD to do better than that' on a low note, he made some quick comment to JD which he couldn't hear but then explained it away by saying, "These gems of wisdom only come out once, I hope to God they don't come back any more either". Then before JD can try again Elvis asks what low flat is which JD is about to sing. Duke tells him it's a mud-puppy. Elvis Te peats this as if puzzled, "A mud-what, mud-puppy. A low flat's a mud-puppy? Where'd you get that from, Duke? Down in Baton Rouge, Louisiana. Oh, God, the woman down there have got alligators crawling out their hair. You're a weird person, Duke, you know? I've watched you, I've seen little bitty things crawling around in your hair". Finally, JD is allowed to sing his low flat and they move on then to finish the song.

Surprisingly as between songs someone yells out to ask Elvis for his scarf, he replies, "You sure bet your ass, come here, honey". He then directs her to the stage front to give her the scarf.

Then il's 'Until It's Time For You To Go', allows him time to walk the front of the stage and issue scarves, kisses and handshakes. Singing part of the next song, 'If You Love Me (Let Me Know)', near to Sherrill, during the line, "Turn around and find you there", Elvis turned around to Sherrill and grinned at him.

For 'It's Midnight', Elvis asked in the middle of the song for the ending of the song to be played hard. 'Big Boss Man', saw an extra wild performance from Elvis who experimented a bit with his phrasing and also Elvis kidding Charlie by singing, "You ain't so big you're just short that's all." And in the line, "Want a little drink of .... (whispered) whisky," Elvis looked at Charlie and they both laughed at each other.

Getting lost in the darkness at the beginning of 'Fever', Elvis said. "Phew, it's dark up here.... if I get lost, in this black suit they'll never find me". Making a quick comment about how he was worried about falling through the plastic floor inset in the ramp led Elvis to briefly comment about something which we would hear of later for he said that falling through the floor would, "start them damn rumours that said I was strung out on the stuff, beat the hell out of half the hotel staff ..... that's how the people one night, you know, rumourfying...... I got to hear the rumour, they got me strung out". He left it at that for the moment and went on into 'Fever'. Getting carried away with the leg movements at the end of the song he went into Spanish Flamenco-style movements repeating the words olé several times stretching the pronunciation of the word out and then said it contrasted to a young lei, quickly trying to get himself out of trouble - he explained that he meant , "Those flowers in Hawaii folks". Also, during the song, at one point, he told Charlie to shut up adding afterwards that he wasn't fooling - Elvis looked a bit annoyed.

Apparently, a bit disappointed with the reaction from the audience to the opening few bars to 'I'm Leavin' before he started singing he asked, "Do you want to hear the song, do you want to hear it, do you want to hear it?" This brought forth a big cheer and seemingly satisfied saying, "Oh, yes," he went into the song. Getting a bit annoyed at some feedback during the song, he called to Bill, "watch that feedback", then to the vocal backing because they seemed to be rushing it a little, he said, "don't rush me in really," and again a little later in the song he told the vocal backing, "Get in that song next time, get in it." At the end he explained, "Excuse me if I say things up here to correct things. We have a fantastic sound engineer and sometimes we do things on stage that cause a feedback, I don't want the blame to go where it doesn't belong. Sometimes it's us, we do forget when we grab the microphones and they're hot and they squeak."

'Softly As I Leave You', was very movingly performed and drew a big applause.

In 'An American Trilogy', Elvis experimented slightly with the phrasing, at one point told the orchestra, "Easy," as they were playing a bit fast, and then went wrong halfway through, but soon corrected himself. At the line, "You know your Daddy's bound to die," Elvis almost acted the line by closing his eyes and resting his head on one side at the same time slightly crouching.

Then once again we were lucky enough to be treated to a fantastic version of 'It's Now Or Never' which many times came close to the original arrangement. Elvis' voice, of course, hitting the fantastic last few notes in the song perfectly. Great!

During the introductions, still suffering with the after effects of flu, Elvis coughed and spat on stage and then apologised saying, "Sorry, but if it comes up it's got to go you know... it's not too cool on stage, but I can't help it... I'm never cool all the time I tell you... sweatin', man!"

After the introductions which were fairly straightforward, if you can imagine what that means where Elvis is concerned, Elvis mentioned that the Joe Guercio Orchestra had been voted the No. 1 Orchestra of the year by Billboard Magazine for the second year in a row. Then he introduced from the audience a friend of his for the last five years. Elvis said, "He was head of the Narco Division in Los Angeles for 26-years. His name is John O'Grady, he has a book coming out called O'Grady. In that book on page uh, 166, there's three almost three chapters about myself, his relationship with me, my family timed at that paternity suit that he handled that turned out to be just a complete, a hoax (loud cheers). He's now a private investigator; he's a good friend of mine. He and his Wife are here just to visit and he wrote a book called O'Grady, if you get a chance to buy it. John O'Grady, John let them see you." With that, John stood up and Elvis went on to add, "You talk about Superfly, really, I'm not kidding you. You talk about uh, Batman, and Robin and the French Connection stuff, this cat here makes them look like Mickey Mouse. Also, John, they brought me and my father and two people with me, so you know. Last week I got a little, I got sick, I had a little temperature of about 102 degrees. Rumours flew around this hotel that I was strung out on something. I have never been strung out on a thing in my life. I don't want any hotel employee, if I find you saying that, waiter, bell-hop, what, I'll break your goddam neck. (Big cheer)!! Then he held up a large white piece of paper from which he read, "This is from International Narcotics Enforcement Office Association. This awards special honours bestowed upon Elvis Presley........... this Certificate signed by the Executive Officers of the Association, this day a life-time member of the International narcotics Office Association. It's a world-wide organisation (more applause) ....... and I'm strung out! Ladies and gentlemen, I have carried a Federal Narcotics Badge for five years.... they don't give these to strung outs. I just got the 8th Degree black belt in Karate they don't give them me for that either." Wow, Elvis was really annoyed, although I'd heard that he was pretty mad at the first show in February 1973 I'd certainly never seen him like this. No kidding, it was almost frightening at times when he spat out the words "strung-out"..

Then he went on to introduce Ed Parker, saying that he was now a 10th Degree black belt and as such a Grand Master Of The Art. He introduced a few others in the Karate field, who were there and included Red West (2nd Degree Black), Ronnie Tutt (purple belt), Sonny West (brown belt), Jerry Schilling (brown belt) Phew, powerful stuff.

With that, 'If You Talk In Your Sleep', followed, but this time no outfit at all and no talk on Karate at all at the end. (There were plenty of Karate movements during the song, though). Unfortunately, the few people who had apparently complained about Elvis talking too much may then have deprive deprived us of Elvis talking in depth and naturally about his deep involvement in Karate. Instead Elvis launched JD and the Stamps straight into 'Why Me Lord' which once again no thanks to Elvis' attempts to put them off they struggled through (laughing), with Elvis joining them on the last few lines.

'Let Me Be There', carried straight on with once again Elvis applying sp, e fantastically powerful variations to his phrasing on this song. The line, "Watching you grow," once again made him look back laughingly to Charlie.

In 'Bridge Over Troubled Water', Elvis' delivery became so intent and powerful (I'm sure he'll bring the balcony down one of these days literally, such is the unbelievable power of his voice) that he got lost towards the end, and admitting this to us, he then re-did the ending perfectly.

'Hawaiian Wedding Song' was again dedicated to Ed Parker and his Wife. He was given several gifts during this song, including some kind of squeaky gonk, which, of course, Elvis had to squeak. Nevertheless, he still gave a fantastic version of this song, which again should be put on a live album. Missing out on being given a Hawaiian lei this time, Elvis had to give Kathy his scarf instead, plus the usual bonus of a kiss.

Several people calling out to him after the song had finished caused Elvis, good humouredly to say, "Quit calling, I can't make it all those places at once. I will be there in a moment." (Very articulately pronounced) Then he continued, "Let me tell you something, just want to talk to you for a minute. See this ring, (he held his hands out to display his rings in the spotlights) I wore this thing in that Aloha Special from Hawaii, do you remember that? (Big applause). A lot of people thought it was one solid big diamond, but it's not. It's a .... it's a big diamond, ha, ha. No, it's an 111 carat diamond and there are some 16 carat diamonds all round it. It's the biggest diamond I've ever seen. It was my Christmas gift to myself. When I bought it, just thought I deserved it, so.... I'm not through yet (this being said to quieten the audience who started to applaud). This one I have here, I had this designed for the stage. It is oval-shaped, pear shaped diamonds.... all for the stage. This here.... look at it, a Japanese lady (who was in the audience and suddenly clapped excitealy at this mention and Elvis hearing this continued)...... are you here, dear...... stand up.... will you put that spotlight on her, put a spotlight on her... see that lady, they came from Japan tonight between shows (I think he got slightly mixed up here.... it's a long way from Japan to come between shows) she gave me this ring. Honey, what is this stone in the middle ? ...... what is the stone ..... a blue star sapphire of diamonds... they had it made. Thank you, thank you....... Now the reason I'm telling you this story.... I think it's important that you know because....... (then in a deep voice) you helped pay for them."

With that 'Can't Help Falling In Love', brought to an end yet another unique show. A show brilliant in parts, but which certain parts which seemed to make him lose his concentration was in doubt affected by the malicious rumours · which had been so falsely spread and which had now found their way to Elvis' ears. He was obviously very bitter about this.... and who can blame him.

It was very surprising and depressing on making our way out of the showroom to find the posters already being taken down. Would it really have hurt to have waited until closing night. It really had a most strange effect to see the hotel reverting to something like what must be it's normal self although never having been there when Elvis isn't there, I can't vouch for this. However, there were still the hordes of people around which only Elvis draws in such numbers. No kidding, between shows each night, it was amazing to see the line snaking all round the hotel to the rear entrance and doubling back on itself.


September 2 1974 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Unreleased (sound booth recording)
I Got A Woman / Amen       Unreleased (sound booth recording)
Until It's Time For You To Go       Unreleased (sound booth recording)
It's Midnight       Unreleased (sound booth recording)
Big Boss Man       Unreleased (sound booth recording)
Fever       Unreleased (sound booth recording)
The Wonder Of You       Unreleased (sound booth recording)
Softly As I Leave You       Unreleased (sound booth recording)
Dialogue       Unreleased (sound booth recording)
Hound Dog       Unreleased (sound booth recording)
You Gave Me A Mountain
      Unreleased (sound booth recording)
Priscilla Dialogue       Unreleased (sound booth recording)
It's Now Or Never       Unreleased (sound booth recording)
Introductions / Band solos       Unreleased (sound booth recording)
_Guitar solo (James Burton)       Unreleased (sound booth recording)
_Drum solo (Ronnie Tutt)       Unreleased (sound booth recording)
_Bass solo (Duke Bardwell)       Unreleased (sound booth recording)
_Piano solo (Glen D Hardin)       Unreleased (sound booth recording)
If You Talk In Your Sleep       Unreleased (sound booth recording)
Introductions       Unreleased (sound booth recording)
Why Me Lord       Unreleased (sound booth recording)
How Great Thou Art       Unreleased (sound booth recording)
Let Me Be There       Unreleased (sound booth recording)
Hawaiian Wedding Song       Unreleased (sound booth recording)
Dialogue       Unreleased (sound booth recording)
Can't Help Falling In Love       Unreleased (sound booth recording)
Closing Vamp       Unreleased (sound booth recording)

Review

September 2 1974 Dinner Show
Review by John Andrews - Elvis News Service Weekly, Issue 178-79 (November 16 1974)

This show brought on Elvis dressed in another new jumpsuit. Its basic colour was white, but had a multi coloured dragon design back and front, with a wide white coloured belt with various coloured designs, jewels etc. on it. Even with the electric atmosphere in the air we had no way of knowing the amazing performance Elvis would give that night at both shows. Perhaps we should have guessed at something special when we saw the tiger with the black karate jacket and belt which he had been given a few nights earlier was placed in front of Ronnie's big bass drum on the groups rostrum facing out towards Elvis and the audience.

'C.C. Rider' kicked off hard and strong with Elvis' legs really moving. At the end of the song he took his guitar off, but suddenly remembered he would need it for the next song so put it back on and said "I feel silly up here too, I never get used to it, I never do. I never can get used to it. I love it, but.....there's a mirror back.... (someone makes a noise which interrupts him)... Shhh.... there's a mirror back stage here, so I can see myself (he pretends to pat his hair whilst looking at the mirror in the wings). It's not for that reason, but there's a mirror back here so if I get lonesome I can get him to come on, "make sure the leg's alright". Then someone calls out that they like his suit to which he replies, "Thank you honey, I just got this, this thing, this suit just came in just for this show. It's a, it's a dragon."

"Welll..... you ready to go to work JD," enquires Elvis, "You were working this morning on that Telethon (the Jerry Lewis Telethon held in Vegas over Labor Day for Muscular Dystrophy) I tell you I was really proud of you guys. Inspirations you were beautiful. Kathy, Voice you were out of sight. They all went over and volunteered their time and did it. Did you ever get a chance to go back and do that number?.....Jerry wouldn't let you (Elvis then pulled a most amazing expression which showed what he thought of Jerry for that). Do you know what he did at one time. It's the truth. When I first got out out of the army in 1960 I bought a Rolls Royce. I was driving in Beverley Hills one day, Jerry Lewis pulled up beside me. He looked over at me (Elvis then demonstrated how Jerry Lewis slowly turned his head to the side to apparently look at Elvis who would have been opposite and Elvis showed the look of superiority that must have shown on Jerry's face). I did the same thing (again Elvis turned his head as if to face Jerry Lewis and show the same type of expression). He called my manager that same day, said, tell Elvis not to drive a Rolls Royce without a tie......I swear to God. Well I will give you a couple of guesses to the message I sent back.... I will drive it as a naked-ass Jaybird .....I never would have told that, but he should have let you guys do that other song.. one song," and with another "Well", so he goes back into the beginning of 'I Got A Woman'. Starting a fantastic long jam with the group in the middle of this song Elvis said as he started to move, "I'm just checking the parts, see if they work, my warm-up," Wow, and what a warm-up Elvis! On to the question of, "What is a low-flat," Elvis got the reply from Charlie that it was a midgets apartment to which Elvis almost groaned, "I shouldn't have asked, I really shouldn't have." Eventually they succeed in finishing the song. Moving on from 'I Got A Woman' after first introducing himself again as Tom Jones he then changed that to, "my name is really Charlton Heston, I parted the Red Sea." We were to find out the reason for this later.

In 'Until It's Time for You To Go' which followed Elvis proudly mentioned that Lisa and Priscilla were in the audience and handed a little note to someone for Lisa from the ramp which caused quite a ripple throughout the audience. Soon after Elvis had to ask Bill Porter to, "Watch that feed-back," following two large howls through the sound system. Unusually in this song he was given a Hawaiian lei.

Then Elvis really socked it to us with the fast moving trio of 'If you Love Me (Let Me Know)', 'It's Midnight' and 'Big Boss Man', only pausing between songs to cough, still being troubled by his earlier cold or 'flu. Elvis' delivery of these three songs was fantastic, really this was Elvis at his best, you need to hear and see it though to appreciate how fantastic it was. The group gave their all too, Ronnie practically knocking himself on the drums, and James introducing some new licks on the guitar in the incredible 'Big Boss Man'. All those who saw this show should count themselves extra privileged to have experienced this.

Now calm down John, I know you like 'Big Boss Man', but you've got to finish this review.... 'Fever' which came next slowed the pace a little, but not without Elvis commenting at the beginning of the song, "My ex-Wife is in the audience, going sing it honey, sing it honey," adding quietly some comment for Priscilla's benefit which we unfortunately didn't catch but which Elvis thought very funny. However he managed to compose himself enough to get back into Fever with all its usual little quips including this time a deliberate mistake in the line, "Captain Smith poked his Hon... Captain Smith and Pocahontas," which demonstrated more of the Vegas type of humour Elvis sometimes uses.

A tremendous version of 'The Wonder Of You' was next and came as a very pleasant surprise to hear this again, a fact confirmed by the enthusiastic applause, cheers he got at the end of the song which was performed so well.

These words from Elvis introduced the next song, "I would like to tell you a little story, I'd like to share something with you if I could. It's about a beautiful love song that's been around for many, many years. I've never recorded it myself, I've never sung it. I never really paid that much attention to it until I found out the story behind why it was written, and it's a true story because I met the people who were the family that belonged to him, uh, the story is the man was dying in a hospital and uh, his wife had been sitting beside his bedside for three days and three nights. Somewhere on the third day between midnight and dawn (Glen starts to play quietly on the piano at this stage) she lay down beside him and dozed off to sleep. Well he felt her when she dozed off to sleep he could hear her... and at the same time he felt himself start to die. So he took his note-pad from the side of the bed and he wrote ...softly...." at this point to the hushed audience Sherrill would start to echo the words spoken by Elvis for the rest of the song 'Softly As I Leave You' until they did their fantastic duet on the last line when Elvis really hit the high notes. A very moving song this.

Getting "serious" for the beginning of 'Hound Dog' when bending over with his left elbow resting on his left knee he was just about to sing into the mike held in his left hand when his elbow slipped off his knee, So Elvis started looking for his knee, saying, "There was a knee right here, excuse me." Then getting back to the song he said, "I have to stand this way, because when I did this song my voice was much higher and if I stand up straight I'll strip my uh....left shoe's lace or something." Then he started to pick on Steve Allen who we were just about to find out was in the audience because he said, "Nah, Steve....Reeves....you ain't...you ain't Steve Allen you know what you did... I'm on the Steve Allen Show you know. It was just black and white... (he demonstrates what he did then) I was just doing it in time with the music.. I wasn't doing any obscene moves, really. Anyway they put me on TV and they filmed me from the waist up. Ed Sullivan. ....hmmm son-of-a-bitch. Anyway Steve Allen, Steve Allen had me on his show. At that time Steve Allen, when I did the show, he out-rated the Ed Sullivan Show. Ed Sullivan sent Steve a telegram that said 'you rat'. Anyway Steve, got a weird mind, you know. He's a funny, he's a funny funny man really, he's a brilliant genius when it comes to comedy. He had me dress in a tuxedo, with tails, singing to this little fat hound dog on a stool. Not moving a muscle I had to sing to the little fat dog (Elvis pokes his tongue out in trying to imitate the dog).... you ain't nothing but a hound dog. The whole Song I didn't move a muscle... the collar was so stiff I'd have cut my throat if I'd.... Steve Allen did that. I love him for it, but I'll never forgive him". With that he went straight into the song during which really by accident I think I managed to get a scarf, a white one, which, no kidding, just bounced off the head of the English fan sitting in front of me ringside and fell straight into my lap (the scarf that is, not the fan... whose name was Pearl and will no doubt read this). Not satisfied with the jam ending to the song Elvis put himself and the group through the ending again. In this re-run, Ronnie hit the drums so hard at the beginning it made Elvis jump back.

Unusually Elvis complied with a request to sing 'You Gave Me A Mountain'...Elvis you gave us a powerful version of this song. At the end of the song he continued, "I'd like to clarify something I'd like to make something clear on that particular song," but just then people called out for scarves or songs etc. although Elvis thought someone asked for doughnuts, but then said, "Look folks really I cannot do all those songs, I can't do 'I Want You, I Need You, I Love You'...I know a Girl?? and uh, uh, Dixie...I'd be out here for three days (big cheer). No, I'm sorry I have to do what I decide, I try to do what you want, but otherwise I cannot do them all. I swear, I would if I could, but the hotel will not allow me to (the audience laughs.. unfortunately because..) No, no, no....no..no.. you cool it up in the back because that's the truth (he became a bit irritated at this point)...I'm allowed only 55... an hour out here and I usually stay longer because I try to give people more, you know, because I know people come here from everywhere (big applause). So let me have the show, please.....okay. Anyway what I was going to say about that particular song it talks about a wife and taking the baby and so forth... people have associated that, wait a minute, wait a minute (as people mistakenly start to applaud) people have associated that, you know, maybe somewhere along the line, with me. It has got nothing to do with me, not a damn thing. It's a beautiful song that was written by Marty Robbins. My ex-wife is right here, Priscilla, stand up let them see you (this Priscilla does to a big applause). She's beautiful...okay, now hold little Lisa up (Lisa stands up on the seat in the booth as Elvis instructs her) turn around... (after a big applause)... and over in the next booth is my girlfriend... Sheila.... Sheila stand up (more applause)...So you see folks, don't ever believe all you read, 'cause most of the stuff you read about me is junk, believe me. And so...therefore, then though where... anyway, listen, listen, uh no. We have a fantastic relationship....our divorce came about because of circumstantial evidence, it was not because of another man or because of another woman. It was because of the nature of my career, and nothing else, regardless of what you have read or what you have been leaded to believe, the nature of my careerAfter we were divorced, after it was settled, the two million or whatever it was, ha, ha, I just work here folks, you know. Of course I've got to thank you 'cause you helped pay for it, ha, ha,. Uh, after the, after the thing, uh, I bought her a mink coat, a 15,000 dollar coat and I bought her an XKE Jag. Right, after the thing was over, and uh...so that's the kind of relationship we have. The other night she calls and she asks if I like this car called an Excalibur. You know that's a big car with uh, things coming out of the engine, and she wanted to know if I wanted one like hers. I said are you going to get it for me. She said, sure honey... in. white? I said, yes please, okay that's very nice, so she ordered it and it'll be here in November... thank you. (Big applause), Now Or Never."

Yes it was just as quickly as that we were treated to another superb version of 'It's Now Or Never', straight on from that brief introduction right to the end of that fascinating tale. Really his voice has never sounded better than at this show, maybe as good as but surely never better.

The introductions which followed included a mention from Elvis that his artwork in the showroom took 30 minutes since in painting the statue he carefully avoided painting the jewellery on the statue. He also mentioned that the hotel still hadn't said anything to him yet about it. After mentioning "Chuckles the organ player in the orchestra and the Indian kid on the head of a nickel" (the bongo player) he asked of the Indian kid, "Don't throw any Indian switchblades or tomahawks at me really, you know. Just because I've got this Dragon on don't mean I'm Lancelot, you know". After telling everyone that substituting for Kathy was Kathy Westmoreland he declared, "Minnie Mouse I call her... you've got on your little see-through blouse haven't you...you can still tell me I can see through it, maybe they can't. Well that's rot...., don't worry...," he adds trying to un-embarrass poor Kathy who is turning a slightly red with embarrassment at Elvis' comments. Charlie was introduced as, "The guy that sings water".

"That fellow that I was kidding you about earlier, Steve Allen, one of the funniest men around and he's a good friend of mine and he's really out of sight, Steve Allen... Steve." was Elvis' way of introducing Steve Allen, not actually having introduced him earlier. Steve Allen's son was with him although Elvis enquired, "Is Jane with you or are you by yourself," then as his son stood up Elvis commented, "Boy I tell you they grow up don't they. Whooo, how old is he Steve...sixteen. When I was on your show he wasn't even born was he (then Steve replied with something which made Elvis reply)...let's not talk about that Steve." Elvis then made some off-mike comment to Charlie and in response Charlie gave Elvis a kick.

Elvis' next introduction explained the comment made at the beginning of the show concerning the parting of the Red Sea. His introduction went, "There's another gentleman in the audience who is a very distinguished actor and I met this man at uh, Paramount Studios. I was about twenty three years old, and I was just... completely...because he was, he was doing the Ten Commandments at the time and he walked in dressed as Moses. So he's come in the dining room when I was eating in it, you know, there I was, just come out of Memphis, Tennessee.... there was Moses.... Charlton Heston. Boy he has made some dilly's hasn't he. Ben-Hur, whooo, Lord have mercy. I'll never forget that in my life, when he came off that mountain from Mount Sinai, remember he had those tablets and that white hair back. Phew, Lord have mercy. I'd like to talk to him sometime and ask him what kind of a state of mind he had to get in to, to have that part. Can you imagine that, he'd just talked to God and he came down from Mount Sinai with those tablets under his arm, white hair. I'd like to ask him how he got his mind... phew, it's tougher than a nickel stove pipe".

John O'Grady was in the audience again and Elvis introduced him, mentioning again that the book coming out, "O'Grady" included a reference to the paternity suit which proved to be an absolute hoax. Elvis had a copy of the book in his hand, but gave up trying to find page 166, nearly dropping it in doing so. Instead he asked Charlie to take the book from him. He also showed the certificate he and his father and two or three others had just received from the Narcotics Offices Association, adding at the end, "Ladies and gentlemen I just want to say one thing..... they don't give you that if you're.... STRUNG-OUT ! (Big cheer) I was made an 8th Degree black belt in Karate the day before yesterday, it carries the title of Master Of The Art, they don't give you that if you're... STRUNG-OUT!! I could not face my father, Priscilla my baby, my friends, nobody...if I was ever in my life... STRUNG-OUT! I heard those rumours, I read about that stuff in the papers. You know, I get sick, I got sick for two weeks....well by God because I was sick, you got to be.... STRUNG-OUT! If I catch somebody saying in this hotel or anywhere else, I was sick here one night, I had a temperature of 102 and they didn't want me to go on, you know, so I miss one show. So in nineteen years I miss probably six or seven shows from illness. That's not very much (Big applause) If I catch anybody in this hotel, bell-boy, room service, Matre'D, bell captain any employee telling anybody that I am strung out or that I have been, I will bust his goddam head." (Big cheer).

Without another word the intro. for 'If You Talk In Your Sleep' started which although didn't feature Elvis wearing the Karate outfit did include some Karate movements from Elvis mock attacking Charlie who stood dutifully in place with his hands behind his back.

After the song Elvis introduced Ed Parker and John O'Grady, Elvis commenting about the book, "You go to get that book, it's, it's unbelievable, Mr. Heston. Just get that book. It will make the French Connection seem like a stag film. Üh, it really is, it's really something to read. I mean with 26 years on the L.E. Department, you know with all those show-biz people and all the stuff that goes on out there. It's really interesting, John, stand-up, let them look at you." Then he noticed Joe Esposito's ex-wife Joanie in one of the booths and introduced her, making her stand up and declaring, "What is this, ex-wives night."

"I'd like to ask the Stamps to leave the stage", Elvis then corrected himself and asked them to leave the stage. Soon after they had started Elvis in fact went off stage hoping no one would notice as his part of the stage was in darkness for this song. He quickly spoke to Charlie on the way off. Then with all the group beginning to wonder what was going on Charlie spoke to Donnie and Red West waved to the Stamps to continue. They finished their song and with no sign of Elvis Charlie stepped up to the mike to thank JD and the Stamps. Just then Elvis ran back on stage to ask, "What'd I miss? Okay, uh... no, I tell you what, these suits.... if you have to go to the bathroom... they're one piece, you know. In fact Priscilla designed these things...woman, female... but they're all one piece, you got to... you know, so, nowhere to go. You gotta run".

Elvis really put his voice through the paces in 'How Great Thou Art', appearing at one stage to ask Charlie to not harmonise with him so loudly simply saying, "Me." Equally tremendous was 'Let Me Be There' with Elvis once again experimenting slightly with his phrasing in this knock-out version, and the repeated last verse. Plenty of "Yeah's" from Elvis in this too.

Before 'Hawaiian Wedding Song', not surprisingly, he said he must, "Whet my whistle". This beautiful performance rightly drew a big applause.

He started to talk about his rings and mentioned about the Aloha Special, saying, "In fact there's a lot of people from all over the country because of that. A lot of people from Japan are here, from England (this was the first time he had mentioned English fans who had been there throughout the season, we just don't stand out like the Japanese) and France, because of that show". Just then a Scottish fan came down to the front of the stage clutching a Scottish tartan hat. Elvis deciphered the Scottish accent to realise he was from Scotland and walked over just in front of us to collect this hat saying, "Oh, Scotland, what is it then (in a sort of Scottish accent he ventured the word Scotland again,) Saying, "You're very welcome", to the proud fan he put the brightly coloured tartan hat on his head and paraded across the stage in it to howls of laughter from everyone, including himself and then added whilst Ronnie tried a few mock Scottish style drum beats, "I'm glad he didn't bring one of those kilts," (If Liberace can get away with hot pants....!)

With everyone still laughing, off he launched into 'Can't Help Falling In Love', and during this song he picked up the Tiger from in front of Ronnie's bass drum, walked carrying it along the ramp and handed it to Lisa. That signalled the closing of this incredible show. As I have previously described, this was one of those shows from which you walked away literally tingling with excitement and yet somehow exhausted. At these closing shows of the season, after the curtains were dropped for the end of the just just before he left the stage the curtains were partly lifted and it was amazing to see his run off the stage and away to the wings and the big area behind the stage. Wow, what energy after a performance like that.


Tape Logs
 
sound booth recording
September 2 1974 - Dinner Show
September 2 1974 - Dinner Show - Sound Booth
 


September 2 1974 (Monday - Closing Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Microphone Dialogue
      Desert Storm°~Time To Dare°
I Got A Woman / Amen       Desert Storm°~Time To Dare°
Karate Dialogue       Desert Storm°~Time To Dare°
Until It's Time For You To Go       Desert Storm°~Time To Dare°
If You Love Me (Let Me Know)       Desert Storm°~Time To Dare°
It's Midnight       Desert Storm°~Thank You Very Much°~Time To Dare°
Big Boss Man       Desert Storm°~Time To Dare°
You Gave Me A Mountain  
OPA5
8211
Desert Storm°~Time To Dare°
Priscilla Dialogue  
OPA5
8211
Desert Storm°~Time To Dare°
Softly As I Leave You       Desert Storm°~Time To Dare°
Hound Dog       Desert Storm°~Time To Dare°
An American Trilogy       Desert Storm°~Time To Dare°
It's Now Or Never       Desert Storm°~Time To Dare°
Introductions / Band solos       Desert Storm°~Time To Dare°
_Guitar solo (James Burton)       Desert Storm°~Time To Dare°
_Drum solo (Ronnie Tutt)       Desert Storm°~Time To Dare°
_Bass solo (Duke Bardwell)       Desert Storm°~Time To Dare°
_Piano solo (Glen D Hardin)       Desert Storm°~Time To Dare°
I Couldn't Live Without You (Voice)       Tape°
Bringing It Back (Voice)       From Sunset To Las Vegas (FTD)°~Desert Storm°~Time To Dare°
Aubrey (Voice)       From Sunset To Las Vegas (FTD)°~Desert Storm°~Time To Dare°
Introductions       Desert Storm°~Time To Dare°
It's Now Or Never       Desert Storm°~Time To Dare°~Las Vegas '74 CD1 (FTD)°
Let Me Be There       Desert Storm°~Time To Dare°
If You Talk In Your Sleep       Desert Storm°~Time To Dare°
Drugs Dialogue       Desert Storm°~Time To Dare°
Hawaiian Wedding Song       Desert Storm°~Time To Dare°
Jewelry Dialogue       Desert Storm°~Time To Dare°
Can't Help Falling In Love       Desert Storm°~Time To Dare°
Closing Vamp       Desert Storm°~Time To Dare°

Review

September 2 1974 Midnight (Closing) Show
Review by John Andrews - Elvis News Service Weekly, Issue 180 (November 20 1974)

It seemed almost cruel that having almost knocked himself out just a short time before, here we were again demanding by our presence that Elvis give his all again. Rest assured though he wasn't going to disappoint anyone in the almost one-and-a-half hours he himself would be on for this show, no way would he disappoint us.

As soon as the lights went up after '2001' and the curtains were lifted to reveal the group we realised that Elvis had had a little talk with Lisa during the break, for there back in front of Ronnie's big boss man (sorry, can't get that song out of my mind) er, I mean Ronnie's big bass drum was the tiger with the black karate jacket that Elvis had handed to Lisa at the close of the Dinner Show. That Elvis has persuasive ways, even over Lisa obviously. A few seconds later on walked the real tiger of the show.... Elvis, resplendent in the amazing tiger jumpsuit, even if the belt was fastened slightly crooked.

'C.C. Rider' came over as fast and furious as ever with some great movements from Elvis in it. Having returned the microphone to the upright position at the end of the song he then started to adjust it, saying, "Who fixed this microphone this way? ... who fixed this microphone? ... did Jackie Kahune do that?" He then explained, "Look, I'm 6' 11" ..... this son-of-a-bitch is 6' 3" ...." Then having adjusted the microphone to his height he went to speak into it and then found out he'd adjusted it too low and consequently when he leant the mike back it missed and rested on his throat. This really amused Elvis, and us, and so for a couple of minutes he talked and "welled" with the mic' resting on his throat which really gave out a most unusual sound. During all this he declared that, "These microphones cost two dollars and a half each." Bill Porter then yelled out to Elvis something about JD's mike which Elvis decided to modify into, "JD's mike cost twenty-one, well I know that, don't tell me that. He got 'em for sale, at a quarter each. Like these suits he got for the group ..... from Lansky Borthers in Beale Street."

During all the "Well's" which led into 'I Got A Woman', Elvis mentioned that many of the amazing low notes he hit he did in a falsetto bass. For the 'Amen' sequence in this song Elvis surprised everyone including the group by going into a full version of the "Amen" chorus, which was really great for he powered the whole thing in real gospel style hitting some fantastic notes in the process. This chorus was immediately followed by a superb jam with the group with some wild movements from Elvis to go with it. Then he directed JD to do his low voice bit in this song by saying, "I tell you what I want you todo, I want you to take it down to tree-top level .... in a B52.... then stall-out. then start the engines back up ....you got it ... okay." With that JD duly obeyed his captain by taking his voice way, way down as Elvis sank to ground level and did the splits whilst pulling the most amusing expressions at JD's vocal antics.

Finally getting through that ever-lengthening song Elvis introduced himself as Bill Cosby saying, "My name is Bill Cosby, Elvis closed last night. I'm a little lighter skinned than you thought I was." Then he went on to mention the tiger he had been given and to briefly mention about his reaching the 8th Degree black belt which left two grades for him to reach yet.

'Until It's Time For You To Go' which followed saw Elvis catch the microphone on the end of his chin, saw him receive a small toy dog, saw him parade the stage front and then towards the end saw him turn towards Kathy for her high voice part.

'If You Love Me (Let Me Know)' which followed once again spread such a happy bouncing atmosphere throughout the showroom, such was Elvis' obvious enjoyment of the song. During one part when Sherrill was featured harmonising with Elvis, Elvis asked for a spotlight to be put on Sherrill as well. Make no mistake though it was Elvis' singing which made this song, no one else.

'It's Midnight' came across really strong, but in 'Big Boss Man' I think Elvis nearly blew himself apart with the energy he put in the song. He really pushed the group to kick hard as he himself let his voice soar right up the scale at points in some unbelievable sliding notes whilst at the same time moving all over the place, even getting down on one knee at one point.

'You Gave Me A Mountain' continued on from 'Big Boss Man' without giving Elvis a chance to get his breath. Unusually and very dramatically many of the lines in this song were sung. Again he acted out part of the song by dropping to the floor in the line, "She took my reason for living". During the very enthusiastic long applause which followed this song Elvis grabbed hold of his scarf and in fun started to hang himself on his own scarf.

Once again after this song Elvis chose to point out that the words in it had no connection with his private life. To emphasise the point he introduced Priscilla, (commenting on how beautiful she was he said "I knows them when I picks them,") Lisa (instructing Lisa to pull her little dress down as it had hooked up) and also introducing Sheila (asking Sheila to display the ring on her right hand he had presumably given her he commented, "Look at that son-of-a-bitch."

Following all these introductions he explained of himself and Priscilla, "We're the very best of friends and we always have been. Our divorce came about not because of another man, because of another woman, but because of the circumstances involving my career. I was travelling too much, I was gone too much. It was just an agreement that I didn't think it was fair to her because I was gone so much .... and everything. So I therefore .... as decently as you can do that type of thing we just made an agreement ... to her ... to always be friends and be close and care 'cause we have a daughter to raise and for her to have whatever she wanted as a settlement. After the settlement, it came out about two million dollars wasn't it. After that I get her a mink coat .... and the XKE Jag. after the settlement which came to her. She, she .... she got me. Listen to this, tonight .... a 42,000 dollar white Rolls-Royce (big applause). That's the type of relationship we have you know, I mean, that's not a bad set-up is it fella's ...... you know, I mean, I got part of it back anyway didn't I. I wasn't hurting too bad but I mean, uh I did get part of it back. You know she bought the car just by herself as a gesture of love and she likes the Stutz that I have. It's not a car it's a Stutz. No, uh, it's called a Stud, uh Stutz .... and she likes the Stud, ha, ha, she likes the Stutz. Mike Stone is a stud, okay, forget it. She liked the Stutz and uh, and so I will give her the Stutz. Stone's a wishy little Stud, you know ...... nice guy. I'd like to do a song here ladies and gentlemen that's uh ....... one of the prettiest goddam love songs I've heard in my life, I mean I'll tell you, no, it is, it's just one of the prettiest songs I've heard in my life. I've never sung it, I've never recorded it uh, I never liked the damned thing until I found out, ha.ha, ..... until I found out the story behind why it was written, then I really didn't like it, because I don't like that type of stuff. So the next song .... no, this is a true story of a song that's been around for a long .... Charlie take this belt off (he was referring to his belt which hadn't been fastened properly in the first place) really, it's going to cut me, castrate me .... do something. (Charlie then came over and took off the belt and then started to re-fasten it around Elvis). Really, I can't do that, I've got things to do, places to well, you know. Places to go, other tours and things, cities and chicks and all that. Look I just caught .... be careful (to Charlie still working on the belt) be careful son. Don't get it caught in the cord, I'll die ...... excuse me folks ..... ahhhhhhhh...... I might have said tight .. it caught on my hair ..... can't sing." Finally after a little bit more struggling and a few more comments from Elvis to Charlie, the belt is fixed to Elvis' satisfaction and he continues, "See this young lady right here (seated ringside right next to the ramp), her name is Judy Speckles and let me tell you a story about her. When I came to Hollywood I was twenty years old, to do Love Me Tender. Her family was the Speckles sugar family, you've heard of it haven't you? Yeah, well I guess everybody has because, you know, it's a big Company, She gave me a four black star sapphire ring that I kept up until Priscilla and I were married, and Priscilla used it as an engagement ring. This lady right here (big applause as he introduced her). Judy Spreckles .. I don't know where she's been marrying (I think that's what he said, it wasn't too clear) of in the hills, flying jets and ... ... climbing trees and all that stuff. Riding horses, she's a wild-woman, you know, but uh, she did that and she comes round once in a while to check on me, you know."

Then after that fascinating little talk from Elvis he starts the intro. again to 'Softly As I Leave You' taking a moment to tell Glen to play the piano softly and slow since someone was rattling some cups, plates etc. (probably one of the hotel staff) he asked, "I hope you'll quit rattling the glasses until I've told the story, please." (The rattling from the back of the showroom promptly stopped). Apart from acknowledging Sherrill's contribution to this song, at the end Elvis cut short the applause to launch straight into 'Hound Dog'.

At the beginning of 'An American Trilogy' Elvis had to call on Charlie again to adjust the belt commenting that, "The son-of-a-bitch has got a mind of it's own. .... Hook it Charlie, just hook it, hook it wild man .. ohhh, not too hard, I'll have to go to the bathroom." Then having made a quick step over to the groups rostrum to have a word with James, 'Trilogy' gets under way. This was a very spirited performance of this song with Elvis marching on the spot during the Glory, glory, hallelujah part. During the song he took time to take a hair off the top of the mike. Unusually he sang over part of the flute solo, but then stopped himself half way through.

'It's Now Or Never' started before the applause for the last song had finished .... how I wish we could have this on a live album some time, it's so good, equally, if not more outstanding than the original version. The applause he got for this caused Elvis to comment, "I couldn't have had a better audience if I'd stood out and I'd paid everybody 20 dollars to come in here, I really couldn't have. You are out of sight".

Then it started ....... we thought we were going to get the usual messing around with the introductions as Elvis was about to introduce the Stamps declaring he couldn't introduce the whole orchestra except the organ player, saying, "Except my friend, giggles over here (at which point Elvis really started laughing himself) .... look at him man ... he's jolly." Then he got the "Indian-kid" on the bongo's to turn profile again as per the indian on the head of a nickel. When Elvis got to James he said, "On the lead guitar, ladies and gentlemen, one of the funkiest chicken picking son-of.a-guns you ever met in your life from down in Shreveport, Louisiana ..... James Burton." Then Elvis really pushed James several times to lay it on us, at one point instructing James to use some WoW-wow. Under Elvis' guidance James played solo for about ten minutes. Ronnie was also forced by Elvis to give a dazzling display of the reason he is Elvis's drummer. The same went for Duke Bardwell and Glen Hardin. Because of the nature of the instruments they play Charlie and John on rhythm guitars weren't asked to play any solos. During these solos Elvis was moving around a lot and egging them on. When he got to Voice Elvis asked, "Is Pete backstage?". He wasn't, for he was sitting in the audience just in front of me and when Elvis called him up on stage he trod on my foot .... not only that, on his way back to his seat later he trod on it again (talk about Big Boots!) Anyway Elvis explained that this Pete was from Sweden and that he played the piano. Then to follow came a most unusual experience as Elvis got this guy to sit at the Piano and sing a composition of his own. There was much re-arranging of microphones to enable Pete to sing this song at the piano. Consequently Elvis was left without a microphone when telling the audience to listen to the words and vocalising in the song. Elvis just stood on the ramp and tried to make everyone hear him with the power of his own voice as he introduced the song. Then we were left to hear Pete and Voice sing the song, very much in an EltonJohn style. Elvis did join in at points during the song entitled (I think) 'I Couldn't Live Without You', sharing someone else's mike.

During part of this song Elvis squatted by the edge of the stage to listen to the song. After this song Elvis got Voice to sing 'Bringing It Back', with Pete still playing the piano. He decided to join the three members of Voice and went across to collect JD's mike and then joined them standing to form a quartet as interestingly he sang the bass part, looking across at JD a couple of times to see if he was doing okay. JD nodded back at him approvingly. It was really quite an amazing sight to see Elvis in this way as part of a quartet and in view of the gospel type song that it was, it looked unusual to see Elvis there in his jumpsuit with a tiger on the front. For the final twist to this most unusual segment Elvis called on Sherrill to sing a David Gates song entitled 'Aubrey', with Pete still providing accompaniment on the piano. For a few lines in it Elvis spoke the lines before Sherrill sang them, as in 'Softly As I Leave You'. This seemed to give an insight into the type of music Elvis probably listens to a lot himself and no doubt sings up on the 30th floor in those gospel type sessions we saw in On Tour.

After this segment Elvis concluded the introductions for Joe Guercio and the Orchestra. Then he went on to comment about how he'd had a temperature of 102 earlier in the week, which someone decided to applaud, causing Elvis to remark, "Don't applaud a 102 temperature." Continuing about how he'd caught flu and comment ing about the few shows he'd missed in the past 19 years. A piece of fluff floated around his head which he immediately caught in his hand saying, "To me a germ is an enemy. I hate the son-of-a-bitch. I'll fight it .... ccrrrrr." (that was the sound he made as he grabbed the piece of fluff). He continued, "I went to hospital once in my life," then he repeated that line "Once in my life" in imitation of the song before continuing, "and then it was only for three days because I had a little bronchi ..... bronchial trouble in the tubes ... and they .... you know how they do in the hospital, they check you for everything in the world, and I mean uh, the liver .... they'll find some thing wrong with you, they'll create something. That guy took a liver balance. Do you know what a liver test is .... do you know what they do? The doctor comes in and says don't look at me. Turn your head, takes a needle this long (Elvis indicated a needle about six feet long) .... goes ahhhhhh ... right between your ribs..... pulls out a piece of your liver, I swear to God, that's it. So after this ahhhh, he said don't move for 24 hours and there I was ..... I was okay, I was getting well and he comes in and stabbed me. I swear to God, I saw him out of the corner of my eye .... I can't help it I'm trained that way. He looked like a Samurai warrior, he said ahhhhh..... anyway, uh .... I got sick. A fellow volunteered his services to come in and fill in for me. He was way up North, somewhere working getting a TV show. He does so much, he volunteered to come in and work this show for me. He's been here ever since. He'll open here tomorrow night. I'd like to thank him .... Bill Cosby." Then discovering that Bill wasn't in the showroom Elvis declared, "You mean after that build-up that son-of-a-bitch left. To hell with him, I won't pay him anyway (interesting comment). No I'm only kidding. Here's ten grand, I'll give him that whether he likes it or not .... stick it up his nose."

Then he went on to introduce Vikki Carr saying, "The reason we have a mutual respect is because the only way we know how to sing is from the gut ... gut, both of us". Since he knew Vikki liked the song 'It's Now Or Never' he asked if she'd heard it earlier in the show, but since she had been appearing herself at the Tropicana that evening she'd missed it having only just arrived. On hearing this Elvis declared, "God, I got to do it again." Much to our delight, he did it again. This time he sang some very low notes and in doing so dropped almost to the floor to bring them out. An "Ole" from Elvis brought this song to an end and led us straight into 'Let Me Be There' in which Elvis gave many "Yeah's" which he powered out in a voice which in parts was almost a octave higher than his normal level. Not letting the pace relax for a moment a really heavy version of 'If You Talk In Your Sleep' carried straight on. gain no karate jacket or talk, but plenty of moves from Elvis, with Charlie once again dutifully standing his ground whilst Elvis "attacked" him. At one stage, in the line "Walk in your sleep", Elvis acted as though he was sleepwalking.

At the end of this very powerful version of the song Elvis introduced again Ed Parker and John O'Grady. In mentioning the book O'Grady he again said that the book covered the paternity suit adding of this it, "Turned out to be complete conspiracy and hoax.... I had a picture taken with that chick and hat's all. I mean she got pregnant with a camera .... polaroid. Anyway it's all in this book (but as the audience were still laughing at what he had just said he continued ...) watch them polaroid cameras boy ... they ... but you know what she did, where she goofed up ..... she named the night .... and the right that she named .... my wife was with me in the audience .... and that's the night she said. Ain't no way I'm going to fool around with her out there .. you kidding man. So anyway, let me tell you something. If you like things like The French Connection, the Chinese Connection, the uh.... British Connection ...... the knee connection to the jaw-bone, the jaw-bone connected to the ankle-bone (with that he started to launch into that 'Bones' song, but just as the group started to pick it up Elvis stopped .... shame) ... if you like that type of stuff, buy this book, it's called O'Grady, it will be in print, when John ..... September 27th. It will fascinate you, its about 26 years of a hard line policeman working in the Narco. Squad out in Hollywood. So you can imagine what it's about. Buy this book, it's called O'Grady." (With Elvis as a salesman) this book should become one of the biggest sellers of all time .... after the Bible and the Elvis Biography and a few other books on Elvis." Elvis then went on to mention the certificate he had just been awarded (in New York it appears) by the International Narcotics Enforcement Office Association going on to say afterwards, "I don't pay any attention to rumours. I don't pay any attention to movie magazines. I don't read 'em, because they're all junk. (Big Cheer) No, I didn't mean to put anybody's job down (even after all that's been said about him in these magazines he could still be forgiving to the writers amazing, but not really so considering Elvis' nature) .... they have a job to do. They've got to write something. If they don't know anything they make it up. In my case they make it up. When I hear rumours flying around .... I got sick in hospital, you know in this day and time you can't get ...... you are STRUNG-OUT (he really spat these two words out every time he mentioned them, and not surprisingly) Well by God I tell you some thing friend I have never been STRUNG-OUT in my life .... except on you. (Big cheer). I got sick for that one night, I had a 102 temperature, they wouldn't let me perform .... from three different sources I heard I was STRUNG-OUT.. on heroin. I swear to God .... hotel employees Jack, bell-boys, freaks that carry your luggage up to the room, people working around, you know, talking, maids .... and I'm sick, you know I was getting ..... had a doctor, had the flu, get over it in one day, but all across this town, whispers STRUNG-OUT. So I told them earlier and don't you get offended ladies and gentlemen, I'm talking to somebody else (phew, I can tell you that was a relief for he was really mad and you wanted to make sure he didn't think you were the one responsible for the malicious rumours, otherwise you would be need ing several seats on your return flight to England to carry the bits of your body) ..... if I find or hear the individual that has said that about me I'm going to break your goddam neck you son-of-a-bitch ...... That is dangerous, that is damaging to myself, to my little daughter, to my father, to my friends, my doctor, to everybody, my relationship with you, my relationship with Priscilla. It is dangerous, I will pull your goddam tongue out by the roots (and he really yelled out the word roots)." This brought forth a big cheer before he went into the beautiful 'Hawaiian Wedding Song', which came as such a quiet peaceful contrast to his understandable anger of a few seconds previously. Once again in this song, when he got to the line, "I can hear my heart sing," he gave out with a little high pitched babble of words in imitation of his heart singing. During the song he was given a Bible and commented, "I take this and I'm strung-out." At the end of the song James gave a very Hawaiian type sound from his guitar. After having given Kathy a scarf and a kiss at the end of the song he said, "Let me tell you something for those of you who may not be too observant (he moved over beside Kathy again). I'll show you what I was doing to her then, she was having a sing on the microphone, come here (to Kathy to come nearer and they repeat the last lines of their duet) watch my left hand (and as Elvis' left hand disappears somewhere on Kathy she begins to laugh which starts Elvis laughing too) she expects for me to do it (?) and she had a tear in her eye. Oh, Lord have mercy."

Then with thanks to Bill Porter, an introduction for his father who Elvis asks to step out from the wings, a mention for the Colonel who wasn't about causing Elvis to comment, "Oh he's acting like he's out playing roulette, don't kid me, I know where he is. Him and Cosby out there, talking: mash and drinking trash boy". Elvis goes on to mention about the jewellery declaring, "I can't sing without the jewellery."

Then it came, yep, 'Can't Help Falling In Love'. With a big salute to the whole audience Elvis this time walked off stage, rather than ran, since once again the curtains were brought back up again as he left for backstage. He must have been exhausted, we were in the audience. Then he was gone ..........


On Tour, September 27 - October 9 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
Warm-Up Act: The Sweet Inspirations
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

September 27 1974 (Friday)
University Of Maryland Cole Fieldhouse, College Park, Maryland
Recorded on Soundboard
       

September 28 1974 (Saturday)
University Of Maryland Cole Fieldhouse, College Park, Maryland
C. C. Rider
      A Profile The King On Stage Volume 2 CD2°
Dialogue       A Profile The King On Stage Volume 2 CD2°
I Got A Woman / Amen       A Profile The King On Stage Volume 2 CD2°
Love Me       A Profile The King On Stage Volume 2 CD2°
If You Love Me (Let Me Know)       A Profile The King On Stage Volume 2 CD2°
It's Midnight       A Profile The King On Stage Volume 2 CD2°
Big Boss Man       A Profile The King On Stage Volume 2 CD2°
Fever       A Profile The King On Stage Volume 2 CD2°
Dialogue       A Profile The King On Stage Volume 2 CD2°
Love Me Tender       A Profile The King On Stage Volume 2 CD2°
Hound Dog       A Profile The King On Stage Volume 2 CD2°
Introductions / Band solos       A Profile The King On Stage Volume 2 CD2°
_Guitar solo (James Burton)       A Profile The King On Stage Volume 2 CD2°
_Drum solo (Ronnie Tutt)       A Profile The King On Stage Volume 2 CD2°
_Bass solo (Duke Bardwell)       A Profile The King On Stage Volume 2 CD2°
_Piano solo (Glen D Hardin)       A Profile The King On Stage Volume 2 CD2°
Introductions       A Profile The King On Stage Volume 2 CD2°
Blue Christmas       Dragonheart (FTD)°~A Profile The King On Stage Volume 2 CD2°
~Thank You Very Much°
All Shook Up       A Profile The King On Stage Volume 2 CD2°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       A Profile The King On Stage Volume 2 CD2°
Tryin' To Get To You       Dragonheart (FTD)°~A Profile The King On Stage Volume 2 CD2°
Killing Me Softly (Voice)       A Profile The King On Stage Volume 2 CD2°
When It's My Time (The Stamps)       A Profile The King On Stage Volume 2 CD2°
Heartbreak Hotel       A Profile The King On Stage Volume 2 CD2°
Let Me Be There       A Profile The King On Stage Volume 2 CD2°
How Great Thou Art       A Profile The King On Stage Volume 2 CD2°
Hawaiian Wedding Song       A Profile The King On Stage Volume 2 CD3°
Blue Suede Shoes       A Profile The King On Stage Volume 2 CD3°
Dialogue       A Profile The King On Stage Volume 2 CD3°
Can't Help Falling In Love       A Profile The King On Stage Volume 2 CD3°
Closing Vamp       A Profile The King On Stage Volume 2 CD3°

September 29 1974 (Sunday - Afternoon Show)
Olympia Stadium, Detroit, Michigan
Introductions / Band solos        
_ All Right, Okay, You Win (Guitar - James Burton)   Dragonheart (FTD)°

Review

September 29 1974 - Detroit, Michigan
Review by Rocky Barra - Strictly Elvis, Issue 80 (December 1974)

I saw two shows that were quite a bit different, and a new experience for me as an Elvis fan. September 29, in Detroit, and the afternoon of October 5, in Indianapolis. These shows were very similar in one aspect: If I were being kind, I would say they were poor.... if I had to be honest, I would say they were AWFUL! I honestly couldn't believe my eyes (and ears).

For the Detroit show, which was the first show I saw on the tour, Elvis sang fourteen songs (instead of the usual twenty-three to twenty-five) and was only on stage thirty minutes. He also let Voice and The Stamps sing three songs while he stood at the back of the stage. He was not "into" a single song, held his head down for most of the show, and mumbled so much that not a single comment could be heard by 90% of the audience. There wasn't a single show-stopping song ('An American Trilogy', 'Bridge Over Troubled Waters', 'Polk Salad Annie', etc.") included. He also used some of the worst and unnecessary language from the stage I've ever heard. Now you must realise that Detroit is really an Elvis town. They love him! Usually after one of his shows in Detroit, people pour out of the stadium smiling, talking about how great the show was, and bragging about their favourite songs. This makes me, and most other fans, feel real good. However, this time they were saying things like, "What a rip-off," "What happened to Elvis," and "'I can't believe it." I almost felt like crying... especially because I knew a lot of my friends were seeing him for the first time.

The same exact thing at the Indianapolis matinee. Now I am well aware that it is rough for performers to do matinee shows... but I'm not talking about an ''off night," it didn't even seem like Elvis up on stage. The reviews in the papers were bad, and they should have been.

Now I am well aware that there are some readers who do not like for us to print anything that is the least bit against Elvis... for any reason. But this is not just my opinion. It is fact! I received literally hundreds of letters from people who saw the shows (one or the other) that asked, "What happened," "What's the matter with Elvis?" or told how disappointed they were.... and these are 100% fans, people who have followed Elvis for years.

As I stated, to my knowledge, I am talking about only these two shows. The reports I have from other cities are good.

The obvious question that comes to the mind of an Elvis fan is "Why?" I know that Elvis was very sick during part of the tour, and under a doctor's care, Elvis is very proud of the fact that in his entire career, he has only missed five performances. In fact, many times he has gone on stage against his doctor's and manager's wishes. He is a totally giving performer. I KNOW Elvis wasn't feeling well, and this just has to affect his performance. But I think there is something else involved too.


September 30 1974 (Monday)
University Of Notre Dame Athletic & Convention Center,
South Bend, Indiana
Recorded on Soundboard
       

Review

September 30 1974 - South Bend, Indiana
Review by Rocky Barra - Strictly Elvis, Issue 80 (December 1974)

Of all of the times I have had the pleasure of seeing Elvis perform, his recent October tour is going to be the hardest to review. I was fortunate enough to see seven shows this time: Detroit on September 29, South Bend on the 30th and October 1, October 2nd in St. Paul, back in Detroit on the 4th, and twice in Indianapolis on October 5th. Obviously, this schedule involved quite a bit of driving... but when you're an Elvis fan, you can count on putting quite a few extra miles on your car.

First I will attempt to review the September 30th concert at South Bend. For those of you who attended this show.... you really saw something! I honestly think that this was about the best I have seen Elvis in concert during the last two years. He was appearing at the new Notre Dame coliseum. It is, beyond a doubt, the most beautiful and functional structure of its type in the country. Aside from seating over 12,000 in the auditorium, there was an indoor hockey arena, a fantastic indoor track plant, meeting rooms, restaurants, and a hall of fame! that depicted many of the sports greats that have attended Notre Dame over the years. The arena was acoustically one of the best Elvis has played, Knowing Elvis' love of football, and his admiration for the Notre Dame team, I had a hunch that he would be "up" for the show.... and he sure was!

The crowd responded very well to Voice, who did the same three tunes that have been doing since they started with Elvis, and the Sweet Inspirations, who did a very good set and were at their usual best.

Jackie Kahane, who has a tendency to stick with the same material every tour, seemed to be pacing himself much better this time and was well received in every city. I'll just take a second to point out that Elvis, and every other entertainer, plays to the city they are in. What I mean is that they assume, and rightly so, that the people who are seeing the show are seeing it for the first time (at least since Elvis previously played the city.... usually two years or so). There is a small group of fans (myself included) who DO drive hundreds of miles to see Elvis on each tour he undertakes. Some of these fans have asked me "Why doesn't Elvis change his show from city to city?" As I stated, this is a very small percentage of the audience. Entertainers do not "play" to this segment of their audience. It would be both undesirable and unprofessional for Elvis to COMPLETELY change his show whenever he hits a different town, although he obviously knows enough different songs to do so.

The house lights are being turned on and it is intermission time, Now I am well aware that the main purpose of a tour is to make money, and that selling souvenirs has traditionally be a staple of the Presley machine... but things have become a giant farce. This doesn't bother me as much as it does most of you, as I have received many, many letters telling me how turned off people have become of the constant and ever-present hawking of "Elvis mementos". It's not the items themselves (all are good) but the way that they are sold that is bothering! many people. The worst aspect of all this circus hawking is that it has caused Elvis a great deal of bad press..., and Elvis has NOTHING to do with this end of the business.

The house lights went back down, the '2001 Theme' began, and Elvis rolled on stage to Ronnie Tutt's pounding introduction. As in all of the cities on the tour, Elvis came on stage wearing sunglasses, which he took off and handed to someone in the first row before he started singing. Elvis' jumpsuits have been getting more spectacular and glittery all the time (almost too much so), but on this tour, I thought he wore the most outstanding outfits he has ever worn. At the Notre Dame show, he came out in a white jumpsuit with an orange tiger on the front and back, with it's one paw seemingly reaching out to scratch someone, and orange and black belt and trim down the legs. It sounds wild, and it was, but there wasn't the unnecessary distraction that some of his glitter suits cause.

After you've seen a certain number of Elvis shows, you can almost tell from the first number whether Elvis is really up or not. When he is really on, he is obviously confident, moving his legs, and more or less "attacks" the microphone, You can also see his band members nodding and smiling towards each other..... they know !

Elvis literally tore into 'C.C. Rider'. It was the best I've ever seen him do it. He was just screaming the words and really involved physically. There are some people who say it doesn't matter if Elvis is "moving" or not--they are wrong! Elvis' movements are much more than a part of the "legend." When he is truly into a song, ALL aspects of Elvis Presley reflect it: vocal, visual, mental, and physical. Elvis can possibly fool some of the people some of the time, ... but HE knows when he's on or not.... and it shows from the word "Go".

Next came a great rendition of 'I Got A Woman'. Elvis did the ending twice with J.D. Sumner making like a jet plane and Elvis flapping his "wings."

After the song, Elvis said "Hello" to the crowd and mentioned how much he has always wanted to play for Notre Dame. He was constantly joking with the crowd, giving little insights to himself, and referring to magazine articles that had been falsely written about him. He said that the movie magazines were really goofed up and that they didn't know what was going on in his personal life. Then he introduced his girlfriend sitting at the side of the stage, Sheila. This was done very briefly and almost as an afterthought. He then jokingly said that everyone was wrong about his love-life and that he and Kathy Westmoreland had been "carrying on" for over four years.

The next song was 'Love Me'. Although Elvis has had this song as a part of his act for some time, when he thinks about what he sings, it still sounds great... and this was the case in South Bend.

Elvis followed this with a rockin' version of 'Blue Suede Shoes'. After the song, Elvis noticed a sign that someone was holding up with the wording: "Elvis -- The King". Elvis said, "I thank you very much for the thought, but I have never gone for this 'King' business. For me there is only one who has the right to be called King, and that's Jesus Christ." This really thrilled me to hear Elvis say this from the stage. Since I became a Christian, I have been unable to use this title in association with Elvis... I suppose most of you have noticed. "The king of entertainment" yes, but "King," no! There is nothing wrong in admiring and enjoying Elvis' talent, but it IS wrong to make him your "God." Elvis feels very strongly this way too, and he is thankful for the talent that God has given him.

Elvis then announced that he was going to do his new record. We crossed our fingers and hoped he meant 'Promised Land', but instead he did 'It's Midnight'. It was a truly great rendition and Elvis sounded even more powerful than he does on the record. For the most part, Elvis has ignored promoting his records on his tours, but it really does help sales and I was glad to see him do it with this side (even though 'Promised Land' would eventually become the hit side).

'Big Boss Man' was next. If you haven't had a chance to hear Elvis' new rockin' arrangement of this yet, you're really in for a treat. I hope we see this version on record someday. Fantastic! 'Fever' was next--nothing new, but always a great crowd pleaser.

'Love Me Tender' is a song that is very popular with all audiences. Because Elvis has done it so many times, he sometimes tends to talk through it, but not at this show. I think this was the best version of this that Elvis has done in many moons. The same comments apply to the next song, 'Hound Dog'. Elvis and the band really kicked it on the ending.

Elvis followed with 'If You Love Me (Let Me Know)', the Olivia Newton John number. For me, this is one of the highlights. Elvis covers the entire range of dynamics on this one. I don't know who did the arrangement on this one, but it's really outstanding and shows that, in most cases, Elvis can do songs recorded by other performers even better than the originals. Taking note of J.D. Sumner going "way down low" on the ending, Elvis says that he first heard J. D. when he was sixteen years old in Memphis. J.D. was singing with the Blackwood Brothers and Elvis was really impressed. He said he never thought he would be on the same stage with J.D.

Next came an unbelievable version of 'Bridge Over Troubled water', with Elvis hitting notes that he never even tried for on this song. This was truly an experience. About one-third of the arena instantly stood up when the song was over. Rather than soaking up the applause, as 99% of performers will, Elvis quickly and gratefully acknowledged them and went on to introduce his band. On this tour, and probably from now on, the fantastic musicians that Elvis carries with him each played a solo as Elvis introduced them. First was James Burton, Elvis kept saying "Get funky, get funky," and shaking his head, showing his admiration for Burton during his licks. John Wilkerson was introduced next, but not allowed to play a solo... in fact, Elvis often joked about his lack of ability on the guitar. (This WAS an obvious joke by Elvis and not to be taken any other way). Ronnie Tutt was next announced and gave a short, but utterly fantastic, exhibition on the drums, Tutt always received the most applause, and rightly so. Duke Bardwell (bass) was given a shot next, to which Elvis usually remarked, "Fair" or ''Not bad, Duke," When Charlie Hodge was introduced, he handed out glasses of water to the audience.....NO, I'm just kidding! I know Hodge has a fan club. I'M KIDDING! Up to this point, the band is playing "Comin' Home Baby, and the solos are within that rhythm and progression, But when Glen D. Hardin (piano) is introduced, he breaks into a honky tonk shuffle... and then Elvis joins in with 'Lawdy, Miss Clawdy'. It's a good version. Elvis finishes, and then goes on to introduce the rest of his crew.

Sometimes, but not in every concert, Elvis would bring out Voice or J.D. and The Stamps to do a solo shot, while he would stand at the back of the stage. At this show, Voice came out to do 'Killing Me Softly'. Elvis would introduce it by asking the crowd, "How many of you have heard the song, 'Killing Me Softly'?" There would be a ton of applause, thinking that Elvis was about to sing it. Then he would ask Voice to come out and do it. This was my one complaint with the Notre Dame show... not that Voice didn't do a good job, they were excellent on the song. But it was bad pacing, especially since Voice had already done their bit before Elvis walked out. It seemed to take a little of the memento away from the concert, but Elvis got it back immediately by doing a savage version of 'Polk Salad Annie'.

Next came 'Why Me Lord'. Since the last Vegas stint, Elvis has tried (successfully) to break up J.D. on this song. It's become a private joke on stage... but doesn't add anything to the performance of the song.

Elvis followed with a surprisingly good version of 'All Shook Up', then a medley of 'Teddy Bear' and 'Don't Be Cruel'. Now these are songs that Elvis can often be heard rushing through, but at South Bend, he gave them full throttle. These songs are rock classics, and that's just the way they sounded on September 30th.

Someone yelled out for 'Burning Love' and Elvis responded with "No way, Jose!" Someone then asked for Elvis to do 'You Gave Me A Mountain', and he said "Of course we'll do it." We were fortunate enough to be sitting close enough to be able to hear the band talking, off microphone, Joe Guercio remarked, as the band members were hunting up the chart, "This is one of my favourites, I love the way he does this." Joe was right! I have never heard Elvis come close to the dynamic power he put into this song on this particular night. Elvis was reaching notes I haven't heard in a couple of years. He dramatically "talked" one verse, and it sounded so sincere that it made you want to cry. Elvis really put the listener right in the song. I can't even describe how good this was. On the ending, Elvis bent over, and kept going over the lyrics, like in 'I Can't Stop Loving You', then hit a powerhouse high note as he finished it. Elvis has some of the finest singers in the world on the stage with him, but at the end of this song, they were just shaking their heads and smiling. Even though they are with him for every performance, they are still impressed with the man's talent. What really impresses me is that on those rare occasions, where he cuts EVERYTHING loose, he has so much in reserve that he doesn't usually tap. I have to just shake my head with the Stamps and Inspirations and admire THE super talent of our time!

If 'You Gave Me A Mountain' got me excited, Elvis' next song, 'Let Me Be There', tore me in little pieces. Elvis has done this before and it's always be a great song--a show stopper --but not like this! He literally screamed the words into the microphone with so much feeling that it didn't even sound like his normal delivery of the song. If you took the best of Elvis in the 50s, and the best of Elvis now, combined them and DOUBLED it, that's kind of how he sounded on this for this particular performance, Elvis himself seemed to be quite pleased with his performance on this number, as he seemed to be looking towards the Inspirations for encouragement... and he got it. I know this sounds unusual, but I am not exaggerating. On the last verse, Elvis got down on all fours and pounded the stage with his fist as he screamed into the mike. I haven't seen Elvis put so much of himself into a song since August, 1969... and that's the truth! His delivery was so doggone raucous, gutsy, and savage that I couldn't believe it. I don't know why Elvis was up so much for this show... but he sure was!

Elvis then took a drink of water, and changed the setting completely. He had to! Another 'Let Me Be There' and the building (as new as it was) would have come down! He performed a very beautiful and sensitive reading of 'Hawaiian Wedding Song'. A complete departure from the last tune, but just as perfect in its own way. When the song was finished, Elvis looked out into the crowd and said, "All-right, what do you wanna hear ?" two-hundred different song titles came back at him. He looked over at Charlie and chuckled. We yelled out for 'Promised Land', Somehow he heard us (I told you we were lucky enough to be sitting close) and seemed pleased that we knew that was going to be the other side of his new single, He explained that he didn't know all the words, but said he would do another Chuck Berry song instead. He made good his word with 'Johnny B. Goode'. It was a solid version.., not rushed... and Elvis rocked on it.

Elvis then motioned for Glen Hardin to start 'Can't Help Falling In Love'. After finishing the song, he went out to the front of the stage for quite some time to greet the fans. Someone tore a ring off his finger and Red West immediately retrieved it for him. I didn't mention too much of the dialogue, but Elvis was really friendly and talkative in South Bend. He told the crowd how he had obtained his large diamond ring and thanked them because, "You bought it for me." He introduced his father and said "He started it all." He was totally giving and, as I said previously, I think this was the best I've seen him in at least two... maybe three years. And Elvis at his best is really saying something. As the band continued playing, he was rushed out of the building just as a huge throng of fans were rushing the stage. It was a show I'll never forget!


October 1 1974 (Tuesday)
University Of Notre Dame Athletic & Convention Center,
South Bend, Indiana
C. C. Rider
      Dragonheart (FTD)°+Autumn Gold°
I Got A Woman / Amen       Dragonheart (FTD)°~Autumn Gold°
Love Me       Dragonheart (FTD)°~Autumn Gold°
Blue Suede Shoes       Dragonheart (FTD)°~Autumn Gold°
It's Midnight       Dragonheart (FTD)°~Autumn Gold°
Big Boss Man       Dragonheart (FTD)°~Autumn Gold°
Fever       Dragonheart (FTD)°~Autumn Gold°
Love Me Tender       Dragonheart (FTD)°~Autumn Gold°
Hound Dog       Dragonheart (FTD)°~Autumn Gold°
Heartbreak Hotel       Dragonheart (FTD)°~Autumn Gold°
If You Love Me (Let Me Know)       Dragonheart (FTD)°~Autumn Gold°
Bridge Over Troubled Water       Dragonheart (FTD)°~Autumn Gold°
Introductions / Band solos       Dragonheart (FTD)°~Autumn Gold°
_Guitar solo (James Burton)       Dragonheart (FTD)°~Autumn Gold°
_Drum solo (Ronnie Tutt)       Dragonheart (FTD)°~Autumn Gold°
_Bass solo (Duke Bardwell)       Dragonheart (FTD)°~Autumn Gold°
_Lawdy, Miss Clawdy (Piano - Glen D Hardin)       Dragonheart (FTD)°~Autumn Gold°
Introductions       Dragonheart (FTD)°~Autumn Gold°
_Orchestra solo       Dragonheart (FTD)°~Autumn Gold°
All Shook Up       Dragonheart (FTD)°~Autumn Gold°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dragonheart (FTD)°~Autumn Gold°
Killing Me Softly (Voice)       Autumn Gold°
Let Me Be There       Dragonheart (FTD)°~Autumn Gold°
It's Now Or Never       Dragonheart (FTD)°~Autumn Gold°
You Gave Me A Mountain       Dragonheart (FTD)°~Autumn Gold°
Johnny B. Goode       Dragonheart (FTD)°~Autumn Gold°
Hawaiian Wedding Song       Dragonheart (FTD)°~Autumn Gold°
Steamroller Blues       Dragonheart (FTD)°~Autumn Gold°
Can't Help Falling In Love       Dragonheart (FTD)°~Autumn Gold°
Closing Vamp       Dragonheart (FTD)°+Autumn Gold°

Review

October 1 1974 - South Bend, Indiana
Review by Martha Collins - Elvis News Service Weekly, Issue 172 (October 1974)

Elvis played last night to a record crowd at the Notre Dame Atheletic and Convc ation Center - 12,301! Both shows there were completely sold out - and this record stands even though a whole block of seats behind the stage were left empty due to sight-problems. Paul Lichter's (Unique Record Club) flyers were circulating before the show, and we saw cars from Illinois and Michigan as well as Indiana. As in June, the whole city gets excited by Elvis' appearance - at the restaurant where we had a nervous dinner, everyone was chatting about Elvis!

The show followed the same basic format. Voice opened, followed by Jackie Kahane (who was very well-received, kidded a lot about Elvis, and mentioned they were staying at the Royal Inn,) then the Sweet Inspirations. After intermission, Elvis came on stage at 9.40, and was an hour and ten minutes. The audience exploded when he appeared at the auditorium doorway and spotlights followed him as he climbed up on the stage. He wore the dragon jumpsuit - white with a colorful sparkly dragon on the back, its wings on his chest, and talk down the sides of the legs - in red, blue, silver, and gold - dazzling! JD sounded much improved over the last Vegas session - Elvis happily played airplane as JD impressed the crow with his low notes in the 'Amen' part of 'I Got A Woman'. Elvis mentioned they had never played South Bend before and that the audiences were really fine. We noticed right away that his right wrist was heavily bandaged. About half-way through the show he told us what had happened - a girl in Vegas had scratched him one night (on stage!) and the next night he got scratched again in the same place. After a month of working on karate, he found the cut was badly infected; in fact, "You can see a hole right through my hand!"

He added 'Heartbreak Hotel','It's Now or Never', (and promptly forgot the words!), 'Bridge Over Troubled Water', and (in response to a request) a steaming 'Steamroller Blues'. The audience was very vocal, shouting out requests and "I love you, Elvis" all the time. Elvis actually showed some annoyance with this - stopped and chastised us, saying he had a set show to do and though he knew 3000 songs, he could only do 1500 a night! That didn't stop the noise so he finally snapped "Oh, shut up!" It seems as though the newly emerging HUMAN Elvis of the last Vegas season is getting stronger and stronger! I distinctly felt Elvis was again trying to get a message across - this time in terms of the audience's relationship with him. He wants to sing and entertain, he wants our approval and responses, BUT neither of us is to be a slave to the other! He exhibited annoyance all evening - Duke was out of tune, the mikes crackled - he was impatient, and somewhat temperamental - not really "up". In fact, he more or less muddled through 'Blue Suede Shoes' and the audience was reacting at such a noisy level all through it that at the end one couldn't really discern applause! Elvis turned towards Charlie and Glenn and said, with a wry face, "I guess we didn't do a very good job on that.." He kissed lots of women and a couple of children, asking one little girl her age. "She's 5? My daughter is 6!" One fan reached wildly for a scarf loosely dangling around his neck - it hung below his waist. He jumped back and said "Watch what you grab!" The audience went hysterical! He was friendly with one of the policemen at stage front center and in one crush of kissing, pretended to kiss the policeman as well!

The introductions were fantastic! I know that sounds funny but when Elvis introduced James Burton ("he plays the funkiest guitar in the world") he asked him to play a bit, The same for Ronnie Tutt - Elvis stood to one side as Tutt drummed and Elvis' whole body jiggled to the best! Then Glen was asked to play - he went into a soulful number and before we knew what was happening, we were witnessing a true jam session! Elvis got carried away and began singing 'Lawdy, Miss Clawdy', asked Glenn to slow down a bit, and kept at it a few minutes. An album of this would be worth millions!!

All in all, Elvis' two shows here were quite well-received, the reviews good (Elvis apparently read this review as he mentioned, teasingly, what hard work it is to sing "from the gut"!) The audience adored his - and his humor and self-deprecation endeared him to the men as well - they really roared at his jokes. Elvis showed us his rings, as he had in Vegas, adding the clincher - "I'm showing you these because you helped me buy them!" which brought the house down! Elvis spoke rather softly - in truth, he seemed very low-keyed all evening, not really putting himself into the songs until the end with 'Bridge Over Troubled Water' and 'You Gave Me A Mountain'. He did sing 'It's Midnight', introducing it as his new single - are you listening RCA??! And lastly, he looks simply beautiful! We're eagerly looking forward to the two other shows this coming weekend!


October 2 1974 (Wednesday)
Civic Center, St. Paul, Minnesota
         

October 3 1974 (Thursday)
Civic Center, St. Paul, Minnesota
C. C. Rider
      St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
I Got A Woman / Amen       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Love Me       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Blue Suede Shoes       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Until It's Time For You To Go       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Big Boss Man       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Fever       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
If You Love Me (Let Me Know)       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Love Me Tender       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Hound Dog       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Introductions       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Lawdy, Miss Clawdy       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
All Shook Up       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
(Let Me Be Your) Teddy Bear / Don't Be Cruel       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
The Wonder Of You       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Why Me Lord       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Heartbreak Hotel       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Let Me Be There       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Hawaiian Wedding Song       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
An American Trilogy       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
Johnny B. Goode       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)
You Gave Me A Mountain       St. Paul To Wichita CD1 (FTD)° (wrongly dated October 2)

Notes

According to fan, Steve Lecher from St. Paul, Minnesota, who attended both shows on October 2 and 3 1974, Elvis didn't sing 'An American Trilogy' or 'You Gave Me A Mountain' on the first night (October 2) but sang them both on the second night (October 3), meaning the show released by FTD on St. Paul To Wichita is wrongly dated.


October 4 1974 (Friday)
Olympia Stadium, Detroit, Michigan
It's Midnight
      St. Paul To Wichita CD2 (FTD)°
Steamroller Blues       St. Paul To Wichita CD2 (FTD)°
Funny How Time Slips Away       St. Paul To Wichita CD2 (FTD)°

October 5 1974 (Saturday - Afternoon Show)
Expo Convention Center, Indianapolis, Indiana
Recorded on Soundboard (Could be Eve. Show)      

Review

October 5 1974 (2.30pm Show) - Indianapolis, Indiana
Review by Martha Collins - Elvis News Service Weekly, Issue 173 (October 1974)

Elvis strolled on stage in a fantastic tiger jumpsuit, wearing his sunglasses until he hit center stage. The suit was white, and had a glittery tiger with out-stretched claws on the front and the back, tiger strips down the sides of both legs, and on the edge of the collar, and tiger colors on the belt and in the leg insets. The first thing Elvis did as acknowledging the applause was to lose his belt! (Charlie put it back on for him.) The Convention Center is large and wide - the sound was even worse than in South Bend. (This obviously has to do with the acoustics of the buildings more than with the sound system. Even the usually perfect Sweet Inspirations sounded muddled.) Elvis, as in South Bend, sang with what singers call the "top of the voice" - rather softly and lightly - and talked the same way. Many people around us (we were on the main floor) complained they couldn't hear him. I'm beginning to wonder if his throat is bothering him.

Quite early in the show, he noticed that the people seated on the sides couldn't see because the stage crew had set the singers' chairs too far front. Elvis stopped the show and made the Stamps and Sweet Inspirations move back, to the joy and heavy applause of the fans! He sang 'C.C. Rider', 'I Got A Woman', 'Love Me', 'Blue Suede Shoes, 'It's Midnight', 'Big Boss Man' ("Come on - play it, fellas!"), 'Fever', 'If You Love Me (Let Me Know)', 'Hound Dog' (with chanting and drums), did the elaborated introductions leading into 'Lawdy, Miss Clawdy', 'All Shook Up, 'Teddy Bear / Don't Be Cruel', 'Heartbreak Hotel'. A break here - "How many of you know the song 'Killing Me Softly'? I'd like Voice to sing it for you". Elvis retired to one side of the stage in the dark and appeared to be singing (sans mic', unfortunately) with them - you can tell i wasn't watching Voice! - and conducted the orchestra at the ending! Then he launched into 'Johnny B. Goode', 'Why Me Lord' (Elvis delighted once again in driving JD insane, although he did leave him along in the first verse! Between verses, Elvis innocently said, "Sing it, JD." in a high voice reminiscent of Flip Wilson's "Geraldine" character! Poor JD limped a long trying not to break up completely!). LET ME BE THERE (repeating the last chorus), 'Hawaiian Wedding Song', 'Love Me Tender', 'Polk Salad Annie' (with lots of lovely movements - the audience went crazy!), and 'Can't Help Falling In Love'.

Before the introductions, Elvis walked to the extreme stage right in response to loud screams and said, "What dost thou wantest? Ask and thou shalt receive!" The audience, of course, howled! During the intros, he said to Ed Enoch (of the Stamps): "Let me ask you something, Ed. What kind of name is Enoch? It's a biblical name, isn't it ? Sort of weird, too!" And he completely forgot to introduce Charlie! The "jam session" was again part of the intros.

In 'Hawaiian Wedding Song', where Elvis steps back and gives Kathy Westmoreland a scarf and a kiss at the ending, Elvis, apparently having received flack from the Sweets on this, draped the scarf around one of the Sweets (I couldn't see which one) and kissed her! The group broke up, and as Elvis returned to center stage, he looked back at them and said, laughing, "I don't want to hear from you again for a week!!!

The audience was very vocal and receptive. At the end, someone threw a large pair of pink underpants on stage which Elvis picked up to everyone's amusement. As he led into 'Can't Help Falling In Love', he told us all to "Be careful and drive home safely!" He received a standing ovation - had been on for fifty-five minutes.


October 5 1974 (Saturday - Evening Show)
Expo Convention Center, Indianapolis, Indiana
         

Review

October 5 1974 (8.30pm Show) - Indianapolis, Indiana
Review by Rocky Barra - Strictly Elvis, Issue 80 (December 1974)

Whenever I review a concert or a series or concerts, I spend a great deal of time doing it. I try to be as honest and sincere about the shows as I am able. The show on the 30th was a masterpiece in every sense of the word.... but I wouldn't be doing my job, as I see it, if I didn't report on all the shows I saw. There was one other outstanding show, and that was the evening performance in Indianapolis, Elvis, once again, was really into things and right after he finished 'C.C. Rider', he said, "There are some people who think I can't play the guitar...so I've got to show 'em they're wrong." He then called Charlie over to hold the microphone to his acoustic guitar as he played the intro, and sang a GREAT rendition of 'That's All Right'. When he finished, he went on to 'I Got A Woman', and the rest of the show. But he also added 'Blue Christmas', 'It's Now Or Never', and 'How Great thou Art'. It was an outstanding show and really left you more than satisfied. He also added 'The Wonder Of You'.


October 6 1974 (Sunday - Afternoon Show)
University Of Dayton Arena, Dayton, Ohio
C. C. Rider
      Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
I Got A Woman / Amen       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Love Me       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
If You Love Me (Let Me Know)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
It's Midnight       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Big Boss Man       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°~Thank You Very Much°
Fever       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Love Me Tender       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Hound Dog       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Introductions / Band solos       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
_Guitar solo (James Burton)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
_Drum solo (Ronnie Tutt)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
_Bass solo (Duke Bardwell)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
_Lawdy, Miss Clawdy (Piano - Glen D Hardin)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Introductions       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
All Shook Up       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Heartbreak Hotel       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Why Me Lord       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Promised Land       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
You Gave Me A Mountain       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Let Me Be There       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Hawaiian Wedding Song       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Can't Help Falling In Love       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°
Closing Vamp       Dayton Reloaded (Boxcar)°~A Day In Dayton°~A Profile The King On
Stage Volume 2 CD3°

Review

October 6 1974 (2.30pm Show) - Dayton, Ohio
Review by Martha Collins - Elvis News Service Weekly, Issue 173 (October 1974)

Elvis, in his blue-striped jumpsuit and sunglasses, was wildly greeted by an enthusiastic sell-out crowd as he appeared in the left front passageway and climbed up on stage. He wore a short gold neck chain with a large round pendant in addition to the large diamond cross and all those rings. The sound was much better here and it was easy to see that whatever had been bothering Elvis last week was not bothering him now! He was decidedly "up" for this show!

After 'C.C. Rider', he acknowledged the screams and flashes by asking, "Who do you think I am? Wilt Chamberlain?" (We wondered if he's heard Jackie Kahane's joke - "Trying to look sexy next to Elvis is like trying to look tall next to Wilt Chamberlain!!") "Jackie Kahune," Elvis continued, "Uh, what's his name? - Kahane - either makes this mike too low or too high." Elvis stood on tiptoes to reach the mike (still in the stand), then held it on a slant as he always does. In 'I Got A Woman' at "...well, she's my baby..." he jumped on on his toes and sang it quite high and repeated "my baby" up high again on his goes, making a face at JD as if to say "Fantastic, hugh?" He went on jerking to Ronnie Tutt's drums, then chanted and hummed, moving legs and torso as if he had no bones in his body! Then a shrug: "That's it!" and quickly into 'Amen'. he jerked his head back almost viciously to the screams of the fans and said, "Thirty minutes to comb my hair and then this!!" JD sounded great on his low notes but Elvis, as usual, teased him. "Come on, JD, can't you do it better? You always say that!" as JD shook his head no! "I think you've said that twenty-five times or worse. Honey." He turned to the fans behind the stage. "I'll be back there in a moment! In a moment! If I can't get behind there, I'll send Charlie Hodge! Now listen to him this time because he's the world's lowest bass singer. And he can get down, Jack, watch him." He stopped and started to giggle, as did the band. ("Get down" is a slang expression, and if you don't know what it means, I'm not going to tell you!!!)

"Good evening, ladies and gentlemen. This is a weird building, man. People all over the place - on the ceiling! We hope you have a good time this evening." (He never seems to know what time of day it is!) "We'll try to entertain you and sing a lot of songs and walk around and hope this suit stays together." In 'Love Me', he went to kiss a girl and in order to do so had to stretch out flat on his stomach while the fans screamed madly! At the end of 'If You Love Me (Let Me Know)' he stopped the applause, protesting that "Ladies and gentlemen, we ought to do that ending again. I goofed up on it, the singers goofed on it, and James Burton messed it up! No, no, really. I don't like....let's do it over." During the end of this speech, a girl shouted out "Elvis, I love you!" and made the audience laugh, but Elvis was oblivious of this and started the song over at the second verse. Then he announced his new record - "I think it comes out this week." and sang 'It's Midnight' (Every time I hear this song it seems stronger and stronger!) At the line, "Off I go to bed to try to straighten out my head," Elvis held a clenched first up to his temple as if in pain - very moving! This was followed by the current fantastic production of 'Big Boss Man' - what a number! Elvis did inventive elaborations on several songs, particularly this one. He sang extra passages and changed octaves, na-na-naed during the breaks - generates great excitement! In 'Fever', he really swung; yelled, "Come on, do it!" at the audience to get them to clap on the beat and they kept at it during the whole song. It was hard to hear Elvis for all the screams! In 'Hound Dog', he drove right into the song without fooling around, went down an octave, and chung-chunged all over the place. At the end of this, he commented, "I don't know how in the world we all ended that song together. Now I want to tell you some thing. Listen. Watch what happens. See, I don't read music, and everyone on stage does except me. I flunked music in the 8th grade! Honey, I can't get a scarf up there. Not without a baseball! Anyway, I have to watch the conductor.... I wish you'd just cool it just a minute. ..." (This was the only trace of the previous week's impatience with the audience - in all fairness, they were rather unruly in their adoration!) Then they redid the ending of 'Hound Dog'!

The introduction began with Voice - "They're from Sweden!" "The young ladies who opened the show - they've been with me for about five years - I don't know how - but -no-I think they're fantastic - OK - the Sweet Inspirations." When he introduced JD and the Stamps, he took JD's hand and JD wrapped both his hands around Elvis' in a beautiful gesture of friendship and affection. Ed Hill, the baritone, was first introduced as Joe Esposito from Memphis! Between the Stamps and Kathy, he said, "I'd like to do the next number..." and sighed as if the burden of doing the introductions was too heavy: "On rhythm guitar from Springfield, Missouri, John Wilkinson. On lead guitar from Shreveport, Louisiana, funky James Burton. Play something, James." And we were treated to more fantastic solos, with shouts of encouragement from Elvis: "And now from Dallas, Texas, on the drums, hardworking' Ronnie Tutt." "On the Fender bass, from down in Baton Rouge, La., Duke Bardwell. Play something, Duke." (Elvis had threatened earlier to throw water on Duke, saying "You'd just get electrocuted!") Then, "From Lubbock, Texas, Glen D. Hardin." Glen went into the intro of 'Lawdy, Miss Clawdy', and Charlie went to his mike to sing with Elvis, but when Elvis was supposed to sing, he instead grabbed Charlie's mike and took it away from him - to Charlie's surprise - and didn't come in, stopping the music. "Wait a minute, Glen. You see you're supposed to play a solo first. And then we do the song. That's the way we rehearsed it - back in 1922. You play something that you like - anything - then lead into the song...." Then Glenn took off and Elvis gave the mike back to Charlie and they finally went into a wild 'Lawdy, Miss Clawdy'.

In 'Why Me Lord', Elvis again "attached" JD in the second verse. When JD sang, "...can ever repay all I've taken from you...", Elvis replied "No way,man. With all the booze you drink?!" JD couldn't sing the next line for laughing, so Elvis sang it for him, pretending to direct him. JD ended the verse with "Lord help me!" and broke Elvis up! "JD -this song's in your hand," Elvis answered singing. "I want you to know," Elvis added, "that we're just kidding. I love him! Whooo, whooo, whoo, (he sounded something like an ape!) yourself!"

"I'tell you what, folks, we've got a new record out called 'Promised Land'. It has 18,000 words and we have trouble with it. I'm from the South and my mouth only goes so fast!" He picked up a paper with the words on it and tore into the song. And he wasn't kidding about the words! A terrific rocker!

From this, he went into a moving 'You Gave Me A Mountain'. Then 'Let Me Be There', with Elvis singing high and at full blast! In 'Hawaiian Wedding Song', Elvis slowed down and broke up the phrases at the end. The band followed him perfectly, but this made Kathy laugh and she couldn't sing the ending properly. "You ruined the ending!! Dammit, you ruined the ending!!" Elvis sounded like a teasing but hurt little boy: "The most important part of the whole song!" He made them do the ending again, shaking his head in disbelief, and refused to give the blue lei to Kathy. On the second attempt, Kathy broke up completely, of course, and finally got Elvis to start laughing. He gulped and very hurriedly sang the Hawaiian words, gave her the lei and kissed her, and then flounced off midst the general uproar!!

The strains of 'Can't Help Falling In Love' began. Elvis sang "Shall I stay" in a high, operatic voice, threw a few more scarves, (one to a man!) and received a wild standing ovation as he slowly circled the stage, and then left with Joe Esposito's arms supporting him. He'd been on for one hour - a fantastic show!


October 6 1974 (Sunday - Evening Show)
University Of Dayton Arena, Dayton, Ohio
C. C. Rider
      Dayton Reloaded (Boxcar)°~A Day In Dayton°~Adios Huntsville°
~Breathing Out Fire°
I Got A Woman / Amen       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Adios Huntsville°
~Breathing Out Fire°
Love Me       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
If You Love Me (Let Me Know)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Fever       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Big Boss Man       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~Across The Country Vol 1°~A Legendary Performer Volume 7°
Love Me Tender       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Hound Dog       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
The Wonder Of You       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~Across The Country Vol 1°
Blue Suede Shoes       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Introductions / Band solos       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
_Guitar solo (James Burton)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
_Drum solo (Ronnie Tutt)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
_Bass solo (Duke Bardwell)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
_Lawdy, Miss Clawdy (Piano - Glen D Hardin)       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~Across The Country Volume 1°
Introductions       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
All Shook Up       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Heartbreak Hotel       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Why Me Lord       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
That's All Right       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~Across The Country Volume 1°
Blue Christmas       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Let Me Be There       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
Hawaiian Wedding Song       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~Across The Country Vol 1°
Johnny B. Goode       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~Across The Country Vol 1°~A Profile The King On Stage Vol 1 CD2°
Can't Help Falling In Love       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°
~A Profile The King On Stage Volume 1 CD2°
Closing Vamp       Dayton Reloaded (Boxcar)°~A Day In Dayton°~Breathing Out Fire°

October 7 1974 (Monday)
Henry Levitt Arena, Wichita State University, Wichita, Kansas
C. C. Rider
      St. Paul To Wichita CD2 (FTD)° (late start)
I Got A Woman / Amen       St. Paul To Wichita CD2 (FTD)°
Love Me       St. Paul To Wichita CD2 (FTD)°
Blue Suede Shoes       St. Paul To Wichita CD2 (FTD)°
The Wonder Of You       St. Paul To Wichita CD2 (FTD)°
Big Boss Man       St. Paul To Wichita CD2 (FTD)°
Fever       St. Paul To Wichita CD2 (FTD)°
If You Love Me (Let Me Know)       St. Paul To Wichita CD2 (FTD)°
Love Me Tender       St. Paul To Wichita CD2 (FTD)°
Hound Dog       St. Paul To Wichita CD2 (FTD)°
Introductions       St. Paul To Wichita CD2 (FTD)°
Lawdy, Miss Clawdy       St. Paul To Wichita CD2 (FTD)°
All Shook Up       St. Paul To Wichita CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       St. Paul To Wichita CD2 (FTD)°
Why Me Lord       St. Paul To Wichita CD2 (FTD)°
Let Me Be There       St. Paul To Wichita CD2 (FTD)°
When It's My Time (The Stamps)       St. Paul To Wichita CD2 (FTD)°
Johnny B. Goode       St. Paul To Wichita CD2 (FTD)°
Heartbreak Hotel       St. Paul To Wichita CD2 (FTD)°
Hawaiian Wedding Song       St. Paul To Wichita CD2 (FTD)°
Polk Salad Annie       St. Paul To Wichita CD2 (FTD)°
Can't Help Falling In Love       St. Paul To Wichita CD2 (FTD)°
Closing Vamp       St. Paul To Wichita CD2 (FTD)°

October 8 1974 (Tuesday)
Convention Center Arena, San Antonio, Texas
Recorded on Soundboard        

October 9 1974 (Wednesday)
Expo Center, Abilene, Texas
Recorded on Soundboard        

Lake Tahoe, October 11 - October 14 1974
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Al Tronti Orchestra
Comedian: Jackie Kahane
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps; Voice

Review

October 11 - 14 1974, Lake Tahoe
Review by Ruth Mishler. (Mt. View. USA) - Elvis News Service Weekly, Issue 181 (November 1974)

I saw all eight shows in Tahoe, October 11 to 14th and they were great.

The final show when Elvis did 'Hawaiian Wedding Song' when he went over to Kathy to do the ending- out comes JD's voice instead of Kathys! This really blew Elvis' mind- he walked off stage throwing his mic. toward Charlie and came back after a minute.

Everyone was cracking up -- Sherrill in Voice was laughing so hard he fell off his stool and was laying on the floor with one foot in the air laughing his head off.

After that he had Kathy sing a solo. Duke Bardwell sang a song and used Elvis' guitar- the song was called 'I died in the kitchen' a song about leaving his body to medical science. It was really good, and funny.

Voice did another solo and JD and the Stamps did a solo with Bill Baize on lead. It was a super show, all eight were.

He wore his new Tiger and Dragon suits and several from May.

There were no menus or calendars or even many pictures on the walls like regular Tahoe/Vegas shows - just a few signs saying ELVIS IN CONCERT SOLD OUT.

The shows were not as long as Vegas all were 50 to 60 minutes except closing and it was 1 hour 15 minutes.

He did not do his Karate demonstration, or 'If You Talk In Your Sleep' or 'Softly As I Leave You'. We requested it but apparently they couldn't do it.. maybe because it was a different orchestra but Elvis did say he'd like to do it. Linda was there for most of the shows.

The ticket deal wasn't bad I didn't hear any complaints of overbooking. Only bad part was getting tickets-my friend stood in line thirteen hours to get them!.....


October 11 1974 (Friday - Opening Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 11 1974 (Friday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 12 1974 (Saturday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 12 1974 (Saturday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 13 1974 (Sunday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 13 1974 (Sunday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 14 1974 (Monday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

October 14 1974 (Monday - Closing Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

Live 1973
Essential Lists Index
Live 1975