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Live 1975

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, March 18 - April 1 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Duke Bardwell
Piano: Glen D. Hardin
Electric Piano: David Briggs
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 18 1975 (Tuesday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 19 1975 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Joe Guercio's Orchestra Opening
      The 1975 Las Vegas Happening°
Voice introduction       The 1975 Las Vegas Happening°
_Going Back To Memphis Tomorrow       The 1975 Las Vegas Happening°
_Into The Father's House       The 1975 Las Vegas Happening°
Philadelphia Freedom (Sweet Inspirations)       The 1975 Las Vegas Happening°
Introduction of the Sweet Inspirations       The 1975 Las Vegas Happening°
_Stevie Is A Wonder       The 1975 Las Vegas Happening°
_For Once In My Life       The 1975 Las Vegas Happening°
_You Got It Bad Girl       The 1975 Las Vegas Happening°
_Superstition       The 1975 Las Vegas Happening°
_You Are The Sunshine Of My Life       The 1975 Las Vegas Happening°
_Livin' For The City       The 1975 Las Vegas Happening°
_All In Love Is Fair       The 1975 Las Vegas Happening°
_Higher Ground       The 1975 Las Vegas Happening°
Jackie Kahane introduction and Comedy Act       The 1975 Las Vegas Happening°

March 19 1975 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Big Boss Man
      The 1975 Las Vegas Happening°~A Legendary Performer Volume 5°
(dated March 1975)
My Boy       The 1975 Las Vegas Happening°~A Legendary Performer Volume 5°
(dated March 1975)
I'll Remember You
      The 1975 Las Vegas Happening°~A Legendary Performer Volume 7°
(wrongly dated February 1973)
Hound Dog       The 1975 Las Vegas Happening°~A Legendary Performer Volume 7°
(wrongly dated May 1974)
An American Trilogy       The 1975 Las Vegas Happening°~A Legendary Performer Volume 8°
(wrongly dated August 1972)
If You Love Me (Let Me Know)       The 1975 Las Vegas Happening°~A Legendary Performer Volume 7°
(wrongly dated as Spring 1977)

March 20 1975 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
         

March 20 1975 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 21 1975 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 21 1975 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 22 1975 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

March 22 1975 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
C. C. Rider       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
I Got A Woman / Amen       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Love Me
      Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
If You Love Me (Let Me Know)       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
And I Love You So       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Big Boss Man       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
It's Midnight       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Promised Land       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Green, Green Grass Of Home  
HRA1
8654 Las Vegas 1975 CD1 (FTD)°~Big Boss Man (FTD)°~Live In Las Vegas
CD4°~Back With A Bang!°~A Profile The King On Stage Vol. 2 CD4°
~The 1975 Las Vegas Happening°
Fairytale       Las Vegas 1975 CD1 (FTD)°~Big Boss Man (FTD)°~A Profile The King
On Stage Volume 2 CD4°~Back With A Bang!°~The 1975 Las Vegas
Happening°
Introductions / Band solos       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
_What'd I Say (Guitar solo - James Burton)       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
_Drum solo (Ronnie Tutt)       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
_Bass solo (Duke Bardwell)       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
_Piano solo (Glen D Hardin)       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
_Electric Piano solo (David Briggs)       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Introductions       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
_Joe Guercio Orchestra       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
My Boy       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
I'll Remember You       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Let Me Be There       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Hound Dog       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
I'll Be There (1 line) / You're The Reason
_I'm Living
 
HRA1
8655 Complete Elvis Presley Masters 29 (Sony)°~Big Boss Man (FTD)°
~Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~Live In Las Vegas
CD4°~A Profile The King On Stage Volume 2 CD4°~Thank You Very
Much°~The 1975 Las Vegas Happening°
Can't Help Falling In Love       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°
Closing Vamp       Las Vegas 1975 CD1 (FTD)°~Back With A Bang!°~A Profile The King
On Stage Volume 2 CD4°~The 1975 Las Vegas Happening°

Notes

This concert is presented exactly as it is on the original cassette tape in RCA's vaults, and it is dated as being the midnight show from March 22 1975. The audience recording of the same concert however, only matches this tape from If You Love Me (Let Me Know) onwards, and has Elvis singing a few lines of Roses Are Red before Love Me. The first four songs were thought to come from the dinner show of March 20, although Ernst Jorgensen has stated there is no explanation as to why they are on this tape with the rest of the March 22 midnight show if this is not one complete show.

Another explanation of course could be that the audience recording is spliced with the beginning of another concert!


Music Sheets
 
Music Sheet
You're The Reason I'm Living
You're The Reason I'm Living (Thanks to Christopher Brown)
 


March 23 1975 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 23 1975 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 24 1975 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 24 1975 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 25 1975 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 25 1975 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 26 1975 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 26 1975 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 27 1975 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 27 1975 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 28 1975 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 28 1975 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
C. C. Rider       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
I Got A Woman / Amen       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Love Me       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
If You Love Me (Let Me Know)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
And I Love You So       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Big Boss Man  
HRA1
8656 Big Boss Man (FTD)°~Live In Las Vegas CD4° (wrongly dated March 30
Dinner Show)
It's Midnight       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Promised Land       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Burning Love  
HRA1
8657 Big Boss Man (FTD)°~Live In Las Vegas CD4° (wrongly dated March 30
Dinner Show)
Introductions       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Introductions / Band solos       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
_What'd I Say (Guitar solo - James Burton)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
_Drum solo (Ronnie Tutt)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
_Bass solo (Duke Bardwell)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
_Piano solo (Glen D Hardin)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
_Electric Piano solo (David Briggs)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
_School Day (Joe Guercio Orchestra)       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
My Boy  
HRA1
8658 Big Boss Man (FTD)°~Live In Las Vegas CD4° (wrongly dated March 30
Dinner Show)
I'll Remember You       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
My Heavenly Father (Kathy Westmoreland)       Unreleased
Let Me Be There       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Hound Dog       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
An American Trilogy       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)
Can't Help Falling In Love       Big Boss Man (FTD)° (wrongly dated March 30 Dinner Show)

Notes

This Soundboard recording is incorrectly listed in RCA's vaults as being from the Dinner Show on Sunday March 30.


March 29 1975 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 29 1975 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 30 1975 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

March 30 1975 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Funny How Time Slips Away
      Las Vegas 1975 CD1 (FTD)°
Sweet Caroline       Las Vegas 1975 CD1 (FTD)°

March 31 1975 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

March 31 1975 Dinner show
Review by Caroline Zetland - Elvis Monthly, Issue 187 (August 1975)

I got quite a shock when Elvis walked on tonight. He looked very pale; his hair was a bit of a mess; his eyes were half shut and he looked very tired, and, in fact, quite ill. I felt very worried.

He went straight into 'C.C Rider', the usual format. No break but straight into 'I Got A Woman', with just a cursory "Thanks." He started with the usual "Wells" then looked around and said, "Quite a dim crowd" and this brought on a few sniggers. He went on to do some more "wells" in a very deep voice and someone shouted out, "I love you, Elvis," and Elvis immediately answered back in the same deep key he was singing in, "I love you." The "wells" commenced again, still very deep, then he stopped again, and in the same key said, "Good night folks" and there was quite a bit of laughter. He then stopped dead, whirled round on The Sweet Inspirations and said, "Did you girls get any rest last night? Really, because you look like worn out door nails. And Kathy looks like Getlow, my dog", then he whirled on Kathy and said, "What did you do last night? You find Lee Majors again?" Kathy was quite embarrassed and didn't know where to look. Elvis then swung round to face the audience again and started the song yet once more. In the break there was some heavy drumming and Elvis did a lot of moving. I must admit it was the first time I had really seen him move. And he moved everything. His hips, his legs, his head, very slowly, and every time he jerked he turned round to see what effect he was having. He was waiting for the audience to get with him, but they weren't very with him. He was getting a few squeals and shrieks and he was really trying. He did the aeroplane bit, great. It was fantastic to see. The vibrations, the bit where he pretends to hold on to the throttle, he was going like crazy. He combined this with an enormous amount of pouting. like from years ago. Anyway, when the song eventually finished he got quite hefty applause.

He looked not in a good mood. He said, "Thank you very much. Good evening ladies and gentlemen," he usually said "folks." Then he went on, "I don't care what Jackie Kahane told you, I'm not gonna be with him. I don't really like him that much anyway. you know. Don't even know him. I've never seen his act, just like I've never seen The Sweet Inspirations' act. I don't wanna see them. I'd rather watch The Supremes." Somebody then shoved something on the stage, although I couldn't see what it was and he said, "What's that? Looks like my dog shrunk." He then crossed the stage towards J.D. with a very puzzled expression on his face. He looked half amused and half annoyed. He looked down at J.D.'s feet and he said. "Yeah, we do a very casual show folks. We just sit around and J.D. wears his house shoes on the stage. Think I'm kidding ?" And he bent down and pulled off one of J.D.'s slippers! He was really wearing slippers! He held it up above his head to show everyone and said, shaking his head, "Highest-paid musicians and singers in the world and he's out here with his house shoes on". He whirled round to J.D. and gave him the slipper back, then said, "Do me a favour, J.D. Don't wind me up no more like you did last night, O.K. ?" Then he gave a little laugh and continued, "I wound up with a young daughter, a middle daughter and a mother, son." (Nobody knew what he was talking about, but he was just talking to J.D. as if nobody else was there and went on) "And that's only the half of it. Nobody there but me and my dog, and my dog can't talk, he can't explain nuthin'." Then he started to say something that sounded like "What I..." but never finished because he burst into a fit of laughing which he had trouble controlling. When he stopped he said, "I'll be OK. I just need to wake up a little bit." Now I don't know about the rest of the people there, but when Elvis laughs, his laugh is terribly infectious. The fans pick it up very quickly and you find you can't help it. When he laughs you just have to laugh with him. This doesn't usually apply to the rest of the audience, but to the fans his laugh is totally infectious. Whilst he was laughing he suddenly stopped and let out a ridiculous loud "Whooo," then laughed again and said, "Oh God, help me" He must have decided that the rest of the audience had had enough of the messing around and walked across to James Burton and said, "On, lead guitar ..." he tapered off, and putting his hand on his head, said, "Oh my God, I'm not doing the introductions! I thought I was doing the introductions, I forgot I was just talking to them," and without another break shot into 'Love Me'!

He gave out a few kisses and scarves during this number, but for a change did it almost straight, with just a few comments and handing out of things. At the end of the song, someone handed him what looked like a tapestry to me, and he said, "What did you do that with ?" The girl must have backed down because he said, "No don't hide. You've had twenty-seven scarves." Everyone laughed and he said, "Did you make all this? I don't want to embarrass you. She's from England." He took this gift to hand to Charlie, and there was another present he had been given on the stage and Ronnie said something to him. Elvis said, "Is that a Japanese warrior's head dress, that other thing? Is that what it is? Ronnie nodded and Elvis said, "Oh, I didn't know what it was. Thank you, Ronnie." He turned again to Ronnie and went on, "He's the only one who got any sleep last night. The only one. Let's do the next song and see if we can wake this audience up." Obviously something must have been going on the night before. He never said what it was, but just left it to people to imagine. Whether there was a party or whatever, I don't know, he never said. He was talking mostly to the people on the stage.

He then did 'If You Love Me (Let Me Know)', and then straight into 'And I Love You So', and as that finished, before the applause had even died down, he said, "Thank you," then turned to the band and said, "Take it out" and he did 'It's Midnight', and as soon as this finished (he was singing the songs well, please don't get me wrong, but it wasn't with his usual enthusiasm) he said, "Let's do 'Burning Love'". Someone on the stage had said 'Promised Land', and he said, "I don't want to do 'Promised Land" and he didn't do it; he did 'Burning Love'. At the end of this Charlie gave him a glass of water and he said, "Thanks Charlie, I needed that." Then he started on 'My Boy', and this didn't sound at all right at the beginning and he re-started it a couple of times. However, something had amused him, and he kept laughing all through the song, in fact at one point he turned his back on the audience to try and pull himself together. When the song finished he didn't wait again for the applause to finish, but said, “That song's good enough out here folks. It's good enough. I never did like it. That's why I laughed." He then walked across the stage and sat on an amplifier, crossed his legs and said, "I'm just going to sit here and talk to you for a minute because I don't want to sing right now," and then looked around the showroom where some waitresses were trying to clear some tables and went on, "You know, I just want to hear those dishes rattle like that. Charlie, the fact is son, we just gotta do that next song whether you want to or not. You probably don't want to do it, do you?" At this point I think Joe Guercio called out something and Elvis said, "Fairy Tales ?! You kidding me? I know you love it, Joe, but I don't feel like singing it, you know." Then someone shouted out "Elvis," and he replied, "Yes dear." The girl shouted, "Sing 'If I Can Dream'," and Elvis said, "Honey, I don't know 'If I Can Dream,' that was another guy. No, that was a guy by the name of Ral Donner" (I've never heard of this one), but he went on, "Really. He just sounds like me." He then got up and walked across the stage to Charlie and said, "Charlie, you wanna sing something?" and Charlie shook his head. Then he turned to Voice and said, "You boys wanna sing something?" and then he said, "Give me a break, I just got out of hospital, I don't feel like anything." Somebody on stage mumbled something to him and he said, "Oh, OK, that's given me an idea" and he did 'I'll Remember You'.

This was followed by the real introductions, after which he did 'Let Me Be There', getting some of his words in the wrong order, which for Elvis isn't unusual, but it was the first time I had heard him mix some of the words up. When this was finished he looked around and said, "Thank you very much," and walked over to Kathy, looking quite pathetic and holding out his hand, he said, "Kathy, you gonna sing something for me, baby." and she nodded. He said, "I'm gonna ask Kathy to come out and sing a song. It's a beautiful song that she does called 'My Heavenly Father'." He took her hand and led her to the microphone and gave her the stage and walked into the background behind Charlie; the lights were out completely except for Kathy's spotlight and you could barely see Elvis' outline. One got the impression that he was relieved to be at the back of the stage and not be doing anything.

This short break must have done him good, because he returned to the front of the stage in a much better humour, took Kathy's hand and gave her a scarf. He told her she must go and kiss someone and give them a scarf; he said, "I'll find someone for you to kiss." He got her over to the edge of the stage and she kissed someone. After this she took another scarf from Charlie and she found someone else and kissed them. (Believe me, there were no shortage of volunteers to be kissed by Kathy! She is really very lovely). Meantime, Elvis was standing there with his hands on his hips, shaking his head in disbelief, and he said, "Look at this! She's done a couple of songs, and now she's taking over the entire show." Eventually, he very politely took her hand and led her back to her seat and made sure she was comfortable before returning to front the stage. (The perfect Southern gentleman !!).

He then did 'Hound Dog' and he was handing out some more scarves when he looked over at J.D. and said, "What's the matter? Are you jealous? You want someone to kiss, don't you?" He then pulled J.D. over to the front of the stage and said, "Charlie, give him a scarf." Charlie gave him one J.D. took it and bent down to kiss someone, then changed his mind and instead of bending, he laid down on the stage and grabbed two girls and kissed them! Elvis started laughing and picked up a bouquet of flowers which someone had handed him earlier, which I must admit did look rather like a funeral bouquet, and as J.D. went to get up, Elvis pushed him back on the stage and put the flowers on his chest and he said, "You stay there" and he put his foot on J.D. and made him lie there for a while, during which time Elvis and everybody else had a good laugh. Eventually he let him get up and then went on and finished 'Hound Dog'. He was, as usual, making a lot of "chung, chung" noises and generally trying to liven things up, but you couldn't help feeling that the majority of the audience weren't with him and this in turn was reflecting on him.

Although there had been a lot of messing around during the last song, I must admit that all the fans had thoroughly enjoyed it, but this obviously did not go for the balance of the audience, because as he finished someone shouted out what sounded rather like, "Get on with the show," and Elvis snapped. He took a step forward and shouted, "There's a guy back here yelling, 'Go on with the show. You leave me alone son. I'll go on with the show when I get ready, OK?" and he was really annoyed. The next moment somebody passed something up to him on the stage and he said, very shortly, "I've never seen one of these before" (I don't know what it was either), but he just said, "I really haven't." Then he turned to the band and said, "OK, take it out," and went straight into 'Can't Help Falling In Love'. As he finished the song (it had none of the usual finish to it, how he usually goes on at the end of it), he just barely finished it and the curtains started coming down. The four men stepped to the front to hold it up in the usual square for him to come through, but he didn't. He just gave a cursory bow where he stood and just turned and ran off-stage to the right. He literally ran. He didn't wait to take a proper bow and the men were just standing there holding up the curtain. They looked at one another, shrugged their shoulders and dropped the curtain and Elvis was gone.

One had the impression he couldn't get off quickly enough. He just wanted to get the show over. He knew he wasn't going down well and the audience wasn't with him and this was making it worse for him. The hardcore of the fans were with him, but it was just not on for him. I felt terrible. If this had been the first show had seen, I would have been really upset. The people at my table were not Elvis fans, but they had seen him before, and they were very disappointed. They said to me, "I thought you said he was good." All I could say was that he had been fantastic and I had not seen him like this before. I said that he didn't look well and I hoped he was alright. But they were very disconsolate about the show and they thought they had wasted their money coming. Believe me, it hits you hard when people are disappointed in Elvis. Well it does me anyway. You feel so much that you want him to be good for other people, especially when they're not fans. Let's face it, we accept whatever he does and if he has an off-night, well, he's a human being like anyone else. Sometimes we feel good, sometimes we don't. And he obviously didn't feel good. One didn't have to be a doctor to see that he didn't feel well. Either that, or that there had been some rave-up upstairs the night before and he was just dead tired.

Whatever it was the show disappointed a lot of people. I did not go into the midnight show even though I'd made a reservation for it, because, and here I will not go into details but suffice it to say that I had a difference of opinion with the maitre de and, in the end, I was so upset that I walked out. However, I did hear that the later show was something else and he was different again. Perhaps he had overslept or was just exhausted (he certainly looked it), but I really don't know.

It was impossible to get a straight answer from anyone. I spoke to Tom Diskin the next day but he said no, Elvis was fine. He did a great show at midnight. He's OK. He's OK. But whether they would tell you if he wasn't I doubt anyway.


March 31 1975 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
You Don't Have To Say You Love Me
      Big Boss Man (FTD)°
The Wonder Of You       Big Boss Man (FTD)°
Burning Love       Las Vegas 1975 CD1 (FTD)°
Fairytale       Las Vegas 1975 CD1 (FTD)°
Bridge Over Troubled Water       Big Boss Man (FTD)°
Little Darlin'       Big Boss Man (FTD)°
Hawaiian Wedding Song       Big Boss Man (FTD)°

April 1 1975 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Las Vegas 1975 CD2 (FTD)°
C. C. Rider       Las Vegas 1975 CD2 (FTD)°
I Got A Woman / Amen       (not recorded on Soundboard)
Love Me       Las Vegas 1975 CD2 (FTD)°
If You Love Me (Let Me Know)       Las Vegas 1975 CD2 (FTD)°
And I Love You So       Las Vegas 1975 CD2 (FTD)°
Big Boss Man       Las Vegas 1975 CD2 (FTD)°
The Wonder Of You       Las Vegas 1975 CD2 (FTD)°
Burning Love       Las Vegas 1975 CD2 (FTD)°
Introductions / Band solos       Las Vegas 1975 CD2 (FTD)°
_What'd I Say (Guitar solo - James Burton)       Las Vegas 1975 CD2 (FTD)°
_Drum solo (Ronnie Tutt)       Las Vegas 1975 CD2 (FTD)°
_Bass solo (Duke Bardwell)       Las Vegas 1975 CD2 (FTD)°
_Piano solo (Glen D Hardin)       Las Vegas 1975 CD2 (FTD)°
_School Day (Joe Guercio Orchestra)       Las Vegas 1975 CD2 (FTD)°
The Great Pretender (1 line)       Las Vegas 1975 CD2 (FTD)°
My Boy       Las Vegas 1975 CD2 (FTD)°
I'll Remember You       Las Vegas 1975 CD2 (FTD)°
Let Me Be There       Las Vegas 1975 CD2 (FTD)°
How Great Thou Art       Las Vegas 1975 CD2 (FTD)°
Hound Dog       Las Vegas 1975 CD2 (FTD)°
Fairytale       Las Vegas 1975 CD2 (FTD)°
Can't Help Falling In Love       Las Vegas 1975 CD2 (FTD)°
Closing Vamp
      Las Vegas 1975 CD2 (FTD)°

April 1 1975 (Tuesday - Closing Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Unreleased (sound booth recording)
C. C. Rider       Unreleased (sound booth recording)
I Got A Woman / Amen       Unreleased (sound booth recording)
Love Me       Unreleased (sound booth recording)
If You Love Me (Let Me Know)       Unreleased (sound booth recording)
And I Love You So       Unreleased (sound booth recording)
Big Boss Man       Unreleased (sound booth recording)
It's Midnight       Unreleased (sound booth recording)
Burning Love       Unreleased (sound booth recording)
Introductions / Band solos       Unreleased (sound booth recording)
_What'd I Say (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)
_School Day (Joe Guercio Orchestra)       Unreleased (sound booth recording)
You Don't Have To Say You Love Me       Unreleased (sound booth recording)
Let Me Be There       Unreleased (sound booth recording)
An American Trilogy       Unreleased (sound booth recording)
Help Me Make It Through The Night       Unreleased (sound booth recording)
Mickey Mouse Club March       Unreleased (sound booth recording)
Little Darlin'       Unreleased (sound booth recording)
Don't Be Cruel       Unreleased (sound booth recording)
Steamroller Blues       Unreleased (sound booth recording)
Can't Help Falling In Love       Unreleased (sound booth recording)

Tape Logs
 
sound booth recording
April 1 1975 - Closing Show
April 1 1975 - Closing Show - Sound Booth
 


Review

April 1 1975 Closing Show
Review by Len Leech - Elvis News Service Weekly, Issue 202 (May 14 1975)

The Hilton showroom was packed to beyond capacity as the lights went down for '2001'. This was to be the end of Elvis' 12th engagement in Las Vegas, and Elvis was up for it from the moment he walked out. Wearing a white two-piece tuxedo styled suit with the usual high stand-up collar, with light blue and silver trim in a yolk-like effect across the chest, shoulders, and halfway down the back, and a pale blue shirt, Elvis acknowledged the tremendous applause and went over to Charlie for his guitar.

Taking centre stage with a big grin on his face, Elvis proceeded into 'C.C. Rider'. "Well, well, well this is the last time I ever do this song". "But we like it." Going right to 'I Got A Woman'. After the 'Amen' part of the song, Elvis went into a self-parody of himself. Instead of doing the slow, gradual bumps and grinds he had been doing in this part of the song, he moved everything at once at extreme speed while Ronnie frantically tried to keep up with the drums, cracking the audience and himself up in the process. J.D. did a fantastically low bass slide while Elvis made like an airplane crashing into the ground. "Thank you very much. Good evening ladies and gentlemen, welcome to the last show." This line brought a chorus of "aaahhhh"s from the audience, "No, no, no, no, the last show of this engagement, you know. It's really been a drag, nah, it's really been ----, ahhh honey, I'm gonna make the rounds." A girl stood up from ringside holding up a plaque with a picture of Graceland. Elvis noticed it and said, "Ohh, that's my home, isn't it. I love my home, wish I was there. What do you want in return for this? Naah, ah we're only kidding you really because we really enjoyed this engagement, everybody's been really great." Giving the girl a kiss and taking the plaque back towards centre, Elvis held it up and said, "That's my home, and a picture of my little daughter, annnnnnd ah, three thousand pictures of me. Here's a picture of me when I was two years old." The Sweet Inspirations instinctively went "aaaaaahhhhhhh". "Now look Sweets, this is the last show, so straighten up, okay. The audience expects a show, and I want you all to do it. I'm tired, I don't want to fool with it."

There were some chords of music in the background and Elvis said, "I'll start when I'm ready, Joe, you know. The last show was so bad, no, no, no, no, no, from my standpoint. We had to behave, you know all those big shots were in the audience. You know, all those biggies were out there, asking 'What's he do, what's he do?' I wanted to show 'em, but, I figured they'd get a shock. Sitting out there, eating a big dinner, saying, 'entertain me, you son of a bitch'." The audience was in hysterics laughing about this, and Elvis went into 'Love Me'. During the first part of the song he went to a girl sitting near centre stage, and gave her a scarf in exchange for a bright yellow metal helmet with a revolving red light on top. He continued to sing while wearing the helmet, replacing a few of the lyrics with, "That's my brains going around up there". Finishing up the song with the hat still on his head, he jokingly made believe he had forgotten how to end it, forcing the Sweets and Stamps to hold the last note so long they were turning blue from the strain. He then remarked to Charlie, "I know I need a haircut, but this is ridiculous. I look like Alice Cooper. I was going to say something, Estelle, what was it? You usually know, you usually know things, you think you do. Oh yeah, yeah, yeah, you gotta have gospel singers to hold those notes out like that. You should have seen it, standing up there going uhhhhhhhhhhhhhh, " (Elvis screamed out a long, low screech) "Ten guys going aaahhhhhhhhh," (Elvis imitated the ten guys in agony by leaning over, with his legs crossed, and his hands crossed over the zipper on his pants). "And the Sweets are doing this, " (as Elvis wrapped his arms across his chest). At this point the audience was almost on the floor with laughter, as Elvis' delivery of this description was so appropriate.

Next came 'If You Love Me (Let Me Know)', quickly followed by a stunningly beautiful version of 'And I Love You So'. Then a powerful, driving 'Big Boss Man', with Elvis' leg moving like pistons at the end of the song. "This next song was on a new single we put out called 'It's Midnight'." Elvis sang the first two words, coughed, and said, "Wait a minute, start over again." Then getting a case of the giggles, he repeated the beginning twice more, cracking up and saying, "This is a song called Midnight." Finally into the song, he decided to play around with the lyrics a bit, "Wishing I could be the man I tried too, I'm gonna be gone from Vegas, about two." Controlling his giggling, he finished 'It's Midnight' straight with a power house ending.

Then right into a rocking version of 'Burning Love', really getting into it at the end, twirling his right arm like he used to do in 'Polk Salad Annie', stamping his foot almost through the floor and ending up with some karate movements to cut off the song. Great response from the audience for this. "I'd like to introduce you to the members of my group." At this point somebody yelled out something from near the centre section of tables. "Uhh, what kids selling all what stuff? What are you talking about? Oh, yeah, you guys did that, didn't you. These are the guys that, ah, yeah, but I mean you guys have to sell it. We do a thing here for charity where they sell all the stuff outside; I haven't seen it but they tell me, they won't let me out of my room, you know that. So ah, everybody that's bought all that stuff, I'd like to thank you. The fellas standing here, they were selling it, and they've been doing a really good job of it, you're really out of sight, thank you very much."

Elvis then ran through the first of the introductions, stopping and letting James Burton take a guitar solo, while singing a few verses of 'What'd I Say' along with the Sweets. While Elvis was still singing during Burton's solo, one of Elvis' group, standing centre stage in the audience, slid something across the stage. It went right on by Elvis and came to rest on the floor next to Kathy. Elvis, not knowing what it was or who threw it, continued on and introduced Ronnie for his solo. A few seconds later, another object came sailing across the floor in front of Elvis, who quickly stopped it with his foot. Looking down at it, Elvis gave a small devilish grin. It was a loaded water pistol. He picked it up and instinctively turned around and aimed for the V-neck-line of Kathy's halter blouse top. Kathy was momentarily caught off guard and needless to say, Elvis hit his target. Elvis was so delighted with Kathy's reaction that he went wild and started shooting the Sweets and the Stamps. At this point Kathy leaned over and grabbed the first water pistol from its resting place on the floor next to her. She waited for Elvis to come closer, and to his utter surprise she let him have it in the chest, as the audience cheered her on by screaming, "Get him, Kathy, get him." During this whole scene Ronnie was still doing his solo, when Elvis turned around and remarked, "Ronnie's working his brains out and nobody's watching him." Ronnie ended his solo, Elvis thanked him and then turned around to Duke with his water pistol in hand, saying, "What're you going to do now?" Duke already had his own water pistol, reached for it and exchanged fire with Elvis. To Elvis' dismay, he was suddenly out of water and Duke got him good. Elvis' dodged the water streams and made it over to his water table, and grabbed a full bottle of Gatorade. Holding the bottle out to Duke in a threatening position, ready to throw the juice at him, Elvis said, "You got an electric bass, son, what are you going to do? You're gonna drink a lot of Gatorade, that's what you're gonna do." Duke backed off as Elvis was too close for comfort, so Elvis. continued on and finished with the introductions. "I'd like to tell you that, ahh, what's his name, aahh Johnny Cash opens here tomorrow night, ahh I think, so come in and see him. I just work here, they just tell me things, I don't know man. I'd like you to meet, ahhh do you guys know 'Jingle Bells'? I'd like you to meet my manager, Colonel ------" The band started playing 'Jingle Bells' as the Colonel entered dressed in his Santa Claus suit, with a huge bag of gifts over his shoulder, along with Lamar Fike who was leading Elvis' dog on a leash, Elvis commenting, "That's my dog, that's Get-Lo. Come on, Get-Lo." Elvis took the leash and paraded Get-Lo around the stage for a minute while the audience cracked up, and then the Colonel and La mar exited the stage with Get-Lo being half dragged away from his master. ''I think my dog was nervous, you know that? I don't know why. Maybe because he had a rope around his neck, choking him." Elvis' dog was on the small side, weighing about twenty-five pounds, and had the appearance of a miniature lion, including a full mane around his neck.

Getting a kiss from a girl at ringside, Elvis started singing 'You Do Something To Me' The band started to try to find the key when Elvis said, "Naaah, I don't want to do that". "Let's do 'The Wonder Of You', or 'You Don't Have To Say You Love Me'." Glen hit the opening chord, and Elvis went directly into 'You Don't Have To Say You Love Me' quickly followed by a shortened version of 'The Wonder Of You', Elvis hitting an extremely high note at the end. Then came a rousing version of 'Let Me Be There', with Elvis going up and down the scale throughout the song with tremendous vocal power, repeating the ending a second time because of the wild audience response. Somebody from the rear of the showroom yelled out "Don't Be Cruel", to which Elvis, replied, "I won't," and then jokingly started 'An American Trilogy', singing "Oh, I whoosh, whoosh, wish I was in the land of cotton." Tremendous applause at the end of this, then Elvis decided to surprise everybody, including the group, by starting 'Help Me Make It Through The Night'. Toward the end of the song he wandered over to the side of the stage in the midst of giving out scarves and kisses. A girl reached up and handed him a pair of Mickey Mouse ears in exchange for a scarf. Elvis promptly stuck the ears on his head and finished the song over by Charlie while the audience roared. Unable to keep a straight face, he started singing 'The Mickey Mouse Club' song. "M-I-C-K-E-Y M-O-U-S-E. Mickey Mouse, Mickey Mouse, forever let us wave your banner high." Elvis stopped completely at that point, and to ELVIS surprise the Sweets continued on in the background, with ''Now it's time to say goodbye to all our company." Elvis broke in to say to the Sweets, "I'd figured you'd know it." Sweets ------" M-I-C," Elvis --- "See you real soon, " Sweets ---- "K-E-Y," Elvis --- "Why? Because we like you." Then everybody joined in for the final "M-O-U-S-E" at the end, with Elvis going up for some ridiculously high note. The audience was al most in tears from laughing so hard, and Elvis and the group were almost rolling on the floor with hysterics.

Elvis was in such a happy weird mood at this point that he signalled Glen to begin the old Diamonds song 'Little Darlin'. Throughout the whole song Elvis did nothing but play with lyrics, throwing in extra words in falsetto and bass tones. In the middle of the song Charlie took one of Elvis' white scarves and put it over his own head, tying it under his chin. Charlie stood with his hands behind his back, looking up at Elvis and fluttering his eyes. Elvis stood with his face inches from Charlie's, staring down at him with a love-struck look on his face as he tried to finish singing 'Little Darlin' to Charlie, both of them trying to keep from breaking up completely. The whole interaction between Elvis and Charlie was too hilarious it's impossible to fully describe. "Somebody wanted to hear a little of 'Don't Be Cruel'," and Elvis quickly went into it, imitating a bass and starting it himself when the group failed to respond to his cue, calling out over his shoulder, "Remember it?" Then the audience started yelling out requests. Somebody screamed out "Stuck On You", and Elvis commented, "Stuck On You, good Lord have mercy". Another fan yelled for Steamroller and Elvis liked the idea and quickly signalled the band to start it. It was the most driving powerhouse version of 'Steamroller Blues' I've ever heard Elvis do, and the audience loved every second of it.

"I'd like to say something now, ladies and gentlemen. I'd like to thank everybody on stage with me, really. I've been kidding them now for a couple weeks but ahhh, Voice, my back-up musicians, The Sweet Inspirations, Kathy and The Stamps Quartet, Joe Guercio and his fantastic orchestra; I want to thank you very much because you've been really fantastic this past two weeks; it's been a pleasure. Thank you. I'd also like to thank all the people who came to Vegas, and aahh, with the economy of the country the way it is and everything, it's really nice to see you when I walk out here on this stage. Till the next time we see you, ----- we love you, ----- be careful going home." Into the closing song, 'Can't Help Falling In Love', Elvis making his way to ringside for the final kisses and scarves. Toward the very end of the song, Elvis walked over to his water table and grabbed a whole pile of white scarves and threw them out into the audience as far as he could. As the curtain came down he stood smiling on the edge of stage, reaching out and shaking as many hands as possible as the entire crowd got to their feet and gave him a justly deserved standing ovation.


On Tour, April 24 - May 7 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Jerry Scheff
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

April 24 1975 (Thursday)
Coliseum, Macon, Georgia
Dialogue
      From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
Love Me       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
If You Love Me (Let Me Know)       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
You Don't Have To Say You Love Me       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
Big Boss Man       Southern Nights (FTD)°~From Vegas To Macon CD2°~We'll Make You
Happy CD1°~In The Heart Of Georgia (Audionics)°~From Georgia To
Florida CD1 (FTD)°
It's Midnight       Southern Nights (FTD)°~From Vegas To Macon CD2°~We'll Make You
Happy CD1°~In The Heart Of Georgia (Audionics)°~From Georgia To
Florida CD1 (FTD)°
Promised Land       Southern Nights (FTD)°~From Vegas To Macon CD2°~We'll Make You
Happy CD1°~In The Heart Of Georgia (Audionics)°~From Georgia To
Florida CD1 (FTD)°
Fairytale       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
Burning Love       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
Introductions / Band solos       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
_What'd I Say (Guitar solo - James Burton)       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
_Drum solo (Ronnie Tutt)       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
_Blues (Bass solo - Jerry Scheff)       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
_Piano solo (Glen D Hardin)       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
_School Day (Joe Guercio Orchestra)       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
My Boy       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
T-R-O-U-B-L-E       From Vegas To Macon CD2°~We'll Make You Happy CD1°~In The
Heart Of Georgia (Audionics)°~From Georgia To Florida CD1 (FTD)°
I'll Remember You       From Vegas To Macon CD2°~We'll Make You Happy CD1° (faded)
+In The Heart Of Georgia (Audionics)°~From Georgia To Florida CD1
(FTD)° (complete)
Let Me Be There       In The Heart Of Georgia (Audionics)°~From Georgia To Florida CD1
(FTD)°
An American Trilogy       In The Heart Of Georgia (Audionics)°~From Georgia To Florida CD1
(FTD)°
Can't Help Falling In Love       In The Heart Of Georgia (Audionics)°~From Georgia To Florida CD1
(FTD)°
Closing Vamp       In The Heart Of Georgia (Audionics)°~From Georgia To Florida CD1
(FTD)°

Tape Logs
 
Soundboard Recording
April 24 1975
April 24 1975 - Soundboard
 


April 25 1975 (Friday)
Veterans Memorial Coliseum, Jacksonville, Florida
Dialogue
      A Damn Fine Show° (not listed)~We'll Make You Happy CD2°
Love Me       A Damn Fine Show° (not listed)~We'll Make You Happy CD2°
If You Love Me (Let Me Know)       A Damn Fine Show°~We'll Make You Happy CD2°
You Don't Have To Say You Love Me       Elvis In Florida - April 1975 (FTD)°~A Damn Fine Show°~We'll Make
You Happy CD2°
Big Boss Man       Elvis In Florida - April 1975 (FTD)°~A Damn Fine Show°~We'll Make
You Happy CD2°
It's Midnight       Elvis In Florida - April 1975 (FTD)°~A Damn Fine Show°~We'll Make
You Happy CD2°
Burning Love       A Damn Fine Show°~We'll Make You Happy CD2°
Introductions / Band solos       A Damn Fine Show°~We'll Make You Happy CD2°
_What'd I Say (Guitar solo - James Burton)       A Damn Fine Show°~We'll Make You Happy CD2°
_Drum solo (Ronnie Tutt)       A Damn Fine Show°~We'll Make You Happy CD2°
_Blues (Bass solo - Jerry Scheff)       A Damn Fine Show°~We'll Make You Happy CD2°
_Piano solo (Glen D Hardin)       A Damn Fine Show°~We'll Make You Happy CD2°
_School Day (Joe Guercio Orchestra)       A Damn Fine Show°~We'll Make You Happy CD2°
My Boy       A Damn Fine Show°~We'll Make You Happy CD2°
T-R-O-U-B-L-E       A Damn Fine Show°~We'll Make You Happy CD2°
I'll Remember You       A Damn Fine Show°~We'll Make You Happy CD2°
Let Me Be There       A Damn Fine Show°~We'll Make You Happy CD2°
An American Trilogy       A Damn Fine Show°~We'll Make You Happy CD2°
Funny How Time Slips Away       Elvis In Florida - April 1975 (FTD)°~A Damn Fine Show°~We'll Make
You Happy CD2°
That's All Right       Elvis In Florida - April 1975 (FTD)°
Heartbreak Hotel       Elvis In Florida - April 1975 (FTD)°

Tape Logs
 
Soundboard Tape
April 25 1975
 


April 26 1975 (Saturday - Afternoon Show)
Curtis-Hixon Auditorium, Tampa, Florida
         

April 26 1975 (Saturday - Evening Show)
Curtis-Hixon Auditorium, Tampa, Florida
Recorded on Soundboard (Could be Aft. Show)      

April 27 1975 (Sunday - Afternoon Show)
Civic Center Arena, Lakeland, Florida
Dialogue
      From Georgia To Florida CD2 (FTD)°
Love Me       From Georgia To Florida CD2 (FTD)°
If You Love Me (Let Me Know)       From Georgia To Florida CD2 (FTD)°
Love Me Tender       From Georgia To Florida CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel     From Georgia To Florida CD2 (FTD)°
Help Me       From Georgia To Florida CD2 (FTD)°
Burning Love       From Georgia To Florida CD2 (FTD)°
Introductions / Band Solo's       From Georgia To Florida CD2 (FTD)°
_Johnny B. Goode (Guitar Solo - James Burton)     From Georgia To Florida CD2 (FTD)°
_Drum Solo (Ronnie Tutt)       From Georgia To Florida CD2 (FTD)°
_Blues (Bass Solo - Jerry Scheff)       From Georgia To Florida CD2 (FTD)°
_Piano Solo (Glen D Hardin)       From Georgia To Florida CD2 (FTD)°
_School Day (Joe Guercio Orchestra)       From Georgia To Florida CD2 (FTD)°
My Boy       From Georgia To Florida CD2 (FTD)°
T-R-O-U-B-L-E       From Georgia To Florida CD2 (FTD)°
Why Me Lord       From Georgia To Florida CD2 (FTD)°
Let Me Be There       From Georgia To Florida CD2 (FTD)°
Hawaiian Wedding Song       From Georgia To Florida CD2 (FTD)°
Hound Dog       From Georgia To Florida CD2 (FTD)°
An American Trilogy       From Georgia To Florida CD2 (FTD)°
Can't Help Falling In Love       From Georgia To Florida CD2 (FTD)°
Closing Vamp       From Georgia To Florida CD2 (FTD)°

April 27 1975 (Sunday - Evening Show)
Civic Center Arena, Lakeland, Florida
Love Me
    Elvis In Florida - April 1975 (FTD)°
If You Love Me (Let Me Know)     Elvis In Florida - April 1975 (FTD)°
Love Me Tender     Elvis In Florida - April 1975 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel     Elvis In Florida - April 1975 (FTD)°
Help Me     Elvis In Florida - April 1975 (FTD)°
Burning Love     Elvis In Florida - April 1975 (FTD)°
Introductions / Band solos     Elvis In Florida - April 1975 (FTD)°
_What'd I Say (Guitar Solo - James Burton)     Elvis In Florida - April 1975 (FTD)°
_Drum Solo (Ronnie Tutt)     Elvis In Florida - April 1975 (FTD)°
_Blues (Bass Solo - Jerry Scheff)     Elvis In Florida - April 1975 (FTD)°
_Piano Solo (Glen D Hardin)     Elvis In Florida - April 1975 (FTD)°
_School Day (Joe Guercio Orchestra)     Elvis In Florida - April 1975 (FTD)°
My Boy     Elvis In Florida - April 1975 (FTD)°
T-R-O-U-B-L-E     Elvis In Florida - April 1975 (FTD)°
I'll Remember You     Elvis In Florida - April 1975 (FTD)°
Let Me Be There     Elvis In Florida - April 1975 (FTD)°
Why Me Lord     Elvis In Florida - April 1975 (FTD)°
Hound Dog     Elvis In Florida - April 1975 (FTD)°
An American Trilogy     Elvis In Florida - April 1975 (FTD)°
Can't Help Falling In Love     Elvis In Florida - April 1975 (FTD)°
Closing Vamp     Elvis In Florida - April 1975 (FTD)°

April 28 1975 (Monday)
Civic Center Arena, Lakeland, Florida
When It's My Time (The Stamps)
      We'll Make You Happy CD1°
Burning Love       We'll Make You Happy CD1°
Introductions / Band solos       We'll Make You Happy CD1°
_Guitar solo (James Burton)       We'll Make You Happy CD1°
_Drum solo (Ronnie Tutt)       We'll Make You Happy CD1°
_Blues (Bass solo - Jerry Scheff)       We'll Make You Happy CD1°
_Piano solo (Glen D Hardin)       We'll Make You Happy CD1°
_School Day (Joe Guercio Orchestra)       We'll Make You Happy CD1°
My Boy       We'll Make You Happy CD1°
Help Me Make It Through The Night       Elvis In Florida - April 1975 (FTD)°~We'll Make You Happy CD1°
Let Me Be There       We'll Make You Happy CD1°
An American Trilogy       We'll Make You Happy CD1°
Hawaiian Wedding Song       Elvis In Florida - April 1975 (FTD)°~We'll Make You Happy CD1°
Hound Dog       We'll Make You Happy CD1°
Can't Help Falling In Love       We'll Make You Happy CD1°

Tape Logs
 
Soundboard Recording
April 28 1975
April 28 1975 - Soundboard
 


April 29 1975 (Tuesday)
Middle Tennessee State University Athletic Center,
Murfreesboro, Tennessee

       

April 30 1975 (Wednesday)
Omni, Atlanta, Georgia
Love Me
      Elvis In Atlanta CD1 (FTD)°
If You Love Me (Let Me Know)       Elvis In Atlanta CD1 (FTD)°
Love Me Tender       Elvis In Atlanta CD1 (FTD)°
All Shook Up       Elvis In Atlanta CD1 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Elvis In Atlanta CD1 (FTD)°
I'll Remember You       Elvis In Atlanta CD1 (FTD)°
Help Me       Southern Nights (FTD)°+Elvis In Atlanta CD1 (FTD)°
How Great Thou Art       Elvis In Atlanta CD1 (FTD)°
Introductions / Band solos       Elvis In Atlanta CD1 (FTD)°
_Guitar Solo (James Burton)       Elvis In Atlanta CD1 (FTD)°
_Drum Solo (Ronnie Tutt)       Elvis In Atlanta CD1 (FTD)°
_Blues (Bass Solo - Jerry Scheff)       Elvis In Atlanta CD1 (FTD)°
_Piano Solo (Glen D Hardin)       Elvis In Atlanta CD1 (FTD)°
_School Day (Joe Guercio Orchestra)       Elvis In Atlanta CD1 (FTD)°
My Boy       Elvis In Atlanta CD1 (FTD)°
T-R-O-U-B-L-E       Elvis In Atlanta CD1 (FTD)°
It's Now Or Never       Southern Nights (FTD)°+Elvis In Atlanta CD1 (FTD)°
Let Me Be There       Elvis In Atlanta CD1 (FTD)°
An American Trilogy       Elvis In Atlanta CD1 (FTD)°
Burning Love       Elvis In Atlanta CD1 (FTD)°
Funny How Time Slips Away       Elvis In Atlanta CD1 (FTD)°
That's All Right       Southern Nights (FTD)°+Elvis In Atlanta CD1 (FTD)°
Can't Help Falling In Love       Elvis In Atlanta CD1 (FTD)°
Closing Vamp       Elvis In Atlanta CD1 (FTD)°

May 1 1975 (Thursday)
Omni, Atlanta, Georgia
Love Me
      Elvis In Atlanta CD2 (FTD)°
If You Love Me (Let Me Know)       Elvis In Atlanta CD2 (FTD)°
Love Me Tender       Elvis In Atlanta CD2 (FTD)°
All Shook Up       Elvis In Atlanta CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Elvis In Atlanta CD2 (FTD)°
Help Me       Elvis In Atlanta CD2 (FTD)°
Why Me Lord       Elvis In Atlanta CD2 (FTD)°
Burning Love       Elvis In Atlanta CD2 (FTD)°
Introductions / Band solos       Elvis In Atlanta CD2 (FTD)°
_Guitar Solo (James Burton)       Elvis In Atlanta CD2 (FTD)°
_Drum Solo (Ronnie Tutt)       Elvis In Atlanta CD2 (FTD)°
_Blues (Bass Solo - Jerry Scheff)       Elvis In Atlanta CD2 (FTD)°
_Piano Solo (Glen D Hardin)       Elvis In Atlanta CD2 (FTD)°
_School Day (Joe Guercio Orchestra)       Elvis In Atlanta CD2 (FTD)°
My Boy       Elvis In Atlanta CD2 (FTD)°
T-R-O-U-B-L-E       Elvis In Atlanta CD2 (FTD)°
I'll Remember You       Elvis In Atlanta CD2 (FTD)°
Let Me Be There       Elvis In Atlanta CD2 (FTD)°
An American Trilogy       Elvis In Atlanta CD2 (FTD)°
Help Me Make It Through The Night       Elvis In Atlanta CD2 (FTD)°
That's All Right       Elvis In Atlanta CD2 (FTD)°
Can't Help Falling In Love       Elvis In Atlanta CD2 (FTD)°
Closing Vamp       Elvis In Atlanta CD2 (FTD)°

May 2 1975 (Friday)
Omni, Atlanta, Georgia
Steamroller Blues /
      Southern Nights (FTD)°
_Mickey Mouse Club March (part)       Southern Nights (FTD)° (not listed)

May 3 1975 (Saturday - Afternoon Show)
Civic Center, Monroe, Louisiana

       

May 3 1975 (Saturday - Evening Show)
Civic Center, Monroe, Louisiana

       

May 4 1975 (Sunday - Afternoon Show)
Civic Center, Lake Charles, Louisiana
Love Me
      Cajun Tornado CD1°
If You Love Me (Let Me Know)       Cajun Tornado CD1°
Love Me Tender       Cajun Tornado CD1°
All Shook Up       Cajun Tornado CD1°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Cajun Tornado CD1°
Help Me       Cajun Tornado CD1°
Why Me Lord       Cajun Tornado CD1°
Polk Salad Annie       Cajun Tornado CD1°
Introductions / Band solos       Cajun Tornado CD1°
_What'd I Say (Guitar solo - James Burton)       Cajun Tornado CD1°
_Drum solo (Ronnie Tutt)       Cajun Tornado CD1°
_Blues (Bass solo - Jerry Scheff)       Cajun Tornado CD1°
_Piano solo (Glen D Hardin)       Cajun Tornado CD1°
Introductions       Cajun Tornado CD1°
_School Day (Joe Guercio Orchestra)       Cajun Tornado CD1°
The Wonder Of You       Cajun Tornado CD1°
T-R-O-U-B-L-E       Cajun Tornado CD1°
I'll Remember You       Cajun Tornado CD1°
Let Me Be There       Cajun Tornado CD1°
An American Trilogy       Cajun Tornado CD1°
Hound Dog       Cajun Tornado CD1°
Funny How Time Slips Away       Cajun Tornado CD1°
Little Darlin'       Cajun Tornado CD1°
Can't Help Falling In Love       Cajun Tornado CD1°
Closing Vamp       Cajun Tornado CD1°

May 4 1975 (Sunday - Evening Show)
Civic Center, Lake Charles, Louisiana
Jambalaya (part)
      Southern Nights (FTD)°+A Profile The King On Stage Volume 1 CD3°
~Cajun Tornado CD1°~Thank You Very Much°~Cut 'Em Down To Size°
Love Me       A Profile The King On Stage Volume 1 CD3°
If You Love Me (Let Me Know)       A Profile The King On Stage Volume 1 CD3°
Love Me Tender       A Profile The King On Stage Volume 1 CD3°
All Shook Up       A Profile The King On Stage Volume 1 CD3°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       A Profile The King On Stage Volume 1 CD3°
The Wonder Of You       A Profile The King On Stage Volume 1 CD3°
Polk Salad Annie       A Profile The King On Stage Volume 1 CD3°
Introductions / Band solos       A Profile The King On Stage Volume 1 CD3°
_What'd I Say (Guitar solo - James Burton)       A Profile The King On Stage Volume 1 CD3°
_Drum solo (Ronnie Tutt)       A Profile The King On Stage Volume 1 CD3°
_Blues (Bass solo - Jerry Scheff)       A Profile The King On Stage Volume 1 CD3°
_Piano solo (Glen D Hardin)       A Profile The King On Stage Volume 1 CD3°
_School Day (Joe Guercio Orchestra)       A Profile The King On Stage Volume 1 CD3°
Johnny B. Goode       A Profile The King On Stage Volume 1 CD3°
Steamroller Blues       A Profile The King On Stage Volume 1 CD3°
T-R-O-U-B-L-E       A Profile The King On Stage Volume 1 CD3°
I'll Remember You       A Profile The King On Stage Volume 1 CD3°
Why Me Lord       A Profile The King On Stage Volume 1 CD3°
Let Me Be There       A Profile The King On Stage Volume 1 CD3°
An American Trilogy       A Profile The King On Stage Volume 1 CD3°
Hound Dog       A Profile The King On Stage Volume 1 CD3°
Funny How Time Slips Away       A Profile The King On Stage Volume 1 CD3°
Little Darlin'       A Profile The King On Stage Volume 1 CD3°
Can't Help Falling In Love / Closing Vamp       A Profile The King On Stage Volume 1 CD3°

May 5 1975 (Monday)
Mississippi State Fair Coliseum, Jackson, Mississippi
Recorded on Soundboard
       

May 6 1975 (Tuesday)
Middle Tennessee State University Athletic Center,
Murfreesboro, Tennessee
Also Sprach Zarathustra
      Dixieland Rocks (FTD)°~A Wild Weekend In Huntsville Volume 2°
C. C. Rider  
KPA5
9577 Dixieland Rocks (FTD)°~Today (Legacy) CD2°~Elvis Aron Presley CD4°
~A Wild Weekend In Huntsville Volume 2°+The Eagle Has Landed°
~Deep Down South° (2nd part - from Elvis singing)
I Got A Woman / Amen  
KPA5
9578 Today (Legacy) CD2°~Elvis Aron Presley CD4° (First 3:48 Only)
+Dixieland Rocks (FTD)°+The Eagle Has Landed°~The Eyes Of Texas
Are Upon You°~Deep Down South° ('I Got A Woman' only)
Love Me       Dixieland Rocks (FTD)°
If You Love Me (Let Me Know)       Dixieland Rocks (FTD)°
You Don't Have To Say You Love Me       Dixieland Rocks (FTD)°
All Shook Up       Dixieland Rocks (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dixieland Rocks (FTD)°
The Wonder Of You       Dixieland Rocks (FTD)°
Polk Salad Annie       Dixieland Rocks (FTD)°
Introductions / Band solos       Dixieland Rocks (FTD)°
_Johnny B. Goode (Guitar solo - James Burton)     Dixieland Rocks (FTD)°
_Drum solo (Ronnie Tutt)       Dixieland Rocks (FTD)°
_Blues (Bass solo - Jerry Scheff)       Dixieland Rocks (FTD)°
_Piano solo (Glen D Hardin)       Dixieland Rocks (FTD)°
_School Day (Joe Guercio Orchestra)       Dixieland Rocks (FTD)°
My Boy       Dixieland Rocks (FTD)°
T-R-O-U-B-L-E       Dixieland Rocks (FTD)°
I'll Remember You       Dixieland Rocks (FTD)°
Why Me Lord       Dixieland Rocks (FTD)°
Let Me Be There       Dixieland Rocks (FTD)°
An American Trilogy       Dixieland Rocks (FTD)°
Fairytale       Dixieland Rocks (FTD)° (up to 4:16 of track 18)
Little Darlin' (part)       Elvis Has Left The Building° (track 24 - not listed)
Can't Help Falling In Love       Dixieland Rocks (FTD)° (wrongly dated May 7)
Closing Vamp       Dixieland Rocks (FTD)° (wrongly dated May 7)

Tape Logs
 
Soundboard Recording
May 6 1975 (Incorrectly listed as May 7)
May 6 1975 - Soundboard
 


May 7 1975 (Wednesday)
Middle Tennessee State University Athletic Center,
Murfreesboro, Tennessee
Also Sprach Zarathustra
      Keep The Fire Burning°
C. C. Rider       Keep The Fire Burning°
I Got A Woman / Amen       Keep The Fire Burning°
Love Me       Keep The Fire Burning°
If You Love Me (Let Me Know)       Keep The Fire Burning°
I, Love (part) / Love Me Tender       Dixieland Rocks (FTD)°~Keep The Fire Burning° ('I, Love' - not listed)
All Shook Up       Keep The Fire Burning°
(Let Me Be Your) Teddy Bear / Don't Be Cruel
      Keep The Fire Burning°
The Wonder Of You       Keep The Fire Burning°
Burning Love       Keep The Fire Burning°
Introductions / Band solos       Keep The Fire Burning°
_Johnny B. Goode (Guitar solo - James Burton)     Keep The Fire Burning°
_Drum solo (Ronnie Tutt)     Keep The Fire Burning°
_Blues (Bass solo - Jerry Scheff)       Keep The Fire Burning°
_Piano solo (Glen D Hardin)       Keep The Fire Burning°
Introductions       Keep The Fire Burning°
_School Day (Joe Guercio Orchestra)       Keep The Fire Burning°
Bridge Over Troubled Water       Dixieland Rocks (FTD)°~Keep The Fire Burning°
T-R-O-U-B-L-E       Keep The Fire Burning°
I'll Remember You       Keep The Fire Burning°
Let Me Be There       Keep The Fire Burning°
An American Trilogy       Keep The Fire Burning°
Funny How Time Slips Away       Dixieland Rocks (FTD)°~Keep The Fire Burning°
Hound Dog       Keep The Fire Burning°
Dialogue       Dixieland Rocks (FTD)° (+ from 4:17 of track 18)~Keep The Fire Burning°
Little Darlin'       Dixieland Rocks (FTD)°~Keep The Fire Burning°
Can't Help Falling In Love       Keep The Fire Burning°
Closing Vamp       Keep The Fire Burning°

Tape Logs
 
Soundboard Recording
May 7 1975 (Incorrectly listed as May 6)
May 7 1975 - Soundboard
 


On Tour, May 30 - June 10 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Jerry Scheff
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 30 1975 (Friday)
Von Braun Civic Center, Huntsville, Alabama

       

May 31 1975 (Saturday - Afternoon Show)
Von Braun Civic Center, Huntsville, Alabama
Love Me
      Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Vol 1° (incomp.)
If You Love Me (Let Me Know)       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Love Me Tender       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
All Shook Up       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
The Wonder Of You       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Burning Love       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Introductions / Band solos       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
_What'd I Say (Guitar solo - James Burton)       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
_Drum solo (Ronnie Tutt)
      Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
_Blues (Bass solo - Jerry Scheff)       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
_Piano solo (Glen D Hardin)       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Introductions       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
_School Day (Joe Guercio Orchestra)       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Trouble (1 verse)       Dixieland Delight (FTD)°~Southern Nights (FTD)°~A Wild Weekend In
Huntsville Volume 1°
T-R-O-U-B-L-E       Dixieland Delight (FTD)°~Southern Nights (FTD)°~A Wild Weekend In
Huntsville Volume 1°
Hawaiian Wedding Song       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Let Me Be There       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
An American Trilogy       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Funny How Time Slips Away       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Blue Suede Shoes       Dixieland Delight (FTD)°~Southern Nights (FTD)°~A Wild Weekend In
Huntsville Volume 1°
For The Good Times       Dixieland Delight (FTD)°~Southern Nights (FTD)°~A Wild Weekend In
Huntsville Volume 1°
Little Darlin'       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Can't Help Falling In Love       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°
Closing Vamp       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 1°

Tape Logs
 
Soundboard Recording
May 31 1975 (Afternoon Show)
May 31 1975 (Afternoon Show) - Soundboard
 


May 31 1975 (Saturday - Evening Show)
Von Braun Civic Center, Huntsville, Alabama
All Shook Up
      Across The Country Volume 2°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Across The Country Volume 2°
The Wonder Of You       Across The Country Volume 2°
Burning Love       Across The Country Volume 2°
Introductions / Band solos       Across The Country Volume 2°
_Johnny B. Goode (Guitar solo - James Burton)     Dixieland Delight (FTD)°~Across The Country Volume 2°
_Drum solo (Ronnie Tutt)
      Across The Country Volume 2°
_Blues (Bass solo - Jerry Scheff)       Across The Country Volume 2°
_Piano solo (Glen D Hardin)       Across The Country Volume 2°
_School Day (Joe Guercio Orchestra)       Across The Country Volume 2°
I Can't Stop Loving You       Southern Nights (FTD)°~Across The Country Volume 2°
T-R-O-U-B-L-E       Across The Country Volume 2°
Hawaiian Wedding Song       Southern Nights (FTD)° (listed as Afternoon)~Across The Country
Volume 2°~Checkmate In Las Vegas°
Let Me Be There       Across The Country Volume 2°
Why Me Lord       Across The Country Volume 2°
An American Trilogy       Across The Country Volume 2°
Hound Dog       Dixieland Delight (FTD)°~Across The Country Volume 2°
Funny How Time Slips Away       Across The Country Volume 2°
Little Darlin'       Across The Country Volume 2°
I'm Leavin'       Dixieland Delight (FTD)°~Southern Nights (FTD)°~Across The Country
Volume 2°
Can't Help Falling In Love       Across The Country Volume 2°
Closing Vamp       Across The Country Volume 2°

June 1 1975 (Sunday - Afternoon Show)
Von Braun Civic Center, Huntsville, Alabama
Dialogue
      A Wild Weekend In Huntsville Volume 2°
I Got A Woman / Amen       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 2°
Love Me       A Wild Weekend In Huntsville Volume 2°
If You Love Me (Let Me Know)       A Wild Weekend In Huntsville Volume 2°
Love Me Tender       A Wild Weekend In Huntsville Volume 2°
All Shook Up       A Wild Weekend In Huntsville Volume 2°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       A Wild Weekend In Huntsville Volume 2°
The Wonder Of You       A Wild Weekend In Huntsville Volume 2°
Heartbreak Hotel
      Dixieland Delight (FTD)°~Southern Nights (FTD)°~A Wild Weekend In
Huntsville Volume 2°
Burning Love       A Wild Weekend In Huntsville Volume 2°
Introductions / Band solos       A Wild Weekend In Huntsville Volume 2°
_Johnny B. Goode (Guitar solo - James Burton)     A Wild Weekend In Huntsville Volume 2°
_Drum solo (Ronnie Tutt)       A Wild Weekend In Huntsville Volume 2°
_Blues (Bass solo - Jerry Scheff)       A Wild Weekend In Huntsville Volume 2°
_Piano solo (Glen D Hardin)       A Wild Weekend In Huntsville Volume 2°
Introductions       A Wild Weekend In Huntsville Volume 2°
_School Day (Joe Guercio Orchestra)       A Wild Weekend In Huntsville Volume 2°
Release Me       Dixieland Delight (FTD)°~Southern Nights (FTD)°~A Wild Weekend In
Huntsville Volume 2°
T-R-O-U-B-L-E       A Wild Weekend In Huntsville Volume 2°
Why Me Lord       A Wild Weekend In Huntsville Volume 2°
How Great Thou Art       Dixieland Delight (FTD)°~A Wild Weekend In Huntsville Volume 2°
Let Me Be There       A Wild Weekend In Huntsville Volume 2°
Funny How Time Slips Away       A Wild Weekend In Huntsville Volume 2°
Little Darlin'       A Wild Weekend In Huntsville Volume 2°
Can't Help Falling In Love       A Wild Weekend In Huntsville Volume 2°

June 1 1975 (Sunday - Evening Show)
Von Braun Civic Center, Huntsville, Alabama
Love Me
      Dixieland Delight (FTD)°~Adios Huntsville°
Dialogue       Dixieland Delight (FTD)°~Adios Huntsville°
If You Love Me (Let Me Know)       Dixieland Delight (FTD)°~Adios Huntsville°
Love Me Tender       Dixieland Delight (FTD)°~Adios Huntsville°
All Shook Up       Dixieland Delight (FTD)°~Adios Huntsville°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dixieland Delight (FTD)°~Adios Huntsville°
The Wonder Of You       Dixieland Delight (FTD)°~Adios Huntsville°
Burning Love (false starts)       Dixieland Delight (FTD)°~Southern Nights (FTD)°~Adios Huntsville°
Polk Salad Annie       Dixieland Delight (FTD)°~Southern Nights (FTD)°~Adios Huntsville°
Introductions / Band solos       Dixieland Delight (FTD)°~Adios Huntsville°
_Johnny B. Goode (Guitar solo - James Burton)
    Dixieland Delight (FTD)°~Adios Huntsville°
_Drum solo (Ronnie Tutt)       Dixieland Delight (FTD)°~Adios Huntsville°
_Blues (Bass solo - Jerry Scheff)       Dixieland Delight (FTD)°~Adios Huntsville°
_Piano solo (Glen D Hardin)       Dixieland Delight (FTD)°~Adios Huntsville°
_School Day (Joe Guercio Orchestra)       Dixieland Delight (FTD)°~Adios Huntsville°
I Can't Stop Loving You       Dixieland Delight (FTD)°~Adios Huntsville°
T-R-O-U-B-L-E       Dixieland Delight (FTD)°~Adios Huntsville°
I'll Remember You / Alfie (1 line)       Dixieland Delight (FTD)°~Southern Nights (FTD)°~Adios Huntsville°
Let Me Be There       Dixieland Delight (FTD)°~Adios Huntsville°
Why Me Lord       Dixieland Delight (FTD)°~Adios Huntsville°
An American Trilogy       Dixieland Delight (FTD)°~Adios Huntsville°
Funny How Time Slips Away       Dixieland Delight (FTD)°~Adios Huntsville°
Little Darlin'       Dixieland Delight (FTD)°~Southern Nights (FTD)°~Adios Huntsville°
Dialogue       Dixieland Delight (FTD)°~Southern Nights (FTD)°~Adios Huntsville°
Can't Help Falling In Love       Dixieland Delight (FTD)°~Adios Huntsville°
Closing Vamp       Dixieland Delight (FTD)°~Adios Huntsville°

Tape Logs
 
Soundboard Recording
June 1 1975 (Evening Show)
June 1 1975 (Evening Show) - Soundboard
 


June 2 1975 (Monday - Afternoon Show)
Municipal Auditorium, Mobile, Alabama
I Got A Woman / Amen
      Movin' Mobile°~Livestock Live°~We'll Make You Happy CD2° (not dated
- last part)
Love Me       Movin' Mobile°~Livestock Live° (part)~We'll Make You Happy CD2°
(not dated)
If You Love Me (Let Me Know)       Movin' Mobile°
Love Me Tender       Movin' Mobile°
All Shook Up       Movin' Mobile°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Movin' Mobile°
Hound Dog       Movin' Mobile°
The Wonder Of You       Movin' Mobile°
Burning Love       Movin' Mobile°
Introductions / Band solos       Movin' Mobile°
_Johnny B. Goode (Guitar solo - James Burton)     Movin' Mobile°
_Drum solo (Ronnie Tutt)       Movin' Mobile°
_Blues (Bass solo - Jerry Scheff)
      Movin' Mobile°
_Piano solo (Glen D Hardin)       Movin' Mobile°
Introductions       Movin' Mobile°
_School Day (Joe Guercio Orchestra)       Movin' Mobile°
T-R-O-U-B-L-E       Movin' Mobile°~Old One's New One's And In Between° (part - not listed)
I'll Remember You       Movin' Mobile°~Another Saturday Night (FTD)°~Old One's New One's
And In Between°
Why Me Lord       Movin' Mobile°~Old One's New One's And In Between° (part - not listed)
Let Me Be There       Movin' Mobile°
An American Trilogy       Movin' Mobile°
Funny How Time Slips Away       Movin' Mobile°
Little Darlin'       Movin' Mobile°
Mystery Train / Tiger Man       Movin' Mobile°
Can't Help Falling In Love / Closing Vamp       Movin' Mobile°

Review

June 2 1975 - Mobile, Alabama
Review by Martha Collins - Elvis News Service Weekly, Issue 207 (June 15 1975)

When we arrived at the Mobile Downtown Holiday Inn on Sunday June 1, the only sign that Elvis would soon be in town was a sold out notice in the newspaper. But late the following morning, I looked out the hotel windows and saw a bright yellow hertz rented truck in the parking lot - my Elvis conditioned mind quickly calculated that the stage crew and bands were staying at the Holiday Inn as well! When we entered the restaurant for lunch, my hunch was confirmed. John Wilkinson was sitting (eating a cheeseburger) with two stage hands; Jd Sumner, Tom Diskin, and Felton Jarvis were paged during the meal! (when Felton Jarvis is around, one wonders if Elvis is recording some of the concerts?) "Big Al" Dvorin the show announcer, wandered in as we left and I felt I'd fallen through a time warp into the Elvis world! (much as in Las Vegas, it is always super-exciting for the fan to find him or herself surrounded by "Elvis-people!!"

By mid-afternoon, the tension had become almost unbearable. I actually found myself remembering the calm atmosphere of the John Denver concert with longing! and between the two shows, Mobile was a city besieged! Television newscasts all over this part of the south advised motorists not to enter Mobile unless they had tickets to the Elvis shows! Traffic made automobile transportation an impossibility. Even that morning, the lobby of the Municipal Auditorium was, crowded with people looking for tickets - some simply sat and waited hoping for cancellations. We checked with the harried box office - both shows were completely sold out including all areas behind the stage. (we were also advised that no cameras would be allowed! at first the attendant said that this was an auditorium policy - then he said that the Elvis-people made all the rules, we smuggled one in anyway, and were gratified when big al announced as usual that still cameras were welcome!).

After the first show, many fans and most of the crew and hand headed for the dining room at the Holiday Inn, the mob was unbelievable, and we wondered if anyone would be ready in time for the second show, The Sweet Inspirations swept by us and joined Kathy Westmoreland at a table. Before I could say a word, my oldest daughter (age 8) ran after them and grabbed Myrna and told her how great the Sweets are and how much we all love Elvis! Myrna was very nice and thanked her - asked her name and said she'd tell Elvis about her!! As showtime approached, sheer panic set in. Donnie Sumner rushed by on his way to the auditorium as Voice opens the show - but the Sweets and Kathy lingered. Several groups of fans had not yet eaten and were frantically begging waitresses to hurry, I spoke to one group and told them Elvis wouldn't be on for an hour yet, and that some of his group were still eating. The look on the women's faces was typical of the feeling generated by an Elvis concert! They were pale, panic-stricken, and nearly in shock! When they found out I'd just seen the first show, they were also a bit miffed! There was no sense in trying to communicate! The hostess smiled at this - said all her family would be at the show, but she had to work. She was a grandmother and told us she had seen Elvis in person when he first started out- long before he was really famous. "we all love him,” she said, with tears in her eyes - it is a common reaction to Elvis, especially in the south.

The 4.30pm Show
The first show started right on time with Voice. Tim Baty has grown a beard and the group has new costumes (white suits with green patches) and sang a couple of different songs. Then Jackie Kahane came out in a fancy t-shirt his clothes get wilder each time, but his act stays about the same! The Sweets sang 'Philadelphia Freedom', and 'Lady Marmalade' (which, interestingly, Jackie had just criticised for its lyrics) and did a medley of Stevie Wonder hits. They were excellent, as usual. The opening acts last about forty-five minutes, on tour, then comes a fifteen minute intermission. Big Al jumped up on stage once again to hawk souvenirs, when a rotund man in a white shirt (not tucked in) and a blue baseball cap, landed on stage beside him. Al took the opportunity to introduce Colonel Parker to the crowd! Believe it or not, I led 10,620 people in a round of applause for him - No one else seemed to know how to react!! (the colonel never seemed to notice the audience anyway!) Elvis was late in arriving-we saw no sign of Charlie Hodge...... until intermission had dragged or an extra ten minutes. Al Dvorin kept warning the crowd to get in their seats so the show could start - which sounded strange after the aisles had been cleared for 10 minutes!! Charlie rushed on stage at last and the band was ready to go immediately. At the dimming of the lights, the crowd began climbing the walls - they were not to come down until Elvis left the stage an hour later.

Elvis walked out briskly from stage left in a dark blue two-piece suit with silver lapels and silver stripes down each leg, and an Indian-style silver bird on the back of the jacket. The audience was wild, and from the first note of 'C.C. Rider', Elvis was in top vocal form. I have never heard him sing better! The voice is superb and he is in total control. Even more exciting was the look of intense joy and love or his face - here was a fan having a BALL - not the least bit sick or tired!! He is definitely heavy around the middle - those who say he isn't don't remember how he looked in '69! - but the middle is the only place where there is extra weight, and it doesn't slow him down at all.

After 'C.C. Rider' Elvis adjusted his guitar and said: "Thank you very much, Good afternoon. Good afternoon? I want to tell you something...1...I...OK..." After teasing a couple of girls at the edge of the stage, he started "Well-ing" - bowed - "That's it. Thank you." - and into 'I Got A Woman' and 'Amen' amidst laughter and screams. Before the final 'Amen', he did his leg wriggling to Ronnie Tutt's drumming (and wild audience response) - then told JD to "Go get it!" while doing his airplane gestures to the low rotes. (He did not, for a rare change, make JD repeat the exercise!) It is a great theatrical gesture at the end of this when he throws that guitar, without looking, to Charlie - never fails to impress the audience!

"Thank you very much. Good evening, ladies and gentlemen. My name is Johnny Cash". (laughter) "We hope you have a good time. What is this - Monday afternoon!! I never in my life" (his voice went high with emphasis here) "did a show on Monday afternoon:" (Great cheers and applause,) "Good grief," he went on, "I want to know how you got off from work and how you got out of school. I shouldn't ask that!! Anyway, I hope you have a good time. We're going to sing a lot of songs; old ones, new ones, middle-aged, and in-between. Some of them go back as far as JD's age, We hope you have a good time so just hang loose. I'm sorry, JD - they didn't have Songs back then." Then he slid into 'Love Me', handing out scarves and kisses as he roamed the stage. He refused to add the "Oh, yeah" at the end of the song and let the Stamps and Sweets hold the note for a while, then finished up with a devilish grin on his face, "I'm sorry I made you guys hold that note that long. But I - I know you can do it! If you couldn't do it, you wouldn't be working here, right? We'd have the Supremes or Flip Wilson or somebody up here. What am I doing next? OK, I don't know. I just work here," Then into 'If You Love Me (Let Me Know)'. "Thank you. Thank you very much. My first movie was Love Me Tender". The audience responded with a loud "Ah-h-h-h-h!" ! "I'd like to sing a little of that for you now". After letting the band play the vamp a bit, he smirked and said sweetly, "I just said I'd like to - I'm not going to SING it, you know!" When the audience literally moaned, he quickly--and somewhat guiltily-added, "Naw -- go ahead." It was another scarf-kiss song: he first kissed a little girl, saying "Just on the cheek now - you're too young!" Then he wandered over to the edge of the stage by the balcony and shook his head saying, "No way!" Another woman grabbed his arm and said something that really made him laugh, then he finished singing and continued handing out scarves. He knelt by the edge of the stage and said brightly, "I've got to use this first!" and wiped his face, his chest and under his arms, and then handed the scarf to a frantic young woman while the audience roared! He was up in a flash singing 'All Shook Up' and breaking up completely towards the end.

Then quickly into 'Teddy Bear'/'Don't Be Cruel' and 'Hound Dog'. He is not as deeply involved in these oldies as in some of his newer songs, but he did not do these as perfunctorily as he has at times. In fact, he was quite inventive and sang them energetically. "Thank you very much. The next song is one we did about three years ago, called 'The Wonder Of You'." The band began playing. "Just a minute. Hold it. Hold it! Old Chinese proverb say: cannot sing with mouth in water, or water in mouth. Or whatever." (This while trying to drink, standing by Charlie). A powerful rendition of 'The Wonder Of You' followed with Elvis nearly crying some of the lyrics, much in his old Sun style. (Some other fans may have noted how Elvis does not always hold final notes on his own, but instead lets his background musicians end songs - he's been doing this especially in the last year or so when he's been so sick. He is not doing so now! The final note of 'The Wonder Of You' lasted for nearly ten full seconds - try holding a note that long yourself - and Elvis held it strongly and purely all the way through - fantastic!)

'Burning Love' was next - a wild and enthusiastic version! (Although Elvis forgot an entire line of the lyrics!) "Thank you very much. What's going on on the stage? Huh?" (Screams.) "What? OK - I'll do it in a minute. The bass is spinning around? They say the bass is spinning around! Goes like this - I've never seen a bass spin around. Lord have mercy!" Then followed the introductions, When he got to James Burton, he said in a deep voice, "And on the lead..." and James went into a wild version of 'Johnny B. Goode' with Elvis singing just off mic' - so we could ALMOST hear him - which is an upsetting thing, believe me! Ronnie Tutt did a great solo on the drums: Jerry Scheff played a bluesy number on bass; Glenn Hardin's solo on piano really rocked. The Joe Guercio Orchestra (mostly brass) did a "group solo" on Chuck Berry's 'School Day' with Elvis singing along, a bit more on mic' than before, for the entire last verse! When Elvis turned to Voice, he stopped and said, "You know what I dreamed last night? I dreamed that you guys didn't open the show, see. I don't know why I dreamed that but I dreamed it! No, but I dreamed that you didn't open the show. I dreamed that you were backstage and they wouldn't let you come on - do you think that might mean something? Like maybe the next show?! I dreamed that Joe Guercio didn't show up at all!"

"We have a new record out, ladies and gentlemen, that's been out for about ten days now. And I don't know all the words to it. And it's one of those type songs that if you miss a word you might as well forget it because you can't pick it up." He stopped suddenly. "Pick it up! There's an echo in this building! Pick it up!" (Playing. Then very deeply.) "Pick it up! Pick it up yourself!" Then be treated us to a perfect and rocking version of 'T-R-O-U-B-I-E'! Next was a sensitive and beautiful 'I'll Remember You' - although the audience - and frantic females in particular- nearly broke Elvis up in the beginning. The crying sound in his voice was present on the final chorus - most effective. "I'd like to ask JD Sumner and the Stamps to sing one of my favourite songs. 'Why Me Lord" JD rumbled into this one, but we knew what Elvis had planned by his answer to "What have I ever done?" (Elvis - "Not much!") in the first verse. At the chorus, Elvis joined in soulfully and the audience burst into spontaneous prolonged applause (- which happened occasionally in both shows - and for no apparent reason other than an overflowing of emotion!) As JD started the second verse, Elvis took on his "Geraldine" voice and fluttered "Get it, JD!". at him. Then, grabbing a white scarf from Charlie, Elvis put it over his head and holding it under his chin, walked over to JD, leaning on Estelle. "No way. Show me, baby. Come on, come on," All this in a very high voice - just like the Geraldine character of Flip Wilson! - and blinking his eyes romantically. Poor JD broke up, making Elvis help him with the words. Then a high "What's the matter?" from Elvis (Flutter, flutter!) and JD began laughing helplessly. Elvis finished up the chorus calmly, scarf around his neck - and the audience finally settled down a bit from sheer hysterical!

Next a rousing version of 'Let Me Be There', with Elvis playing around musically with the tune, and repeating the final chorus happily. Then 'An American Trilogy', with great response from the audience on the Dixie part - Elvis was applauded when he sang "Dixieland's where I was born"! It was during the Dixie part also that a pretty, long-haired young woman jumped up on stage and grabbed Elvis as he stood by the Sweets, She hit him running and simply threw her arms around him! Elvis put his free arm around her and with that one arm, lifted her right off the floor, but she was holding on to him so tightly, that they remained glued to ether, Sonny West gently pulled her off, and Elvis never stopped singing or missed a note. At the end of the song, he asked, "That girl who ran out here - Is she OK? You know what she did, she got a bunch of hair in my mouth! That's all! I sang 'wish I was - umpf-" (Much laughter.) "I'd like to turn the houselights up and take a look at you because I can't see up here". The audience screamed and yelled, and Elvis took the opportunity to give away more scarves and kisses. When a child approached the stage, Elvis squatted down and asked, "What do you want? Tell me what you want." (If you can recall the tone of his voice in Chance Of Habit, when he was coaxing Amanda, that is the exact tone he used to the child!) "A rough way to make a living," he joked, as he made the rounds, then into 'Funny How Time Slips Away',

Next was 'Little Darlin' - a wild, funny song, recorded in the '50s by the Diamonds. Elvis does not sing it seriously, but clowns all through it and he is hilarious! Before he sang "only you" - which in the original is sung falsetto and very high - he yelled "Estelle!" - apparently teasing her for her low voice, as he went right up there effortlessly! When he did the deep, low middle verse, he scarcely sounded like Elvis, and he staggered back and forth across the stage as if overpowered by his own voice! "To hold in mine, your little..." (he hesitated for effect) "...hand...I'll know we'll soon... do something grand!" (He laughed to himself - those were not the original words!) At the end, he "you-ed" right up the scale, It seems he can sing ANYTHING with that voice!! "I have no idea what that song says," he explained. "I don't know one word in it. Just so oopa, oopa, wella, wella, no-oop, oop." (The very high and feminine:) "La-la-la-la-la. We ought to play it back for the audience later," (So they WERE recording!!) "What do you want? What? 'Mystery Train'?" And he threw himself into 'Mystery Train' and 'Tiger Man', with the frantic movements in 'Tiger Man' that send audiences into a frenzy. With that he said, "Thank you very much; you've been a great audience. Until we see you again, be careful driving home, and God bless you," Then 'Can't Help Falling In Love'. The audience stood and cheered, yelling in vain for more.

The Evening Show
Elvis strolled onstage in the most beautiful white jumpsuit I've seen yet! It is so ornate as to be indescribable - multi-coloured jewels cover the chest and the sides of each leg, and the back was of geometric designs, tapering to feather designs around his waist. The colours were sparkling and pastel. When the audience caught sight of him, it literally exploded! We had tickets behind the stage - and were lucky to get them - and this, surprisingly, afforded us some terrific views and observations. Elvis turns to Charlie often, and also faces the band - the expressions on his face were priceless! Once again, he looked so happy and full of joy that it seemed impossible for him to contain it! Certainly the electricity that flowed between him and the audience was overwhelming!

After 'C.C. Rider', he repeated his Memphis comment about people with binoculars looking like frogs. As with the first show, Elvis was on top of everything all the time. Absolutely buoyant! JD was forced this time to repeat his "jet-sounds", Elvis teased him saying, "Think you can do it better? You PRAY you can do it better! He's the world's lowest bass singer - he just lays down there," (Here Elvis imitated JD briefly) - "He can do it better! I hope..! Don't just look down, help me!!" After this, "Good evening, ladies and gentlemen. My name is Wayne Newton!" He expressed some confusion (as usual) on the time of day. Then spoke again of his amazement at doing a show on a Monday afternoon, and finding all those people out there!! "Tell you one thing," he continued, "I sure am glad you're here, son!" The crowd cheered. "We're going to do a lot of songs - some of them right, I hope!" Once again, he made the singers hold the last note of 'Love Me' - joking with the audience that "All these black guys turn white, you know?! Kathy turns purple" During 'All Shook Up', he was nearly pulled off stage by wild female fans - turning to Charlie, he collected several scarves at once and threw them all out, saying (in the midst of the song) "Blessed are the peacemakers!" When the song was done, he faced the women squarely and said innocently, "Honey, why are you-all holding your hands up in the air like that? Do you have to go to the bathroom?!" By the time Elvis tore into 'Burning Love', the noise level of the audience made it difficult to hear him! He paused to talk to fans crowding around the stage: "Did you get one? What is this now - double scarves??!!" (So innocently.) "What do you want??" Then he knelt down and asked one woman, "Do you want just a baby kiss or do you want to get serious?!" (Great audience response to that!) Breaking up; "She said it doesn't matter!!! If we kiss here, we have to be careful. Honey, don't laugh in my face! That's bad - when you go to kiss a girl and she goes" (high pitched) "ha-ha-ha! Straighten out, come on! Honey, you got a scarf - one to a customer!"

Then came the introductions, Elvis teased the Sweets again by calling them the "Crewcuts" (due to their short hairdos) and ruffled up Estelle's well-brushed coiffure, to her great displeasure! While standing by The Stamps, he asked a girl approaching him from the arena floor, "Honey, is that a - uh -a - uh - lei? Is that flowers?" (Here he chuckled, as he's well aware of the double entendre!) He let her put it around his neck, and he told her, "That's OK. You know, this makes the fifth one you've given me. Five leis from you, woman - I recognise you!" (The audience roared, to the poor girl's embarrassment!) Then he kissed her. "That's all right. It's beautiful!" Instead of introducing The Stamps individually, as usual, he said he'd like to introduce them, "but I'm not going to!" He left them laughing, and went on to Kathy. "I'd just like to tell you that they're staying at the Hilton Inn." (They weren't!) "Where's the band staying? At the Holiday Inn. How come you guys don't get to stay where we stay? You make too much noise, right?" The crowd was genuinely impressed with the fantastic solo displays of the band members - and Elvis had the good grace to sing more on mic' than at the earlier show! After Ronnie pounded the drums, Elvis commented, "He thinks they're his wife!" and he accused Jerry Scheff of "milking a coat"! When introducing Charlie Hodge (who is from Decatur, Alabama - which pleased the crowd immensely, ) Elvis picked him up by the arm (with one hand, mind you!) and partly threw him at the audience, rather than a scarf! Then when he let him down, Elvis gave Charlie a swift kick in the pants - which has been done many times before. The new thing is that Charlie isn't taking this lying down anymore - he kicked Elvis right back!!! Elvis turned to Voice and said they were "great, Well...I wouldn't say great. Maybe mediocre." Joe Guercio, who is actually from Las Vegas, was introduced as being from Montgomery, Alabama, and his orchestra Elvis called "The Alabama Wooly-bugers"!

Next came a strong 'Bridge Over Troubled Water' - spontaneous applause interrupted the song, more than once. When he announced 'T-R-O-U-B-L-E', he again worried about missing some of the words. "It has a whole lot of words in it and if you miss sumpin.." He stopped in shock. "Sumpin? SOME-THING," He shook his head. "You can take the boy out of the country..." As he started the song, all the people around us chuckled and patted each other on the arm, saying, "Yeah, he's a real country boy, you know..." They were absolutely delighted!! The screams nearly destroyed 'I'll Remember You' - Elvis ignored the noise until he got to the line, "every bright star we made wishes upon" - then he openly taunted with an almost defiant "Make a wish!" thrown in quickly! He then went to the edge of the stage once again, and wiped off his face, throwing the scarf into the crowd, and bent over to kiss a few girls, "I've got to tell you something," he be ran with mock seriousness, "The people that I've been kissing tonight. I kissed somebody up in Huntsville a couple of nights ago and I caught the 'creeping crud.' That's close to the jungle rot.' I got it and you - you are going to get it!" (Great laughter from the audience!!)

Before 'An American Trilogy', the crowd was really vocal, and Elvis teased them a bit, treating the adoration very lightly, even breaking up at some of the women. When he went into "Dixie," there were a couple of Rebel yells, and when The Stamps sang, "Oh, I wish I was in Dixie..." Elvis said quietly - but clearly enough for the audience to hear - "You are, you are." And the applause was deafening! When Elvis turned his back to the crowd, thus facing us behind the stage, he looked simply fantastic! The top of his jumpsuit was wide open - he was scarf-less, and his chest glistened; and his hair was tousled and damp. But the look on his face stopped me cold. I honestly couldn't tell if he were about to laugh or cry - he was, however, nearly exploding with emotion.!!!! He seemed as affected by the super-charged atmosphere as the audience!

When he had the houselights turned up, someone handed him a box of "No-doze" tablets - and he acted very insulted. "What do you think I'm doing up here? Sleeping?!". 'Little Darlin' surprised and delighted the crowd. In the low talking part, he grabbed the hat off a policeman's head and put it on, marching around with it while everyone howled. 'Mystery Train' was requested again and Elvis was pleased to sing it! He thanked the audience profusely and added, "May god bless you, 'till we meet again." He accepted the frantic, wild standing ovation at the end of 'Can't Help Falling In Love' and raised both hands - Index finger out at all sides of the stage, then Joe Esposito reached for him at the far edge, and he was gone as quickly as he had appeared.

Later, when we reached the Holiday Inn parking lot, some orchestra members were chatting with Joe Guercio - he was telling them that there was no rush and they'd be there 'till morning at least, James Burton, still in his all-red costume, stood in cur path, talking with a very loud woman. There were by this time, two large chartered buses in the parking lot as well - the rented truck had been moved to behind the auditorium. The next morning, we bumped into Estelle (one of the Sweets) going into breakfast - I can report to the world that she wears glasses off stage!! Tom Diskin and Al Dvorin were eating breakfast together at a table in front of JD Sumner and the three current Stamps. Ronnie Tutt came in after we did and ordered tea with honey. As you can imagine, it was not easy to eat breakfast under these circumstances!) We asked the waitress if she knew if Elvis was still in town - she said she had heard from good sources that he was definitely staying in at least five different hotels! No one knew where he was!! By 9.30 the buses all disappeared and Mobile settled down to a more normal day, while Tuscaloosa, Alabama prepared for the Presley onslaught! We drove home, singing Elvis' songs, and wondering how long it would take to come down from the high to a trip through Elvis country!!!


June 2 1975 (Monday - Evening Show)
Municipal Auditorium, Mobile, Alabama
Amen
      Sold Out In Dixie°
Love Me       Sold Out In Dixie°
If You Love Me (Let Me Know)       Sold Out In Dixie°
Love Me Tender       Sold Out In Dixie°
All Shook Up       Sold Out In Dixie°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Sold Out In Dixie°
Hound Dog       Sold Out In Dixie°
The Wonder Of You       Sold Out In Dixie°
Burning Love       Sold Out In Dixie°
Introductions / Band solos       Sold Out In Dixie°
_Johnny B. Goode (Guitar solo - James Burton)
    Sold Out In Dixie°
Introductions       Sold Out In Dixie°
_Drum solo (Ronnie Tutt)       Sold Out In Dixie°
_Blues (Bass solo - Jerry Scheff)       Sold Out In Dixie°
_Piano solo (Glen D Hardin)       Sold Out In Dixie°
Introductions       Sold Out In Dixie°
_School Day (Joe Guercio Orchestra)       Sold Out In Dixie°
Bridge Over Troubled Water       Southern Nights (FTD)°~Sold Out In Dixie°
T-R-O-U-B-L-E       Sold Out In Dixie°
Alfie (1 line) / I'll Remember You       Sold Out In Dixie°
Let Me Be There       Sold Out In Dixie°
An American Trilogy       Sold Out In Dixie°
Funny How Time Slips Away       Sold Out In Dixie°
Little Darlin'       Sold Out In Dixie°
Mystery Train / Tiger Man       Sold Out In Dixie°
Can't Help Falling In Love       Sold Out In Dixie°
Closing Vamp       Sold Out In Dixie°

Tape Logs
 
Soundboard Recording
June 2 1975 (Evening Show)
June 2 1975 (Evening Show) - Soundboard
 


June 3 1975 (Tuesday)
University Of Alabama Memorial Coliseum, Tuscaloosa, Alabama
Amen       Deep Down South° (last part only)
Love Me       Deep Down South°
If You Love Me (Let Me Know)       Deep Down South°
Love Me Tender       Deep Down South°
All Shook Up       Deep Down South°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Deep Down South°
Hound Dog       Deep Down South°
The Wonder Of You       Deep Down South°
Burning Love       Deep Down South°
Introductions / Band solos
      Deep Down South°
_Johnny B. Goode (Guitar solo - James Burton)     Deep Down South°
_Drum solo (Ronnie Tutt)       Deep Down South°
_Blues (Bass solo - Jerry Scheff)       Deep Down South°
_Piano solo (Glen D Hardin)       Deep Down South°
Introductions       Deep Down South°
_School Day (Joe Guercio Orchestra)       Deep Down South°
Bridge Over Troubled Water       Deep Down South°~Another Saturday Night (FTD)°
T-R-O-U-B-L-E       Deep Down South°
Hawaiian Wedding Song       Deep Down South°~Another Saturday Night (FTD)°
Let Me Be There       Deep Down South°
An American Trilogy       Deep Down South°
Funny How Time Slips Away       Deep Down South°
Little Darlin'       Deep Down South°
Mystery Train / Tiger Man       Deep Down South°
Can't Help Falling In Love / Closing Vamp       Deep Down South°

June 4 1975 (Wednesday)
Hofheinz Pavilion, Houston, Texas
I Got A Woman / Amen
      The Eagle Has Landed°~Eyes Of Texas Are Upon You° ('Amen' only)
Love Me       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
If You Love Me (Let Me Know)       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Love Me Tender       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
All Shook Up       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Hound Dog       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
The Eyes Of Texas (part)       Southern Nights (FTD)° (not Listed)~The Eagle Has Landed°~The Eyes
Of Texas Are Upon You°
The Wonder Of You       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Burning Love       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Introductions / Band solos
      The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
_Johnny B. Goode (Guitar solo - James Burton)     The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
_Drum solo (Ronnie Tutt)       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
_Blues (Bass solo - Jerry Scheff)       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
_Piano solo (Glen D Hardin)       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Introductions       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
_School Day (Joe Guercio Orchestra)       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
T-R-O-U-B-L-E       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Why Me Lord       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
How Great Thou Art       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Let Me Be There       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
An American Trilogy       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Funny How Time Slips Away       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Little Darlin'       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Mystery Train / Tiger Man       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°
Can't Help Falling In Love       The Eagle Has Landed°~The Eyes Of Texas Are Upon You°~Trying To
Get To You°
Closing Vamp       The Eagle Has Landed°+The Eyes Of Texas Are Upon You°~Trying To
Get To You°

Tape Logs
 
Soundboard Recording
June 4 1975
June 4 1975 - Soundboard
 


Review

June 4 1975 - Houston, Texas
Review by Christopher Brown - Elvis News Service Weekly, Issue 211 (July 1975)

I have just finished following Elvis on his past tour through Alabama, Texas, Louisiana, Mississippi and Tennessee. We saw seventeen shows in all -- and they were absolutely magnificent. Some of the matinees were a slight letdown, but the rest of the shows were very exciting. Elvis talked more to his audiences than he has in a long time - and most of his shows were over an hour long - usually seventy minutes; They were very funny and for the first nine shows he added at least one new song.

For the Houston, Texas show we bought tickets from the box office that afternoon for ten rows from the front on floor, wow! but some other shows we were even a lot closer.

Elvis came on stage to a thunderous, standing ovation. He walked back and forth across the stage, thanking people for coming. Charlie handed Elvis his guitar which he slides over his head. He sauntered up to the mic', leaning back Elvis blasted into 'C.C. Rider' as always, this is a terrific opening number and Elvis proved it to be a winner. Near the end, he would yell "two" and slide his left leg out, then he'd yell "three" and slide that leg out even further. He counted up to five, then ended the song thrusting his guitar towards The Stamps and The Sweet Inspirations. Smiling brightly, he walked back to the mic' and began "well well well well well.. that's it, thank you very much..." He then launched into 'I Got A Woman' and finishing, as usual, with 'Amen'. Before Elvis would let J.D, do his 'slide', Elvis would quickly snap his head and hips to the left, and then in an effort to fix what he had done, he would move his head and hips slowly to the right several times. He would then start to move his legs in and out -- Ronnie would hit his drums in time -- like in his early days. Elvis would then signal, with his left hand to stop, and then he would say, "That's enough of that. i just ate". The song would finish with Elvis doing his imitation of an airplane as J.D. did his thing. After finishing 'I Got A Woman' Elvis would throw his guitar over his right shoulder, without looking, to Charlie. (he only dropped it once, in Memphis.)

Elvis then said, "Hope you have a good time this evening. I'll turn around, just give me a chance." There were many fans sitting behind him who continually yelled to him to turn around. After 'Love Me', he said to a girl "I'll see you after the show." When 'If You Love Me (Let Me Know)' began, he hummed along to the music for the first time, during this song there was some feedback and Elvis turned to his sound engineers, with an angry - and I do mean angry -- look and simply said, "Come on!" "Ah, my first movie.. wait, I'd like to tell you something, we played the Astrodome, you know and this is a little big Astrodome and it's nothing like that big dude, whew.. I'm telling you, I sure knew what the Christians felt like when they were fed to the lions. I was in the middle of the stage going like this" (Elvis turned round and round) "I'd take a bow at the end of a song, swish, I'd get back up and I'd be facing a cow." When Elvis gave out scarfs, there was always a lot of screaming by the girls who were too far to even have a chance at them. "Can you imagine the Astrodome if I tried to give scarfs away." He did an unexceptional version of 'Love Me Tender' and a throwaway 'All Shook Up'. After 'Hound Dog' he started to sing "The eyes of Texas are upon us, all the live long day ..." a lot of people were disappointed that he didn't sing the whole song.

During 'The Wonder Of You' there was a little feedback and Elvis walked over to his sound engineers and said something. A fantastic version of 'Burning Love' followed, with a very exciting ending. The introductions followed. "First of all, the young ladies that opened.. they didn't open our show, they used to.." (screams) ".. what's the matter with you?... they used to be called the Crewcuts. you look like Flip Wilson.." (he's always kidding one of the Sweets by calling her Flip) "I've already told you that. one of the finest gospel quartets in the nation and some parts of Africa, J.D. Sumner and The Stamps quartet - I'd like to introduce these fellows individually, but it ain't worth it... on the rhythm guitar from Springfield Mass or is it Miss..Miss... Missouri ..." (he introduced James Burton, he played 'Johnny B. Goode' and Elvis sang a bit of that, Ronnie Tutt did a fantastic exhibition on the drums, Jerry Scheff on the bass played some blues).. "One more time Glen..." (Elvis, unfortunately, did not sing 'Lawdy, Miss Clawdy' on the whole tour).. "The guy who gives me my water and scarfs and the poor guys going to go blind, he can hardly see me on stage..." (Elvis squinted his eyes and put his hand out like he was looking for something in the dark, imitating Charlie Hodge)... "Hey, you know.." (talking to one of The Sweet Inspirations that he calls Flip)... "you're not supposed to yawn on stage, don't yawn, really. If you're tired, go to bed some where, but don't yawn out here"... (she got up to leave, but Elvis didn't see her, so she sat back down again.. "The fellows who opened our show tonight shouldn't have never done it. No! I mean.. my sound engineers over here, Felton Jarvis, Bruce what-ever-his-name is, are doing one of the worst jobs I've ever heard tonight. Our conductor is from Syracuse, New York. No no, Buffalo, NY. Joe is playing with the Texas Longhorns.. I mean .. he's playing with the Joe Guercio orchestra".

"We've got a new song out ladies and gentlemen and it is the kind of song that if you miss a word you might as well hang it up." 'T-R-O-U-B-L-E'.. "Ah, I'd like to ask The Stamps, just a minute, I'd like to ask the Stamps quartet to sing 'Why Me Lord' fellows, would you sing it for me?" (Elvis asked for it very politely.) J.D. would sing "Tell me lord, what did I ever do.." and Elvis would usually say "not enough." Elvis did one of his better efforts on this song, holding some of the notes longer than usual. At the end of the song Elvis sang, "So help J.D. you're mouths in your hand..." At the end, Elvis said "Don't go away. 'How Great Thou Art'." During this truly outstanding number (one of the highlights of any Elvis show, and maybe now, the highlight - Elvis motioned to the band to watch him close, he then sang really strong and high) "Oh my Goddddddddd" (he held it for a full three seconds) "How great thou art..." It made me shiver and I'm sure, from the response that Elvis received, that the crowd loved it.... During the chorus, most of the people were clapping and half of the audience was standing. Everyone was standing when he finished the song, they would not stop applauding. He had done an amazing performance on this. Of everything I heard during the tour, this was the best... such emotion. He puts everything he has into this particular song. He then repeated the ending. The second effort took a lot out of Elvis -- I know, I was very close and I could tell, but yet he pushed on with a stunning and powerful version of 'Let Me Be There'.

Because i was so close you could see the sweat rolling off him when he shook his head, when The Stamps sang, "Oh I wish I was in dixie" Elvis said "you are!" and this was the first show that hardly anyone stood up and applauded this comment. When the trumpet (it used to be a flute) solo is played, all the band members (some of them crossing their hearts with their hands) and Elvis would turn and face the player. When the crescendo began, he didn't sing "Glory glory" because he was looking angrily at his sound engineers, when he hit the last note, he went up even higher after he had sung "On". It might have been a falsetto but, still, it could make you shiver. There was a girl in the fourth row who wanted a scarf and Elvis said, "Honey, I'll try." He then walked to the back of the stage, which was the highest one yet. To the girls there he said "Honey, I can't.. there's no way I can get down there.. I mean, I can, but I won't." During 'Funny How Time Slips Away' he walked up to the other side of the stage from me and sat down beside Glen Hardin on his piano bench for about half a minute, "Never know when I'll be back in town.. tomorrow night you goof!" (in a very high voice) He repeated the ending again so he could show off J.D.'s voice. "Ain't it funny, ha ha ha ha.."

During 'Little Darlin' he would sway back and forth across the stage as if he was drunk, imitating, in a satirical way, the 50s. He would also do all the high notes. He makes the song sound even better than it did in the '50s. He really enjoys doing this song, doing it at most of the shows, really high ending. "I have no idea what that song has to say. ha whoophoophoophoo pahoopa, wellawellawellawella la la la" (real high) "was just.... let's do 'Mystery Train'". He tried to move like he used to and the crowd was really roaring. "Thank you very much ladies and gentlemen. Let me tell you. You were a fantastic audience, you really are. You were with me right from the first.. and until we see you again.. god bless you." Hands reaching and pulling, Elvis gave out his few last scarfs. Elvis, as always during this tour, would stay on the stage a long time and shake hands.

Elvis also did a medley of 'Teddy Bear'/'Don't Be Cruel' after 'All Shook Up' in Houston. Besides the songs mentioned, Elvis did a total of 39 different songs such as 'Tryin' To Get To You' (once as a request of a friend of mine.) 'Release Me', 'Fever' (started it twice, but did not do it), 'Jambalaya', 'Fairytale' (once), "Help Me Make It Through The Night', 'You Gave Me A Mountain' (both done once.) Also 'Heartbreak Hotel', 'I'm Leavin', 'Blue Suede Shoes' (all once), 'Hawaiian Wedding Song' (three times, beautiful), 'That's All Right' (once), 'I'll Remember You' (many shows), 'Trouble' (the original, only once, wow!), 'For The Good Times' (once.) I only saw Elvis in four different jumpsuits - this tour was really exceptional.


June 5 1975 (Thursday)
Hofheinz Pavilion, Houston, Texas
I Got A Woman / Amen
      Howdy Houston°~Tryin' To Get To You° (last part)
Love Me       Howdy Houston°~Tryin' To Get To You°
If You Love Me (Let Me Know)       Howdy Houston°~Tryin' To Get To You°
Love Me Tender       Howdy Houston°~Tryin' To Get To You°
All Shook Up       Howdy Houston°~Tryin' To Get To You°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Howdy Houston°~Tryin' To Get To You°
Hound Dog       Howdy Houston°~Tryin' To Get To You°
The Wonder Of You       Howdy Houston°~Tryin' To Get To You°
Burning Love       Howdy Houston°~Tryin' To Get To You°
Introductions / Band solos       Howdy Houston°~Tryin' To Get To You°
_Johnny B. Goode (Guitar solo - James Burton)
    Howdy Houston°~Tryin' To Get To You°
_Drum solo (Ronnie Tutt)       Howdy Houston°~Tryin' To Get To You°
_Blues (Bass solo - Jerry Scheff)       Howdy Houston°~Tryin' To Get To You°
_Piano solo (Glen D Hardin)       Howdy Houston°~Tryin' To Get To You°
Introductions       Howdy Houston°~Tryin' To Get To You°
_School Day (Joe Guercio Orchestra)       Howdy Houston°~Tryin' To Get To You°
T-R-O-U-B-L-E  
KPA5
9589 Howdy Houston°~Tryin' To Get To You°~Today (Legacy) CD2°~Elvis
Aron Presley CD4°
Tryin' To Get To You       Southern Nights (FTD)°~Howdy Houston°~Trying To Get To You°
How Great Thou Art       Howdy Houston°~Tryin' To Get To You°
Let Me Be There       Howdy Houston°~Tryin' To Get To You°
You Gave Me A Mountain       Southern Nights (FTD)°~Howdy Houston°~Trying To Get To You°
An American Trilogy       Howdy Houston°~Tryin' To Get To You°
Little Darlin'       Howdy Houston°~Tryin' To Get To You°
Mystery Train / Tiger Man       Howdy Houston°~Tryin' To Get To You°
Funny How Time Slips Away       Howdy Houston°~Tryin' To Get To You°

Tape Logs
 
Recording Information
Elvis Aron Presley
Elvis Aron Presley - Concert
 


June 6 1975 (Friday)
Convention Center's Memorial Auditorium, Dallas, Texas
I Got A Woman / Amen
      Today (Legacy) CD2°~Elvis Aron Presley CD4°+The Creeping Crud
Express CD1°~Dallas '75° (last part only)
Love Me  
KPA5
9579 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
If You Love Me (Let Me Know)  
KPA5
9580 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Love Me Tender  
KPA5
9581 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
All Shook Up  
KPA5
9582 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
(Let Me Be Your) Teddy Bear / Don't Be Cruel  
KPA5
9583 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Hound Dog  
KPA5
9584 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
The Wonder Of You  
KPA5
9585 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Burning Love
 
KPA5
9586 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75° (not listed)
Introductions / Band solos  
KPA5
9587 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
_Johnny B. Goode (Guitar solo - James Burton)
KPA5
9587 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°
_Drum solo (Ronnie Tutt)       Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1° (introduction only)
_Bass solo (Jerry Scheff)       Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1° (introduction only)
_Piano solo (Glen D Hardin)       Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1° (introduction only)
Introductions  
KPA5
9588 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°
_School Day (Joe Guercio Orchestra)  
KPA5
9588 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°
T-R-O-U-B-L-E       The Creeping Crud Express CD1°~Dallas '75°
Why Me Lord       The Creeping Crud Express CD1°~Dallas '75°
How Great Thou Art  
KPA5
9591 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Let Me Be There  
KPA5
9592 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
An American Trilogy  
KPA5
9593 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Funny How Time Slips Away
 
KPA5
9594 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Little Darlin'  
KPA5
9595 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Mystery Train / Tiger Man  
KPA5
9596 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°
Can't Help Falling In Love  
KPA5
9597 Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°~Let Me Take You Home° (wrongly dated
June 10)~Going Back To Memphis° (wrongly dated June 10)
Closing Vamp       Today (Legacy) CD2°~Elvis Aron Presley 4°~Let Me Take You Home°
(wrongly dated June 10) (edited)+The Creeping Crud Express CD1°
~Dallas '75°~A Wild Weekend In Huntsville Volume 2°
Announcements       Today (Legacy) CD2°~Elvis Aron Presley CD4°~The Creeping Crud
Express CD1°~Dallas '75°~A Wild Weekend In Huntsville Volume 2°

Tape Logs
Tape Log
Elvis Aron Presley
Elvis Aron Presley - Concert
Recording Information
Elvis Aron Presley
Elvis Aron Presley - Concert
 


Music Sheets
 
Music Sheet
School Day
School Day (Thanks to Christopher Brown)
 


June 7 1975 (Saturday - Afternoon Show)
Hirsch Coliseum, Shreveport, Louisiana
I Got A Woman / Amen
      The Creeping Crud Express CD2° (last part only)
Love Me       The Creeping Crud Express CD2°
If You Love Me (Let Me Know)       The Creeping Crud Express CD2°
Love Me Tender       The Creeping Crud Express CD2°
All Shook Up       The Creeping Crud Express CD2°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       The Creeping Crud Express CD2°
Hound Dog       The Creeping Crud Express CD2°
The Wonder Of You       The Creeping Crud Express CD2°
Burning Love
      The Creeping Crud Express CD2°
Introductions / Band solos       The Creeping Crud Express CD2°
_Johnny B. Goode (Guitar solo - James Burton)     The Creeping Crud Express CD2°
_Drum solo (Ronnie Tutt)       The Creeping Crud Express CD2°
_Bass solo (Jerry Scheff)       The Creeping Crud Express CD2°
_Piano solo (Glen D Hardin)       The Creeping Crud Express CD2°
Introductions       The Creeping Crud Express CD2°
_School Day (Joe Guercio Orchestra)       The Creeping Crud Express CD2°
T-R-O-U-B-L-E       The Creeping Crud Express CD2°
Why Me Lord       The Creeping Crud Express CD2°
How Great Thou Art       The Creeping Crud Express CD2°
Let Me Be There       The Creeping Crud Express CD2°
An American Trilogy       The Creeping Crud Express CD2°
Little Darlin'       The Creeping Crud Express CD2°
Mystery Train / Tiger Man       The Creeping Crud Express CD2°
Can't Help Falling In Love       The Creeping Crud Express CD2°
Closing Vamp       The Creeping Crud Express CD2°

June 7 1975 (Saturday - Evening Show)
Hirsch Coliseum, Shreveport, Louisiana
Love Me       Another Saturday Night (FTD)°
If You Love Me (Let Me Know)       Another Saturday Night (FTD)°
Love Me Tender       Another Saturday Night (FTD)°
All Shook Up       Another Saturday Night (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Another Saturday Night (FTD)°
Hound Dog       Another Saturday Night (FTD)°
The Wonder Of You       Another Saturday Night (FTD)°
Burning Love
      Another Saturday Night (FTD)°
Introductions / Band solos       Another Saturday Night (FTD)°
_Johnny B. Goode (Guitar solo - James Burton)     Another Saturday Night (FTD)°
_Drum solo (Ronnie Tutt)       Another Saturday Night (FTD)°
_Bass solo (Jerry Scheff)       Another Saturday Night (FTD)°
_Piano solo (Glen D Hardin)       Another Saturday Night (FTD)°
Introductions       Another Saturday Night (FTD)°
_School Day (Joe Guercio Orchestra)       Another Saturday Night (FTD)°
T-R-O-U-B-L-E       Another Saturday Night (FTD)°
Why Me Lord       Another Saturday Night (FTD)°
How Great Thou Art       Another Saturday Night (FTD)°
Let Me Be There       Another Saturday Night (FTD)°
An American Trilogy       Another Saturday Night (FTD)°
Funny How Time Slips Away
      Another Saturday Night (FTD)°
Little Darlin'       Another Saturday Night (FTD)°
Mystery Train / Tiger Man       Another Saturday Night (FTD)°
Can't Help Falling In Love / Closing Vamp       Another Saturday Night (FTD)°

June 8 1975 (Sunday - Afternoon Show)
State Fair Coliseum, Jackson, Mississippi
I Got A Woman / Amen
      Fly T-R-O-U-B-L-E!° (last part only)
Love Me       Fly T-R-O-U-B-L-E!°
If You Love Me (Let Me Know)       Fly T-R-O-U-B-L-E!°
Love Me Tender       Fly T-R-O-U-B-L-E!°
All Shook Up       Fly T-R-O-U-B-L-E!°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Fly T-R-O-U-B-L-E!°
Hound Dog       Fly T-R-O-U-B-L-E!°
The Wonder Of You       Fly T-R-O-U-B-L-E!° (first part missing)
Burning Love       Fly T-R-O-U-B-L-E!°
Introductions / Band solos
      Fly T-R-O-U-B-L-E!°
_Johnny B. Goode (Guitar solo - James Burton)     Fly T-R-O-U-B-L-E!°
_Drum solo (Ronnie Tutt)       Fly T-R-O-U-B-L-E!°
_Blues (Bass solo - Jerry Scheff)       Fly T-R-O-U-B-L-E!°
_Piano solo (Glen D Hardin)       Fly T-R-O-U-B-L-E!°
Introductions       Fly T-R-O-U-B-L-E!°
_School Day (Joe Guercio Orchestra)       Fly T-R-O-U-B-L-E!°
T-R-O-U-B-L-E       Fly T-R-O-U-B-L-E!°
Why Me Lord       Fly T-R-O-U-B-L-E!°
How Great Thou Art       Fly T-R-O-U-B-L-E!°
Let Me Be There       Fly T-R-O-U-B-L-E!°
Funny How Time Slips Away       Fly T-R-O-U-B-L-E!°
Little Darlin'       Fly T-R-O-U-B-L-E!°
Mystery Train / Tiger Man       Fly T-R-O-U-B-L-E!°
Fever       Fly T-R-O-U-B-L-E!°
Can't Help Falling In Love       Fly T-R-O-U-B-L-E!°

June 8 1975 (Sunday - Evening Show)
State Fair Coliseum, Jackson, Mississippi
Love Me       A Capital Performance° (LMP & Madison)(first part missing - spliced
with version from June 10)
If You Love Me (Let Me Know)       A Capital Performance° (LMP & Madison)(first part missing - spliced
with version from June 10)
Love Me Tender       A Capital Performance° (LMP & Madison)(first part missing - spliced
with version from June 10)~Checkmate In Las Vegas° (1st part missing)
All Shook Up       A Capital Performance° (LMP & Madison)
(Let Me Be Your) Teddy Bear / Don't Be Cruel       A Capital Performance° (LMP & Madison)
Hound Dog       A Capital Performance° (LMP & Madison)
The Wonder Of You       A Capital Performance° (LMP & Madison)
Polk Salad Annie
      A Capital Performance° (LMP & Madison)
Introductions / Band solos       A Capital Performance° (LMP & Madison)
_Johnny B. Goode (Guitar solo - James Burton)     A Capital Performance° (LMP & Madison)
_Drum solo (Ronnie Tutt)       A Capital Performance° (LMP & Madison)
_Blues (Bass solo - Jerry Scheff)       A Capital Performance° (LMP & Madison)
_Piano solo (Glen D Hardin)       A Capital Performance° (LMP & Madison)
Introductions       A Capital Performance° (LMP & Madison)
_School Day (Joe Guercio Orchestra)       A Capital Performance° (LMP & Madison)
T-R-O-U-B-L-E       A Capital Performance° (LMP & Madison)
Why Me Lord       A Capital Performance° (LMP & Madison)
How Great Thou Art       A Capital Performance° (LMP & Madison incomplete)+Spirit Of Jackson
(FTD)°
Let Me Be There       A Capital Performance° (LMP & Madison)
An American Trilogy       A Capital Performance° (LMP & Madison)
Little Darlin'       A Capital Performance° (LMP & Madison)~Spirit Of Jackson (FTD)°
Mystery Train / Tiger Man       A Capital Performance° (LMP & Madison)
Funny How Time Slips Away       A Capital Performance° (LMP & Madison)
Can't Help Falling In Love       A Capital Performance° (LMP & Madison)
Closing Vamp       A Capital Performance° (LMP & Madison)

Tape Logs
 
Soundboard Recording
June 8 1975 (Evening Show)
June 8 1975 (Evening Show) - Soundboard
 


June 9 1975 (Monday)
State Fair Coliseum, Jackson, Mississippi
I Got A Woman / Amen
      Leaving Jackson On Fire° (last part only)
Love Me
      Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
If You Love Me (Let Me Know)       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Love Me Tender (Intro) / All Shook Up       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Hound Dog       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
The Wonder Of You       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Polk Salad Annie       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Introductions / Band solos       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
_Johnny B. Goode (Guitar solo - James Burton)     Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
_Drum solo (Ronnie Tutt)       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
_Blues (Bass solo - Jerry Scheff)       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
_Piano solo (Glen D Hardin)       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Introductions       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
_School Day (Joe Guercio Orchestra)
      Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
T-R-O-U-B-L-E       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Why Me Lord  
KPA5
9590 Leaving Jackson On Fire°~Today (Legacy) CD2°~Elvis Aron Presley
CD4°~Cut 'Em Down To Size°~Spirit Of Jackson (FTD)°
Let Me Be There       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
An American Trilogy       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Let Me Take You
Home°~Going Back To Memphis°~Hometown Shows CD2 (FTD)°
~Spirit Of Jackson (FTD)°+Bringing It All Back Home CD2° (ending
spliced with incomplete June 10 version)
Funny How Time Slips Away       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Dialogue - Elvis cuts the security down to size       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Spirit Of Jackson
(FTD)°
Mystery Train / Tiger Man       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Let Me Take You
Home°~Going Back To Memphis°~Bringing It All Back Home CD2°
~Hometown Shows CD2 (FTD)°~Spirit Of Jackson (FTD)°
Help Me Make It Through The Night       Southern Nights (FTD)°~Leaving Jackson On Fire°~Cut 'Em Down To
Size°~Spirit Of Jackson (FTD)°
Can't Help Falling In Love / Closing Vamp       Leaving Jackson On Fire°~Cut 'Em Down To Size°~Bringing It All Back
Home CD2°~Hometown Shows CD2 (FTD)°~Spirit Of Jackson (FTD)°

Notes

There is a discrepency with Can't Help Falling In Love from this show - On 'Hometown Shows' we hear Elvis say "Thank you very much..." and there is no Closing Vamp, but on 'Spirit Of Jackson' there is no dialogue, but the Closing Vamp is there.
It appears the dialogue on 'Hometown Shows' is edited in from another show.


Tape Logs
 
Recording Information
Elvis Aron Presley
Elvis Aron Presley - Concert
 


June 10 1975 (Tuesday)
Mid-South Coliseum, Memphis, Tennessee
Opening Theme - Love Me Tender (Instrumental)
    Guaranteed To Blow Your Mind°~Going Back To Memphis°
_Keep It Goin' (Voice)       Guaranteed To Blow Your Mind°~Going Back To Memphis°
_Going Back To Memphis (Voice)       Guaranteed To Blow Your Mind°~Going Back To Memphis°
Announcements / Warmup       Guaranteed To Blow Your Mind°~Going Back To Memphis°
Comedy Pre-Program by Jackie Kahane
      A Capital Performance° (LMP)
         
Also Sprach Zarathustra  
KPA5
9576 Today (Legacy) CD2°~Elvis Aron Presley 4°~Leaving Jackson On Fire°
~Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Tryin' To Get To You°~A Capital Performance° (LMP &
Madison)+The Eagle Has Landed°~Deep Down South°~Another
Saturday Night (FTD)°~Hometown Shows CD2 (FTD)°
C. C. Rider       Bringing It All Back Home CD2°~Leaving Jackson On Fire°~Let Me Take
You Home°~Going Back To Memphis°~Trying To Get To You°~A
Capital Performance° (LMP & Madison)~Cut 'Em Down To Size°
~Another Saturday Night (FTD)°+The Eagle Has Landed°~Deep Down
South° (1st part only)~Hometown Shows CD2 (FTD)°
I Got A Woman / Amen       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Tryin' To Get To You°~A Capital Performance° (LMP
& Madison)~Cut 'Em Down To Size°~Leaving Jackson On Fire° (First
Part)~Another Saturday Night (FTD)°~Hometown Shows CD2 (FTD)°
Love Me       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~A Capital Performance° (Madison - first part)
~Hometown Shows CD2 (FTD)°
If You Love Me (Let Me Know)       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~A Capital Performance° (Madison)~Hometown Shows
CD2 (FTD)°
Love Me Tender       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~A Capital Performance° (Madison)~Hometown Shows
CD2 (FTD)°
All Shook Up       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Hound Dog       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Fairytale       Southern Nights (FTD)°~Bringing It All Back Home CD2°~Let Me Take
You Home°~Going Back To Memphis°~Hometown Shows CD2 (FTD)°
Burning Love       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Introductions / Band solos       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
_Johnny B. Goode (Guitar solo - James Burton)
    Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
_Drum solo (Ronnie Tutt)       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
_Blues (Bass solo - Jerry Scheff)       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
_Piano solo (Glen D Hardin)       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Introductions       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
_School Day (Joe Guercio Orchestra)       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Introductions (Vernon & Dr Nick)       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
T-R-O-U-B-L-E       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Why Me Lord       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
How Great Thou Art       Bringing It All Back Home CD2°~Let Me Take You Home°~Where No
One Stands Alone (Reeltrax)°~Going Back To Memphis°~Hometown
Shows CD2 (FTD)°
Let Me Be There       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Funny How Time Slips Away       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
Little Darlin'       Bringing It All Back Home CD2°~Let Me Take You Home°~Going Back
To Memphis°~Hometown Shows CD2 (FTD)°
An American Trilogy       Bringing It All Back Home CD2° (incomplete - tape runs out)+Bringing
It All Back Home CD2° (spliced with ending of June 9 version)

Tape Logs
 
Soundboard Recording
June 10 1975
June 10 1975 - Soundboard
 


On Tour, July 8 - July 24 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Jerry Scheff
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

July 8 1975 (Tuesday)
Myriad Convention Center Arena, Oklahoma City, Oklahoma
Recorded on Soundboard
       

July 9 1975 (Wednesday)
Hulman Civic Center Arena, Terre Haute, Indiana

       

Review

July 9 1975 - Terre Haute, Indiana
Review by Shirlene Clemons - Elvis News Service Weekly, Issue 213-14 (July 23 1975)

Elvis took the stage of the Hulman Civic University Center at the Indiana State University last night, and sang for over an hour to over 10,000 fans. The audience gave him great applause and continued to do so all thru the sold-out show. 'C.C. Rider' was his opening song and 'I Got A Woman' was next but he started it first with a lot of "well, well, wells" etc., and ending it with the 'Amen' ending having JD go down all the way doing the low bass singing and after much applause they repeated the ending again and then Elvis finishes with the big ending he does. After the applause died down Elvis said "You're a good audience ladies and gentlemen, I'm Johnny Cash! We're going to do some songs I hope you like, some new ones, some old ones, so enjoy yourself for the next twenty minutes!" And that got a laugh, 'cause we all knew Elvis would perform longer than that. Then after he had tossed Charlie his guitar he went into 'Love Me', and then it was time for the scarf game. Fans would come up stage front for a scarf and a kiss, and it always delights the audience to see someone get a kiss. After he finished his next song 'If You Love Me (Let Me Know)' he said "thank you very much", and asked how many people saw him in Indianapolis the last time, and there was much applause, Then he said he'd like to do his first movie song 'Love Me Tender' which the audience welcomed with a lot of applause. As Elvis had been giving out scarfs and kisses to fans they felt they should give too I guess for, after 'Love Me Tender' many items started getting tossed on stage. Some, because I was quite far back I couldn't really make out, most though, I could.

It's interesting that one item was a huge large size pair of yellow rim glasses, the sort of thing you give to someone as a gag thats sold in certain type of novelty places here - as all the headlines were so dreadful on the newsstands saying 'Elvis is going blind etc..' He didn't have any trouble what-so-ever in the show about seeing, as far as I could tell, so one wonders if it's all that serious about his recent eye trouble, and do hope that it isn't of course. Anyway he accepted the glasses and said to the person "You want a scarf and a kiss?" and she agreed I'm sure to the exchange for he gave her both which the audience loved to see. He picked up some more of the items tossed on stage, and someone couldn't resist the gag I guess of throwing up a bra and panties. Elvis picked them up to much laughter from the crowd and said "Who did this??", and "Friends someone in the audience is nude!" then he saw a chance to have some fun with JD, so he said "Come here JD," and went over, and put one part on him to wear as a gag. 'All Shook Up' and 'Teddy Bear' were done next and then into a really great version of 'Don't Be Cruel' with much of the audience clapping in time to the beat as Elvis sings. 'Hound Dog' was greeted big next. He said de'd like to do a song he did a few years ago wonder of you and that also was well received.

People in the back of the stage part were all calling to him to turn around, so he did and got a large response from this section. 'Burning Love' was next and it was a really great and powerful version with a long work out at the end by Elvis, and everyone in the back-up group, that the audience gave him long applause for this. Elvis then gave more scarfs and kisses to fans who'd come up for the scarf game, he seemed to enjoy playing with the fans. Sometimes he'd let go right away and other times he'd hold the scarf back for a second and it was very funny when he was teasing this one fan by not letting her have it right then with a kiss. A guy yelled out real loud breaking up the whole audience "Kiss her!" and Elvis said "You don't have to tell me what to do," so he knelt down and said to the fan first "I gotta tell you i kissed someone last night, and got the creeping crud, so I got it, and you'll get it. you don't care ?" He didn't fool her 'cause she got the scarf and the kiss. Elvis then went into the introductions of all his group. He joked with The Sweet Inspirations saying they'd been with him five years too many, and that they are fair, but said "No, they're really great" and then he introduced all the stamps and JD and Kathy Westmoreland, the intro music sounded like the Booker T hit 'Green Onions'. Highlights of the intro's were fantastic solos by James Burton doing 'Johnny B. Goode', as Elvis stood off mic' humming along at times, a word or two, but letting James have the full spotlight, then Ronnie Tutt did a fantastic work out on the drums, so Elvis said "Jerry how you going to follow that," so he had Jerry play a bluesy type solo which was good. - Then Glen Hardin was next and did a great solo on the piano, sounded like the Fats Domino song called the 'Fat Van' anyway it was the greatest and Elvis really got into it standing off mic' again singing at bit at times and the audience all clapping along. Charlie Hodge and then Voice were next. Elvis kidded Voice as they had on outfits with splits in the pant legs as he did saying "I thought I was the only one suppose to have splits in the pants legs!" His outfit by the way was beautiful, It was a dark blue (it seemed from a distance in the arena lights.) with a large eagle design on the back.

After introducing Joe Guercio and the band, and having them do a solo part he said "There's a song we got out 'T-R-O-U-B-L-E', but i'm afraid I may not get all the words right" but didn't seem to me he had any trouble at all with it and it was a fantastic version with a long ending work out as he'd done for 'Burning Love'. Then he said "Ladies & gentlemen I'd like to have J.D. and the Stamps do one of my favourite songs 'Why Me Lord'". Elvis was up to his usual tricks on JD for he joked and teased him on his solos in it. After each line he'd answer back in his high pitch voice to JD. JD would sing "why me lord" and Elvis would cut in and say "Thats a big question," and to "what have I ever done" (line) he said "not much" to JD and had all in laughter, but really broke up the place when he came over to JD saying "Sing it JD, sing it baby, kiss me honey, kiss me!" Then I guess he knew it was time to do something serious after all that comedy, so he said "There's a song I did in 1966 that I'd like to do for you with JD and The Stamps 'How Great Thou Art'." This was the highlight of the concert and I'm sure Elvis meant it to be, for he put so much into it. It was a very dramatic thing, and he really did it with such power in his voice that it brought the audience to a standing ovation, and due to the huge response he repeated it to everyone's joy.

'Let Me Be There' was next and is still a favourite. For in no time the audience was all clapping along to it. Then he has the lights turned on, so he can see everybody, which gets à big audience reaction. Someone gives him something from the audience and he takes it, and says "I'll be back in a minute, so hang loose". 'Funny How Tine Slips Away' is next, Elvis would be silly at times singing it, for when he came to the word "funny" he'd do this little laugh, and again he called for JD to sing low bass at the end which he did. When he went into 'Little Darlin' the audience broke out with laughter at first, for this song sounds silly now to sing, but Elvis' parody of it is a delight and a fun thing to hear. The audience broke out with more laughter during the talking part when Elvis came on with this deep sounding voice in it, and ending it really singing up in the high notes. After the applause he did the 'Mystery Train'/'Tiger Man' medley.

I figured the show was close to coming to an end, as he said "You're a fantastic audience, so anytime you want us back just call, so until then god bless you, and we bid you an affectionate farewell" as he went into 'Can't Help Falling In Love' hands were already reaching up to him from the close stage seats and people were coming up close also. He walked all around the stage, both back sides, to the corners where earlier he'd thrilled fans there by tossing scarfs up to them, and then to the front of the stage touching the hands of the people waiting there. Finally he left the stage with the audience still applauding long after he left, until the announcer came on, and said "Elvis has left the building", but I imagine it will be a long time before he leaves the hearts and minds of many of the fans there that night in Terre Haute.


July 10 1975 (Thursday)
Cleveland Coliseum, Richfield, Ohio

       

Review

July 10 1975 - Richfield, Ohio
Review by ? - Elvis News Service Weekly, Issue 225 (September 25 1975)

The show was listed as Cleveland, Ohio but was delayed about fifteen minutes as Elvis Presley and his Security Men had a hard time finding the place. The Coliseum was located approximately twenty miles out of Cleveland, Ohio. I remember stating to my dad that Elvis will not be able to find this place as we were looking for the place in the early afternoon and my parents do know Ohio pretty well as they go into Cleveland often and we had a hard time finding it also. Sure enough at the show Elvis apologised to the audience for being late because he could not find the place.

My mother waited outside in the rain to see Elvis come in and her wait was really worth it, as she snapped a picture of Elvis coming in with Linda Thompson, which showed that the rumours about Linda being separated from Elvis is false. When she remarked to some of the fans that she snapped a picture of Linda with Elvis coming into the show in the Limousine they thought my mother was nuts because of the rumours! Well we could hardly wait until we arrived home to get it developed and it was really a thrill what a beautiful picture was snapped of her and Elvis.

The show was great, he sang a lot of different material. I was waiting to hear 'little Darlin' as I heard he was going to do it. At one point he remarked "let's do 'Little Darlin'" and proceeded on to introducing the members of the staff on the show. lie gave out more scarves then I have ever seen before. My seat was on the floor, close enough to see good but not for good pictures. I was very nervous as I was trying to shoot super-8 sound film and had my tape recorder going too. I thought any second some one would grasp me and Throw me out! Funny feeling and just thought is this all worth it? Well I do, because I enjoyed doing it. Any way Elvis looked neat. Elvis was wearing a white jump suit with small black trim. He didn't look fat to me. The place was a real sell out.Other places that I have been, had seats vacant in places where you could not possibly see Elvis, but this place had every seat filled, down behind the stage way up high. I mean really filled!! He kissed the girls for long period of time at the foot of the stage.

Elvis received a standing ovation for 'How Great Thou Art' and sang "My God" in an odd way, really screaming it out which I really didn't care for that too much myself and I heard remarks that the public didn't go for that!! When J. D. was singing 'Why Me Lord' Elvis put a scarf on his head and made fun, talking like a girl. My parents said they didn't like this on a religious song but I personally thought it was great.

Something odd that I have not experienced at a Elvis show before seeing people leaving early, as they left, I moved up closer to the stage. When he went into 'Can't Help Falling In Love' -- I started for the stage with a few others and a guard stopped me and I said -- "Come on man, I'm a police officer too" and he then said -- "go ahead". I stood on a chair in the front row, Elvis stopped for a few second and just stared into the audience for about forty or fifty seconds just staring. I don't know if he was looking at me but it sure seemed like it. The only bad thing was I only had one picture left on my camera and my hand was shaking so much that I just could not line up the shot. The snap didn't come out too bad but it was a shame that I didn't have more film. He spent more time in shaking hands on stage then any other time that I have seen him in the past. Oh! I was sick that I had no more film.His face was very pale and his hair looked thin, and I said to myself --- Elvis getting bald--OH! NO! Although he didn't look fat like people have been writing about for months. Personally I thought Elvis looked great but if gained three hundred pounds we would all enjoy his singing and still like him. It was obvious that he had been sick and age is showing in his face. It was really great and a wonderful feeling to see him so close., again!!!

Enjoyed every minute of the show as always.


July 11 1975 (Friday)
Civic Center, Charleston, West Virginia
Recorded on Soundboard
       

July 12 1975 (Saturday - Afternoon Show)
Civic Center, Charleston, West Virginia

       

July 12 1975 (Saturday - Evening Show)
Civic Center, Charleston, West Virginia
Recorded on Soundboard
       

July 13 1975 (Sunday - Afternoon Show)
International Convention Center, Niagara Falls, New York

       

Review

July 13 1975 - Niagara Falls, New York
Review by Nadine Rightmyer - Elvis News Service Weekly, Issue 213-14 (July 23 1975)

I've been an Elvis fan since I was about twelve years old and I've loved every minute of it. But the greatest moments of any fans life is when they see Elvis in person for the very first time.

This incredible experience happened to me on July 13th 1975 at the Niagara Falls Convention Center at the age of twenty-one. We had tickets for his 8.30 show months in advance but we also managed to get tickets for his 2.30 show the day before he was to perform. Needless to say I was flabbergasted! A fan who had never seen him and thought that she may never see him during her whole life. Here I was about to see not one but two Elvis Presley shows!!! My seat for his 2.30 show was to the side of the stage and not very good, but I didn't mind because I got to see Elvis come out of the door that was very near to my seat and run up on stage. When I first caught sight of him I screamed "Oh my god it's really him"!!! He wore a terrific dark blue jumpsuit with a thunderbird on the back. I missed quite a bit of what Elvis was doing and couldn't understand him when he talked because of the bad location of my seat. But I did get a great side view of Elvis' face during most of the show. (thank God for binoculars!) During the first half of the show almost everyone was in their seats but five minutes after Elvis came out everyone was standing on their chairs to see him! With 1,000s of flashcubes going off, it looked worse than a lightening storm. I knew I had another rare treat coming to see Elvis run down the stage steps and out the door near me.

Our seats for his 8.30 show were very good, I had a full front view of the entire stage and could see everything that was going on. Thanks again to binoculars I had a close view of all of Elvis' exciting body movements and of all his famous facial expressions. He wore a beautiful white jumpsuit trimmed in black design down the sides of his pants and an eagle on his back. He was in a great mood because he wore that one and only Elvis smile continuously and he was fooling around during the whole show. I loved all the songs Elvis sang of course but i especially enjoyed 'T-R-O-U-B-L-E', 'Little Darlin', 'How Great Thou Art', 'Burning Love', 'Heartbreak Hotel' and 'Mystery Train'/'Tiger Man'. During 'How Great Thou Art' I thought the Convention Center might fall apart, his voice was so powerful. During 'Why Me Lord' Elvis tried his best to make JD Sumner laugh by putting a scarf around his head getting very close to JD and making his voice very high like a girls. A super exciting highlight of this show was when Elvis took a legs-apart stance during 'Tiger Man' and when those wild drum beats came, Elvis shook his entire body from side to side. His hair went flying and so did I!!!

Two things got Elvis upset but only for a minute because he was soon smiling away again. The first thing was when a band member was doing a solo. The spotlight was kept on Elvis and Elvis wanted it on the band member. Elvis said, "Why ya got the spotlight on me, I ain't doin' nothin'." When the spotlight remained on Elvis, he shook his head in displeasure and said, "They don't pay any attention to me." The second thing was when Elvis asked for the houselights to be turned on and they didn't come on, he waited only for a brief moment and then said angrily, "You're not gonna turn them on, okay forget it" and went immediately into another song. A while later during the song the houselights were turned on and in mock shock Elvis fell flat on his back on the stage floor! He's a nut!! Elvis took a drink of wa wa from time to time and threw whatever was left in the glass over his shoulder on the background singers. During a good portion of the show Elvis kept his thumb hooked in his belt loop he pretended to play the back of his guitar and when he didn't have a guitar at all he pretended to be playing one. He laughed himself silly. A variety of gifts were thrown on stage and Elvis reacted to them all. He stuck a large yellow flower in his beautiful black hair behind his ear. He looked like a 'Little Darlin'. He put on a policeman's hat and he looked absolutely fantastic in it! He gave out endless scarves and several kisses. One very lucky girl was escorted by Joe Esposito up onto the back of the stage to a waiting Elvis. She put her arms around him and gave him a long kiss. The audience clapped and cheered. This this fans opinion Elvis is by no means "Fat and forty". He looks "Thirty and gorgeous". At the end of his show he said a couple of things that I found to be touching. When Elvis saw all his fans mobbing the stage he said, "Don't get hurt -- don't get hurt" (probably remembering the crush last year at the close of one show.) His last words were, "Take it easy going home and God bless." Elvis may God bless you for you are truly a gift from heaven.


July 13 1975 (Sunday - Evening Show)
International Convention Center, Niagara Falls, New York

       

July 14 1975 (Monday)
Civic Center, Springfield, Massachusetts
Recorded on Soundboard
       

July 15 1975 (Tuesday)
Civic Center, Springfield, Massachusetts

       

Review

July 15 1975 - Springfield, Massachusetts
Review by Patricia Ann Cervone - Elvis News Service Weekly, Issue 213-14 (July 23 1975)

I saw Elvis in person tonight in Springfield, Mass. I completely fell out of my chair upon seeing his new jumpsuit. This one is super. It's a new black suit, covered with red, silver, beads, jewels, studs glitters etc., It's loud, raunchy and is stunning on beautiful Elvis! Absolutely fantastic outfit! Wow!

He appeared to be in a foul mood. Several times he snapped at the band, he became fed up with his guitar because it didn't seem to be working right, so it appeared that he flung it into the audience seated behind him. Don't know if a lucky fan caught it or Charlie retrieved it but it did go flying into the crowd. Elvis was absolutely mean the first half of the show but the crowd never stopped loving him and he became very loose and responsive during the second half. His bad mood never interfered with the fans enjoyment of the show. Elvis sang with much feeling. The show lasted one hour and ten minutes. He tries so very hard to please. He relies so heavily on the fans to pick him up from his apparent "depression" and it works! We really are so very important to him!

I was most impressed with his positive acknowledgment of the crowd. He went out of his way to thank each section of the huge crowd, especially those seated behind the stage. He kissed only three or four lucky girls but his scarves were generously distributed. His live rendition of 'Burning Love' was super with a throbbing ending "Hunka, hunka, hunka burning love" -- -- -- etc, just great)

A partial list of songs is listed below - not in sequential order. His voice is in 100% top shape - He still is about 20 lbs overweight - No matter it's Elvis -- -- He's still the greatest still the best, still the king! Will see him again tomorrow night in New Haven, Connecticut, and on Saturday in New York. Will write again - a very impressed Patricia Ann Cervone!

July 15th Springfield, Massachusetts. 8.30 show.
'C.C. Rider, 'I Got A Woman' ('Amen' extended version sung like a hymn), 'Love Me Tender', 'Love Me', 'The Wonder Of You', 'T-R-O-U-B-L-E', 'Burning Love' (fantastic). If You Love Me (Let Me Know)', 'Funny How Time Slips Away', 'Mystery Train'/'Tiger Man' (done extremely well with strobe effect lighting!), 'An American Trilogy', 'Let Me Be There', 'Why Me Lord', 'Heartbreak Hotel', 'All Shook Up', 'Teddy Bear', 'Hound Dog', 'Can't Help Falling In Love'.


July 16 1975 (Wednesday)
Veterans Memorial Coliseum, New Haven, Connecticut
Recorded on Soundboard
       

Review

July 16 1975 - New Haven, Connecticut
Review by Patricia Ann Cervone - Elvis News Service Weekly, Issue 213-14 (July 23 1975)

Well, onto New Haven. Whatever was bothering Elvis last night had disappeared for showtime in New Haven. He was back to his usual loving self for this show. Smiles all the way! and another new jumpsuit, it is similar to the one I described which he wore in Springfield, but this one is much more subtle and less "showy". He looked terrific and his voice was in much better shape, too. He sang basically the same songs but did add 'You Don't Have To Say You Love Me', 'How Great Thou Art' (a super fantastic version!) 'Little Darlin', and 'I'll Remember You'. His version of 'Burning Love' is fabulous! For a song he used to not like, he really seems to be enjoying it now. The fans loved it! Elvis received a whole bunch of gifts at this show and he thanked everyone for them. He also made note of all the signs displayed around the arena and he thanked those who took all the time and trouble to make them. Very nice. The show was a bit longer and Elvis did not want to leave the stage.

I personally believe Elvis would have stayed on stage longer but the fans were rushing the stage at hysterical levels and I think the security asked Elvis to leave so there wouldn't be a mad rush. The fans were so enthusiastic. From what I had heard from the local fans, this is the first time Elvis had ever played New Haven, so naturally, they were quite excited. Elvis loved it all and his attitude toward the fans was very warm and friendly. It's nice to see Elvis responding so well to the audiences. All those rumours about him being fed up with touring must be false. The fans had a great time at the concert and Elvis was enjoying himself too. He is looking extremely well and happy. I am looking forward with great pleasure to seeing him in New York tomorrow.


July 17 1975 (Thursday)
Veterans Memorial Coliseum, New Haven, Connecticut

       

July 18 1975 (Friday)
Cleveland Coliseum, Richfield, Ohio
Recorded on Soundboard
       

Review

July 18 1975 - Richfield, Ohio
Review by ? - Elvis News Service Weekly, Issue 225 (September 25 1975)

I waited outside to see Elvis coming in, but so were a lot of other people so the guards were very nervous and I must say very rude. When Elvis came in, I ran to the Limousine to snap a picture as well as others did the same but a guard stood in my way and when I pushed him, my camera went down a little and I only snapped the car and no Elvis. I walked back to my car as it was very close to get my other cameras and etc. and I was sick by the action of the guards so rude!! As I was opening the trunk, I thought I was seeing things ---- a white jumpsuit with a Tiger design on --- was this Elvis walking? No! a guy much shorter than Elvis and with lighter hair had a jump suit on exactly like Elvis was walking into the show. Later on at the show the guy walked down to the stage and Elvis bent down to shake the guys hand .and said --where did you get the suit? You make me jealous!!! I could not hear what the guy said to Elvis.

The show was the greatest that I have ever seen., since the one I say in the year of 1956. He moved more and did a fabulous 'Amen', over and over, I can't wait to see it on my movie projector when I get the films back. He sang 'Happy Birthday' to Ed, one of The Stamps and gave him a bracelet from his wrist after the song he went into 'Why Me Lord' and Ed sang -- But my birthday is tomorrow. Next Elvis told the audience he was going to have Ed sing a Gospel song, which he aid and he sounded great ('I Should Have Been Crucified'). Elvis stood in the shadows the whole time afterwards Elvis then went into another song. A girl ran up and gave a huge hat to one of The Sweet Inspirations and she put it on Elvis 's head he walked around like in an odd way and drank sone water out of a glass for a few minutes with the hat on. This was very funny to see. Everyone seemed to enjoy this hat show which Elvis put on the stage. Snapped a picture of this also, not bad. A boy had a sign saying --Please kiss my wife for our anniversary is today and Elvis said bring her down. The husband snapped a picture as Elvis kissed his wife. Then Elvis asked the guy -- "did you get a picture?" Many more times he kissed girls in the audience. He pointed to different girls in the audience and the guards let them come up to the stage each time. He would then shake his head afterwards, like they were sone kisses!!! It was very obvious that he was picking cut the . prettiest girls. Every song was better and better and he seemed like the old Elvis once again. At one time he asked --what do you want to hear? 'Polk Salad Annie' or 'Burning Love'. It was a great version and he really moved to the Day. A really great show.

At the end, I got to the stage again but the crowd was really big at the foot of the stage and I just couldn't seem to get where I wanted to. I tried to take a picture but could not set my hands up to my camera., which I had strapped around my neck. I had a small camera in my left hand and a bag with my movie camera in tay right, so I stuck a flash cube in my mouth, and tried to put it in the camera. Some one pushed me to the foot of the stage and Elvis looked down at me and laughed, what he must have thought of me with the cube in my mouth????

He didn't spend as much time on stage as the first show (July 10). I was sick after the show, when I found out my tape recorder jammed and I didn't get a taping of this great show.


July 19 1975 (Saturday - Afternoon Show)
Nassau County Veterans Memorial Coliseum,
Uniondale, New York

       

Review

July 19 1975 (Afternoon Show) - Uniondale, New York
Review by Tony Dobb - Elvis Monthly, Issue 318 (July 1986)

Nassau Coliseum, Long Island, New York, which was held on July the 19th 1975.

Elvis comes out on stage to the pounding rhythm of 'C.C. Rider' and the ear-splitting volume of the crowd. A fine 'I Got A Woman' follows with a lengthy 'Amen' bridge. Elvis is in great form vocally on this and the next number 'Big Boss Man' during which he hits some incredible notes, putting everything into it.

"Welcome to the Show" says Elvis. A bra then appears on the stage and Elvis reads the message attached .... "Love Joanne". "Are you Joanne", he asks a girl in the audience, "don't take anything else off, good God. They're rather small". The audience roars. "No, wait a minute, they're the smallest I've ever seen!" Changing the subject "We hope you have a good time". 'Love Me' is next with a long ending.

"I'd like to make an announcement", says Elvis. "I usually tell this to every show, I don't know what you've heard or what you've been told but we like you to just enjoy yourself and have a good time, that's why we're here, you know, so just have a good time. The only thing is the building ... the building managers have asked us to watch and see nobody falls or gets hurt in the aisle, so that's basically that. Other than that just ... L-L-L-LET IT GO!!". Elvis really emphasises that last part. A very competent version of 'If You Love Me (Let Me Know)' follows, then it's oldie time as Elvis does 'Love Me Tender', progressive ending with Elvis making Indian noises, then 'Hound Dog' with the crowd go A very casual version of 'The Wonder Of You' follows then it's "a song we recorded a long time ago, we've recorded it since then called 'Tryin' To Get To You'".

After observing that the binoculars in the audience "look like frogs", it's back to the Sun days for this song which is dynamically sung - a great version. Without hesitation, 'Burning Love' pops up next with some fine guitar playing from James Burton. Serving as an aid to get his breath back, Elvis takes to introducing his group. In his 1975 concerts, this used to take up to about ten or fifteen minutes, as most of the group did solos. After introducing singer Ed Enoch, Elvis says "Enoch? What kind of a name's that?!" Of John Wilkinson, rhythm guitarist, he says "I've never figured this guy out. He's the weirdest mutha on stage, believe me, next to Joe Guercio, the conductor. John picked up a blind girl one night on a date, you know the girl didn't know where she was". Why Elvis was telling the crowd this, I don't know.

James Burton does two solos. Firstly 'Johnny B. Goode' with Elvis accompanying Then he does an instrumental called 'Chicken Pickin' which features a special kind of guitar playing. A lively bright number, which is followed by Ronnie Tutt's ass-kicking drum solo. Elvis says he has to get out of the way as Ronnie is dangerous when he's in full flight! After a short bass solo from Jerry Scheff, Glen Hardin does a lengthy piano solo. I think Glen Hardin left Elvis in 1975 after constantly being doused with water by Elvis. 'School Day' gives the orchestra a chance to shine and the introductions are over. After telling us that Joe Guercio was 37 years old yesterday, he tells Joe he's got a little present for him and tells him to hold out his wrist. After presenting Joe with what was probably a gold watch, it's straight into the then current single, the rockin' 'T-R-O-U-B-L-E', a rather lack-lustre delivery from Elvis, probably having T-R-O-U=B-L-E with the barrage of lyrics contained in this song. The ending is good though with "whoa's", "yeah's", and "hey, hey's" all over the place! Then it's back nearly twenty years to that first RCA recording session and 'Heartbreak Hotel'. The New York audience loved this.

The stage is then given over co Elvis' vocal group, Voice, who do a beautiful job on 'Killing Me Softly'. Elvis wasn't wrong. A beautiful song, it was a pity that Elvis didn't join in. 'Let Me Be There' follows, Elvis enjoying himself. After this Elvis says he'd like to do something a bit different and asks Charlie Hodge to play the piano and sing with him the Gospel number 'Bosom Of Abraham'. Most unusual. Even more unusual is the number that follows - 'You Better Run'. Very similar to 'Bosom', this wordy Gospel tune has never been recorded officially by The King, or released by RCA. Then it's into 'You Gave Me A Mountain' with Elvis in a far from serious mood, making a few inane lyric changes at the beginning. The tongue-in cheek 'Little Darlin' is next, followed by the medley pyrotechnics from Elvis.

The house lights are then turned up at Elvis' request in order to see who he is performing to. The audience lets rip and Elvis picks out a few members of the crowd for a joke or two then, you guessed it, 'Funny How Time Slips Away' is next, the ending of this is delayed due to a girl demanding a scarf and a kiss from El.

"Ladies and Gentleman, you're a beautiful audience and I love you. Be careful going home and may God Bless you". The opening of 'Can't Help Falling In Love' is distinct and is, of course, the final song. EC minutes of great entertainment is now at an end. The closing vamp and the audience make for an arena filled ending, no doubt vibrating the roof. Elvis had left the building.


July 19 1975 (Saturday - Evening Show)
Nassau County Veterans Memorial Coliseum,
Uniondale, New York

       

Review

July 19 1975 (Evening Show) - Uniondale, New York
Review by Patricia Ann Cervone - Elvis News Service Weekly, Issue 219-20 (August 13 1975)

ELVIS arrived at Kennedy International Airport about 1:30 a.m. Saturday morning, July 19th. Approximately fourteen hours later he would, single-handed, thrill thousands of New York fans as he strolls out on stage at the Nassau Coliseum for the first of his two shows in New York that day. At the airport, he wore a suit which was very similar to the one he wore on a previous visit which was very similar to the one he wore on a previous visit to New York City in 1972....at his New York Press Conference before his concerts at the famed Madison Square Garden arena. He emerged from his limousine looking very well and extremely healthy (critics take note!) He wore those famous sun glasses (sigh) and he was smoking a cigar. About 100 fans greeted him at the airport and he seemed pleased with the reception. Naturally, everyone raced towards him when he appeared. But, somehow, after seeing him so close all you want to do is to stay back and let this man pass peacefully in front of you. What one notices most about Elvis Presley, off-stage, is his great stature, what a fine, handsome, pleasant man he is with such a beautiful smile. No doubt, Elvis must have been very tried from his concert in Cleveland just hours before and his plane ride immediately following that concert. But, he was always ready with a warm smile and a few kind words to the fans. He did say he was very happy to be back in New York and he did recognise that the local fan club, the king's court, was on hand to welcome him. He seemed pleased that so many people would interrupt their sleep and come out to the airport at that late hour. It all passed too quickly, he has arrived. Now, we had to wait all those long hours until we could see him perform.

Having seen him already twice during the previous week, I did not know what mood Elvis would be in for the NY shows, although I knew basically what the pattern of the shows would be (song list enclosed). Elvis did two shows in NY on Saturday and I have chosen the evening performance for my comments. No special reason for this, the afternoon show was fantastic, but the evening show held some special surprises which I'd like to share. It was no surprise to anyone that when Elvis walked out on the stage, the entire Coliseum was upon its feet, cheering and screaming its approval. You don't just approve of Elvis, you worship him. I know Elvis doesn't like to be worshipped by his fans in the divine sense of that word, and please, Elvis, don't misunderstand me, I don't mean we worship you in the sense that one would worship God, but the fanatical response you beckon can only be described as hero worship in the most affectionate sense of that term. oh, hell, elvis, forget that, like it or not, we worship you, plain and simple. Please take it as a compliment.......

Anyway, when he strolled out on stage, there was such an eruption of noise and roars that even Elvis seemed excited about it. I had a first row seat to both shows and during the course of each show I was never more than six feet from him at any one time. His every move is ingrained in my mind. It's a whole different show when you can watch it from the first row. Elvis doesn't just sing, he creates. He creates a mood with every song. Elvis is the acknowledged King of Rock and Roll. But, listen carefully and you will note he is also King of Interpretation of Music. He has a fantastic sense of what fits and what won't work. Even a simple YEAH! when he adds it does so much for a song. It's simply amazing how he can put so much into his music even if the song has been previously recorded by someone else. When Elvis sings it, it's his own. He takes a simple, basic song like 'Amen' (he sings this as the second song of a medley with 'I Got A Woman') and turns it into a chant heard at a Southern revival meeting. He sang 'Love Me Tender' WITHOUT any back-up music except an occasional piano chord. He never sounded better. His live version of 'T-R-O-U-B-L-E' is not to be believed. Once you hear it live, you'll pack up your single copy of it and only listen to it live on tape from the show. A simple, Hey!, Hey! sung by Elvis is an experience!

The first highlight of the evening for me (musically) was Elvis' rendition of 'How Great Thou Art'. He's sung this before so why all the fussy WELL!. When he hits the notes, "Oh my God, how great thou art"!, the fans in the first five or ten rows were so impressed, he received a standing ovation for just that phrase. He holds the note on God for about seven or eight seconds and then his voice just flows through the rest of the song. On top of that, after he finished the song, he did the entire song over again much to the demand and delight of the audience. When we New Yorkers write to Colonel Parker demanding that we want Elvis back in New York, we really mean it! I don't think the reception he received in New York was equalled along this entire tour of the states. Elvis even said on stage that he would visit New York again if we would have him back (Yes! Yes! Yes!) Needless to say, when Elvis finished with the second 'How Great Thou Art', the audience was standing and applauding wildly. If Elvis hadn't stopped the applause by going into his next song, I am sure the ovation would have lasted at least five minutes more. Elvis also gave the audience a choice at the evening show of hearing 'Burning Love' or 'Polk Salad Annie'. He said, "Now we have 'Burning Love' or we have 'Polk Salad Annie'" 'Burning Love'? There was wild applause. 'Polk Salad Annie'? Roars. Okay, "Let's do Polk Salad!" (At the afternoon show, we didn't have a choice, Elvis did 'Burning Love' - no complaints!) The song was done extremely well and Elvis really let loose on this one. It was one of the longest and most intense songs of the show. Another standing ovation and Elvis really knocked himself out on this one trying to please the audience. If we had been in California, I would have sworn an earthquake was imminent as the Coliseum was rocking and shaking amidst the band and the roar of the crowd. Critics who have constantly complained that Elvis can't move it anymore would have eaten their typewriters, key for key, after seeing him move on this one.

Probably the highlight of Elvis' entire Spring tour came near the close of the show with his announcement that "there's something I've wanted to do for a very long time, I'm going over to the piano". At that moment, a hush came over the huge crowd and the crowd was buzzing, "what is he going to do?", some new fans commented "I didn't know he could play piano, too!" Then, he went into the most beautive sensitive, inspired version of 'You'll Never Walk Alone' that I have ever heard. Just Elvis and the piano. In a room filled with 17,000 people who just moments before were screaming and carrying on, there wasn't a voice to be heard except Elvis'. The spotlight on him, the band not playing, his back-up singers chiming in on occasion. The mood was peaceful and it is something I don't think can ever be duplicated, "Walk on, Walk on, with hope in your heart.....", Everyone was moved, especially Elvis. When he ended, a moment of silence, and then the burst of applause led by the cries of Bravo! Beautiful! Hooray Elvis! I am sure he did not rehearse this song. For some reason he felt like doing it and we couldn't have been happier. It was a gift from Elvis. He got up from the piano and strolled toward the centre of the stage again now facing the first row which was by the very edge of the stage on its feet applauding loudly and yelling its approval. Elvis bowed to us all and said what a fantastic audience we were. Talk about fantastic! It's just like Elvis to compliment his audience when it is HE who should be congratulated! I don't know what moved him to give us this treat, I like to think it is because of the very loving response we gave him, but I do hope he realised how very impressed the audience was, some were moved to tears.

I've talked a bit about Elvis and his music. His voice was magnificent, he was in full control of it at all times. He never had to strain for notes, he paced himself beautifully. Now, I'd like to say a few words about how he looks. With all the rumours spreading about his health, weight, etc, I was but six feet from him so let me say this: Elvis is in fine shape. He is about ten to fifteen pounds overweight (are'nt we all,) but he is wearing a new style jumpsuit which does him great justice. It is black with heavy jewelled effect with a squared off neck. It is different from the V-neck style he has previously worn, but no matter, he looks terrific in it. His face is as flawless as flawless and vibrant as I've ever seen him. No wrinkles, no puffiness, nothing but clear, soft skin. Elvis gave me two scarves and knelt down directly in front of me, I was inches away from his face, so I had a good look. He is magnificent! I will argue to the death with any critic who states otherwise. I've seen him and he looks as good or better than I have seen him previously. If Elvis is ill, then every man should pray for such an illness! He looked very much alive and well to me! Now, about those beautiful, blue eyes.Never once did I see Elvis rub his eyes with his scarf) a habit he's been known to have) or indicate any discomfort about his eyes during the shows. He seemed just fine and not at all uncomfortable in any way or suffering from any pain. I wish the critics would stop printing this nonsense. rumours of a doomed Elvis scare the life out of his fans and there is no basis whatsoever for such reports. The only thing wrong with Elvis is that he is much too lenient with these critics. He should blast them as they attack him. With Elvis' power and influence he could easily restrain such lies, but, he has said that he understand that these people have to make a living, too. How he endures such abuse, I'll never know, He must be part Saint.

His mood was relaxed, confident and his show was a winner from every standpoint. He sang for nearly an hour and forty-five minutes during the evening show. The audience loved it! Elvis seemed very content to just keep singing. At the end of the show, he stood up on stage and shook hands as fast as he could. There were hundreds of outstretched hands, he tried to touch as many as possible. He gave out scarves rapidly. He knew where each scarf was going and he made a definite point that only those he designated would get the scarf. The security was very tight. He made an extra special effort to get to every corner of the stage so Everyone could get a look at him, and maybe, just maybe, they could touch him. That seemed to be the goal in everyone's mind. Maybe, if I could just touch him, once, maybe I'd be a better person for it. Elvis was busy plunging both his hands into the crowd. People were grabbing for a touch of his leg, his chest, his hand, his arm, Elvis was super nice to the children in the audience. He is so good with children. He must be a fantastic father. The men in the audience were screaming and yellowing for handshakes. One very enthusiastic male fan even yelled for a scarf and Elvis gave him one! Elvis gave that little crooked smile as if to say "You really want one, sir?"!!! When he gave it to this fan, the man went crazy, jumping up and down and thanking Elvis. My little ten year old niece was in the second row and she got so carried away she started screaming "Elvis, you're gorgeous! you're gorgeous!!" Elvis heard this little voice coming at him, he bent over and threw her a scarf!! Was she excited!!!! Elvis laughed....

Let's face it, a person's reaction to seeing Elvis in concert is not like a normal reaction one gets from seeing any other entertainer. I see it happening repeatedly. He is looked up to as something very special, someone so well loved and respected. I've seen Elvis in person some 125 times since 1969 and I must place these two NY shows in the Top Ten shows I have even seen Elvis do. Yes, one hundred and twenty five times, and I still get a thrill from it all. If I had a choice of seeing an Elvis movie or another entertainer live in concert, I would choose the Elvis movie and I've seen ALL of them dozens of time, too!) I know I am not alone. Many of you reading this will wholeheartedly agree with me. For those of you who have never seen Elvis live in concert, I say do it! I know it is a hardship, especially for the foreign fans, to save up and come to the States to see him. But, don't let another year go by without witnessing this legend. And don't fool yourself into thinking that eventually Elvis will visit your country so you will wait until then. Nothing is planned in that area for some time. Come visit the King! Now! I stopped counting the standing ovations at ten, so by anyone's standards, even the NY critics, who are said to be the toughest in the world, Elvis was a great success!

I have tried to keep this review informal and light, not getting into any heavy impressions of the King. I know Elvis doesn't like when his fans get philosophical about him. He considers himself "just an entertainer" but, really, to hypnotise me over 125 times in six years, I would say that even Elvis would have to admit that to me he is a hell of a lot more than just an entertainer. Remember, Elvis, show business is filled with just entertainers, but in this whole, wide world there is only One Elvis, and if you are too modest to say it, please permit me to say it for you. Elvis: You are the greatest! Men, women, children adore you, wish you well, pray for you, love you and make you an important part of their lives. Please don't ever change! And critics take note: Please waste your time and little talent on just entertainers, and leave Elvis to his loyal following. We'll always be here for him, no matter what. The only trouble is that my reviews will never be printed up in major newspapers coast to coast in the USA. Elvis sees only these reviews. He must really chuckle to himself when after seeing for himself the kind of love and devotion he commands at a live show to come back to his hotel room and read where some inadequate human being strikes out against him. We fans may take those bad reviews seriously but I hope Elvis just laughs them away. Keep smiling, Elvis! We Love You! And please come visit New York again. But, if, by chance, you can't get to me, I'll never stop, tryin' to get to you........


July 20 1975 (Sunday - Afternoon Show)
Scope Cultural Convention Center, Norfolk, Virginia

       

July 20 1975 (Sunday - Evening Show)
Scope Cultural Convention Center, Norfolk, Virginia

       

Review

July 20 1975 (Evening Show) - Norfolk, Virginia
Review by Martha Collins - Elvis News Service Weekly, Issue 218 (August 4 1975)

We were given tickets to the evening show in Norfolk, Virginia on July 20, at the very last minute, so could not manage to book rooms at the Holiday Inn nearest the Scope Convention Center. We did, however, go there for lunch before the shows, and I had the privilege of having Jackie Kahane stumble over my foot!! One woman, about six-months-pregnant, insisted on getting autographs from a group of roadies (stagehands) who found their sudden high status overwhelming. Tom Diskin wandered through, but the crowds were so great that many of the Presley troupe had to leave without eating. Hotels all over town were booked solid, and everyone from waitresses to clerks was amazed at the power of Elvis! (He'd not been in Norfolk for seventeen years!)

The show opened right on time; all acts were at their best, though the sound was terribly muddy. At 9.35, Elvis appeared on stage to truly wild adulation! He wore yet another new white jumpsuit; this one with black sparkly lines down each leg, stripes on belt and collar, and a bird with out-stretched wings on the back, Black was the only decorative colour, and looked very smart. Elvis was in good spirits, but not as bubbly as when we saw him in Mobile. As it turned out, he would need good spirits to get through the show!!

The show, of course, followed the same basic Vegas format. But the first major departure from the norm was Elvis' treatment of the 'Amen' section of 'I Got A Woman'. He began to conduct the audience, encouraging us all to sing along with him, and he kept it going, instructing the orchestra to raise the key at each ending of the chorus!! Then he lowered his mic', stopped singing, and accompanied us on his guitar!! It was simply fantastic - the feeling of closeness and joy, with Elvis seeming to step aside to enjoy it - and the music - with us!! J.D.'s airplane sounded sick, but we understand he's been sick! Elvis did not make him repeat it. He paused then to greet the audience and promised to sweat for us! (Because of the poor sound, we could not always get his words so this report cannot be as detailed as I'd like.) After 'Love Me', a young girl approached the stage begging for a kiss, Elvis asked, "How old are you?" He repeated her answer ("Twelve"!) wide-eyed, then fell over backwards to lie flat on the stage in a mock faint at her tender age!! When he stood up again he yelled, "You better call the law," then bent and kissed her very gently on the forehead!!

During 'Love Me Tender', somehow Charlie got caught between Elvis and one of the girls he was kissing and had to crawl out on his knees, to the great amusement of the audience - which was always very vocal and affectionate! As a prelude to 'Hound Dog', Elvis told a long story which we unfortunately couldn't quite hear, except that at the end, he pretended to threaten The Stamps and promised to "Whup their ass," () The audience exploded at that - Elvis has a fine sense of comedy and told this story nonchalantly in a soft and gentle voice, leaving the shocker for the very end. One never knows what he will say on stage nowadays!) Next, he sang 'The Wonder Of You' in which he joined in singing a descant to the Stamps chorus of "ooooos" - he's in exceptional voice as before. Then he practically slithered into 'Polk Salad Annie' - moving more than any other time that evening, ending with an impressive karate stance, Walking towards the singers, he then began the introductions, which were, strangely, to get him into quite a bit of trouble.

He did The Stamps individually, then Kathy. He wasn't angry that we could tell, but was icily calm and serious. To Kathy and/or the Sweets, he said, "I'm sorry.. ...." (this section we couldn't hear and whether it pertained to the earlier teasing about food or not - see the Norfolk paper - Elvis was displeased with the performance of the girls and ended rather crudely with).... "if you can't take it, get off the pot!!" Elvis is too professional himself to do a bad show because of an imagined (or otherwise) slight and was piqued that the girls were not singing well. He simply did not introduce the Sweets at all, and turned to James Burton, and went on with the intros as if nothing had been said. At that point, Kathy ran off stage with Estelle close behind her, and Sylvia followed shortly! Only Myrna remained, and the other three never returned!! The audience was surprised by this (we heard some "ohs" when Elvis scolded the girls) but carried on by Elvis' strength, appeared to forget it almost immediately. He went into 'T-R-0-U-B-L-E' with no apologies about the girls or his alleged problems with the words and did a great job. By this time, it was obvious to us that the backup singers were hurting, as there was only one girl and JD was not his usual self supplying a strong bass, but Elvis threw himself into the songs, giving us the best show he could. In 'Why Me Lord', he was up to his usual high-jinks and wrapped a scarf over his head, teasing JD in his high "Geraldine" voice ("Show me, JD, honey"!!) but did not succeed in totally destroying JD for a change. This he followed by a stirring version of 'How Great Thou Art', as if determined to feature the faithful Stamps, and perhaps searching for songs that did not require the female voices heavily for effect. He hit and held a high note on the final "My God... (how great thou art)" before the chorus that would have had any opera singer green with envy! And then redid the chorus enthusiastically, adding high notes here and there, and receiving an ovation for his efforts. It was just before these songs, that he went over to Myrna, without the spotlight on him, and quietly handed her one of his diamond rings. At first, she refused it, but he said, "Take it, take it!" - not impatiently or sternly, but like a young child insisting on what he knows is right. Finally he took Myrna's hand, opened it, and gave her the ring. She acquiesced at last, but not altogether willingly. (The newspaper account makes her sound eager for reward - she was not!)

Then Elvis walked over to the back of the stage and asked, "How can you see up there? Can you see up there?!" He took several scarves from Charlie, and climbing up on stage props and stretching, managed to throw the scarves up into the balcony!! (You can imagine the wild response and thrill of the people in the balcony!!). He repeated the end of 'Funny How Time Slips Away' to show off the bass line and made sure we all realised that JD was singing those low notes, not him. Next into 'Little Darlin' with a few extra falsetto "La-las" thrown in. Believe me, it is hard to recognise Elvis' voice in this song - he goes so high and then so low as to sound like several '50s singers all at once! Apparently mimicry is another of his talents!! We noticed he was bouncing his head from side to side to the beat on many of the songs - it made him look like a happy little boy! (Which is another one of his talents - at least for the female fans!!) Then we were treated to 'It's Now Or Never', with more unexpected high notes, sung superbly. Glen Hardin then filled in a pause (while Elvis seemed to be deep in thought) with the strains of 'Promised Land'. It was appropriate (remember the opening, "Left my home in Norfolk, Va,?") and the audience cheered and clapped along through the whole song, "I didn't realise," he said at the end, "when I sang that song this afternoon that I was here!" Then he proceeded to give a lecture on how to pronounce "Norfolk," "I always say 'Norfork, Now that's wrong. The Norse men came down here - it was named for them, North folk, It's Nawfulk!!" The audience again cheered and he seemed very pleased with himself! (And showed an awareness of history many didn't know he had!!) As he went into 'Can't Help Falling In Love', the audience became frantic, knowing he was leaving, and the noise level prevented us from hearing most of the song!! He walked slowly around the stage and shook hands, greeting many fans, then stood at each side of the stage with that salute of his (both arms up and index fingers extended) to fantastic applause. He took his time to say goodbye - as he seems to be doing lately everywhere - and exuded great sweetness, happiness, and gratefulness, We can't help but wonder if it hadn't been one of his most difficult concerts, psychologically, due to the departure of the female singers If so, he came through it with flying colours!!


July 21 1975 (Monday)
Veterans Memorial Coliseum, Greensboro, North Carolina
Recorded on Soundboard
       

July 22 1975 (Tuesday)
Civic Center, Asheville, North Carolina

       

July 23 1975 (Wednesday)
Civic Center, Asheville, North Carolina
Recorded on Soundboard
       

July 24 1975 (Thursday)
Civic Center, Asheville, North Carolina
Recorded on Soundboard
       

Las Vegas, August 18 - August 20 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Jerry Scheff
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 18 1975 (Monday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 18 1975 Opening Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 222-23 (September 2 1975)

As everyone will know by now, this year's Summer Festival was unfortunately only a very brief encounter. Elvis could manage only five shows and then had to retire with what has since been called "extreme exhaustion". I can only say that this was almost inevitable.

Since August 1974, Elvis has been through a succession of major and minor ailments, not to mention previous ill-health, culminating in the intestinal obstruction of last January and February. He then did two weeks in Vegas in March and three separate tours involving one or two appearances on a total of forty-three days. How anyone could have permitted this type of work-schedule for Elvis after six months' indifferent health, is beyond my understanding. When the schedule was announced in Spring the only reaction I remember hearing was, "Elvis won't get through all this without being ill again." I imagine Elvis may be too willing to undertake such a work-load. Seeing his five shows this August, I was struck by his enthusiasm and cheerfulness, and his flashes of great energy despite the fact that from Opening Night, he was obviously extremely tired. The spirit was raring to go, but the flesh just couldn't do it.

Incidentally, we don't think he rehearsed. We never heard his voice and there was never a guard on the Showroom door when rehearsals were in progress for the other performers. Presumably his strength was being conserved.

August 18th Opening Night - Remembering his nervousness for August '74's Opening Show, we sat through the preceding acts in a state of great tension. However, Elvis made a brisk and assured entrance and the audience rose to greet him. He immediately held out his hands to the people in the front row to hold or shake, and from the start he and the audience were in accord. He wore a suit like that on the front of News Service Issue 219, which is dark blue, with scarlet, yellow and gold decoration, and white sleeves, black patent boots, a choker and his Maltese Cross. His Dad was in the wings and Miss Thompson in her usual booth.

Elvis was ready to work from the start and did 'C.C. Rider' with vocal improvisations and a loud voice, denoting enthusiasm. After this first song, he stopped to remark what a good audience it was, and imitated the half-baked expressions of other Opening Night audiences he'd had. He has a new tomato-red guitar. There is now no ramp.

During this and every show, his smile broke out constantly. He seemed more relaxed and confident in front of the audience than I've ever seen him. When he sat to rest, he had a tranquility and a glow of good-humour which seemed a little different from anything I've observed in him before. The "tranquility' may have been part of his tiredness in effect, but it didn't seem tired; he seemed calm and quietly happy. I have to say that he still seems to have a weight problem of some kind, which does not necessarily imply that he's fat. His back view was perfect, and so were his face and limbs, but the front of his body makes him look more heavy. Many people I spoke to were sympathetically concerned about this. I never heard anyone criticise him for it, and in fact I don't remember hearing anyone criticise him at all for anything during this engagement. More than ever his audiences seemed to love and cherish him, and give him total appreciation and encouragement every show. He would respond with a smile that lit his face like a five-year-old, as he looked from Voice to Stamps and back again for their reaction, which is his way during loud applause. If I say that Elvis looked more beautiful this time than I've ever seen him, those who don't know will probably cringe with horror, while those who do will understand. It was something to do with his expression and that peacefulness.

A feature of the shows this time was that he sang mostly requests. Apparently they had asked people from the line for the show to write down songs they wanted to hear, and Charlie had fifty requests in an ice bucket for Elvis to pick from. It was a little bit unfair because naturally Elvis didn't always want to do what he'd picked, so he'd throw it out and choose another. He chose 'Kentucky Rain' once and bent forward in anguish and said, "Oh God, I forgot it," and had to take another. This meant that any formal structure Elvis has used previously in shows was abandoned for a much freer, more relaxed format without the usual big song landmarks. Who knows how the show might have developed under this approach if there had been the opportunity ?

Eventually he did 'Polk Salad Annie', and in spite of impending exhaustion, put all his energy and enthusiasm into it with a great variety of movement. He did this song in I think two or three of his five shows, and it completely wore him out each time. This first time he sat down stiffly on the edge of the Group's rostrum, and from there descended to the floor and lay flat on his back. At this point, an aged gentleman from the audience cried out that his wife would willingly give Elvis mouth to mouth resuscitation, and Elvis, caught in a weak moment, agreed. Charlie helped her onto the stage, and as she drew close to Elvis' face with her hand on his stomach, he said nervously, "Are you sure you know what you're doing"? She kissed him and scurried ecstatically back to her seat, and Elvis struggled back onto his feet.

He continues to receive all kinds of presents. He wore a huge pair of green-rimmed sunglasses, and received another green dragon glove puppet. He seems to have the knack of these now, and the dragon sang a hearty chorus of 'Love Me', ending with a vicious bite to Elvis' thigh.

At one point, Elvis made repeated frantic grabs at a little piece of floating fluff but missed every time and eventually was obliged to give up. He gave a scarf to a little boy who thanked him, and Elvis said, "You're very welcome".

He had a little Elvis doll about ten inches high, dressed in a white jumpsuit, and he stroked its bit of brown rug-like hair down on each side of its head with his fore-finger and said he wished his own hair looked as good. Needless to say, it looked greatly superior, and was fairly long in the same style as he had it in Vegas last March. It covers his ears and fills over his forehead in a fringe after a while, and parts in the middle. He said he hadn't had it cut in three weeks, which may or may not be accurate. Elvis seems to have a rather individual way with figures as far as I can tell.

I am happy to say that Elvis and the Inspirations still seem to be good friends, especially Elvis and Estelle. When he had risen from the floor after doing 'Polk Salad Annie', he went over and sat on his blue velvet chair by Estelle to continue his rest. Each show was punctuated by Elvis resting on a chair or an amplifier, and he would sit still and pant for a while after a hectic song, but soon the smile would come back and he would be all right again. He would always sit here by Estelle for the Introductions while each of the group's musicians did a solo. He sat quietly in the darkness breathing hard for a while and blinking as he watched, with an expression of smiling appreciation. Usually he would come up with some seemingly outrageous comment while watching, and would turn back to Estelle who would lean forward for him to communicate it, and then she'd collapse with shocked mirth, and so would JD. He would look sideways at the audience too with a smile to see if they were enjoying the solos as much as he was. He sat with both feet on the rung of the chair at first, holding the microphone in both hands, and then later he put one foot on the floor. Two or three times he sang 'Johnny B. Goode' sitting here in the dark to James' guitar solo (played holding the guitar up behind his head) but once dried up and got lost. He would have one of J.D.'s glasses of water passed to him here and drunk all or part of it, and J.D. had the rest if Elvis left any.

By the time Jerry Scheff's solo was reached, Elvis would be over by Charlie again and would give Scheff exclamations of appreciation and encouragement, screwing up his eyes and face and shuddering, as he did in On Tour in Scheff's 'Polk Salad' solo. He would sing non-verbal bits and pieces to Glen's piano solo too, enjoying it very much. For the orchestra's solo he would stand out in the middle of the stage with his back to the audience, and used to be amused and pleased at the Inspirations' lively interpretation of the music. So these solos gave him the opportunity for quite a long rest, while allowing him at the same time to participate a little if he wanted to, to keep the audience going.

His voice was powerful and clear, probably the best I've ever heard it. 'How Great Thou Art' received a standing ovation at the end and a sitting ovation in the middle because he worked so hard, contorting himself, and then standing on tip-toe for the crescendo. It's hard to think, looking back, that he could do all this while heading for some kind of collapse in two days' time.

As is his custom, Elvis had a standing joke with J.D. Quite apart from his continued practice of making him laugh with a Geraldine voice and a headscarf in 'Why Me Lord' Elvis reprimanded him for attempt ing to steal his thunder and he a star too. J.D, now has quite a little star spot at the opening of the show when he dramatically emerges from the shadow of the wings rumbling, "When the Saints (and Elvis) Go Marching in". He has taken to seizing and kissing an unsuspecting girl or two, and I also saw him receive one red rose and one small bear. "I hear," said Elvis severely, "that you're kissing the girls. You're wearing more diamond rings than I am - ("You gave them to me", mouthed J.D, pointing exaggeratedly from Elvis to himself so the audience would know) - you have a high collar and the cuffs - you're trying to be a star", he ended accusingly. However, this would sometimes be followed by a reiteration of the story of how Elvis used to go and watch JD when he was a boy, and it wasn't at all serious in any way. It would all be ended by an affectionate pat or thump from J.D. Sometimes, Geraldine would add in 'Why Me Lord' "You took my watch, my rings, my shirt sleeves, - Show me, honey".

Elvis still flies his plane in J.D.'s bass descent, but now he also has a motorbike with high handlebars in 'T-R-O-U-B-L-E'., which he accelerates and rides in smooth curves from side to side, occasionally hitting a rough patch or two in the road.

He still does his "little dance" in 'If You Love Me (Let Me Know)', and still gives the silly smile in this song, only to Voice, not Charlie.

Does he sound like an exhausted man? The only time he seemed tired was when he sat for his frequent panting rests, and when he rubbed under his eyes.

 

August 18 1975 Opening Show
Review by Patricia Ann Cervone - Elvis News Service Weekly, Issue 221 (August 26 1975)

Opening Night was exciting and wonderful, as usual. Elvis' mood was bubbly and very pleasant. He immediately acknowledged the tremendous response from the audience a very large group of fans from Memphis were in the audience. Elvis had personally invited them to his opening. He performed almost exclusively to this group shaking hands and giving out scarves to his Memphis friends.

Elvis told the audience that he now has a "Request Box" where fans are asked to write down songs they would like to hear Elvis sing. Elvis took the box from Charlie and did the first song requested 'Blue Suede Shoes'. The next song requested was 'Polk Salad Annie' Elvis did that one, too. Elvis was given a giant pair of eye glasses and an alligator puppet. The purpose of the glasses was obvious. Elvis' much publicised eye problem required giant glasses so he could see better. Elvis jokingly squinted and really seemed to enjoy the little puppet. Elvis was constantly smiling throughout the show, he seemed very happy to be back at the Hilton.

The show seemed to go by so quickly. Elvis was very relaxed and confident. This show generally lacks the fervour and stage energy Elvis has shown in the past, but there is no reason to assume anything negative from this - Just seems Elvis had a bad case of the "opening night jitters". The audience couldn't have been sweeter - we were with Elvis all the way he's still wearing the same jumpsuits he'd worn on the past tour (remember these are the ones which caused me to nearly fall out of my seat upon seeing him in Springfield, Mass. in July - Last night I was a bit more prepared but my heart was still skipping beats when he strolled on stage wearing it!)

Vernon is with Elvis this trip and he is looking quite pale, although ever-smiling. Linda Thompson, Col, Parker, Joe Esposito, Tom Diskin (RCA) and Big Al (show announcer) were in the audience. My most lasting impression after seeing Elvis this past tour and now in Vegas is how very much his voice has improved in its intensity (at times, it's almost opera like) and his incredible stage charm and rapport with the fans. Elvis has combined these two qualities very well and the result is an experience to be long remembered and appreciated. One feels happy and alive after seeing Elvis. His show lasted fifty-five minutes.

Interesting to see Colonel Parker giving away free!!!! photo albums with menu already inserted -- complimentary opening night gesture...

Songs sung by Elvis, August 18th (one show) Opening Night
'C.C. Rider', 'I Got A Woman'/'Amen', 'Love Me', 'If You Love Me Let Me Know)', 'Blue Suede Shoes', 'Suspicious Minds' (fantastic!), 'My Boy', 'Heartbreak Hotel', 'Polk Salad Annie' (wow), Intros of band, 'T-R-O-U-B-L-E', 'The Wonder Of You, 'Why Me Lord', 'How Great Thou Art' (heavenly!), 'Can't Help Falling In Love'.


August 19 1975 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 19 1975 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 222-23 (September 2 1975)

Linda and Dad were in the audience. Elvis wore an identical suit to the one he wore yesterday, and came on from the opposite side of the stag to confuse everyone. He lay down on the stage shortly after he came one, and got up with a bit of red cotton stuck to his leg. He broke the chain of his belt resting his thumb in it, and then gave a great pull and brought a whole loop of it down. He commented cheerfully on how many hundreds of dollars the belts cost, and then tore all the chain off bit by bit, effortlessly snapping it into short lengths to hand to the ever-eager audience. Charlie stood behind him tugging bits off too, until there was a total of about two links left on in all. Elvis said, "What do we have left ?" "About five dollars' worth".

In 'C.C. Rider', Elvis indicated J.D.'s watch, rings and collar, without comment. He now encourages the audience to join in on the 'Amen' part, and stops singing himself to step aside and inspect the front row, pointing and mouthing, "You're not singing". He continued to use the ice bucket this show, and also responded to cries from the audience for various songs. He did 'Crying in The Chapel' and 'Loving You', improvising some of the lines, especially in 'Loving You', one of which ran, "There's another line in here". He didn't seem to mind in the least that he muddled through the words, and neither did the audience, although Charlie stood by him biting his lip in tension. Elvis' only sign of mock annoyance was to give himself a sharp jerk of the neck by yanking his scarf sideways. He also did an excellent 'Fairytale' and a perfect and thoughtful 'Green Green Grass Of Home', reciting the entire last verse.

He seemed troubled by the lights in this show, and squinting up the spotlight beams he said, "Do you realise how bright these lights are ?". Later he went off stage briefly to his right, as if he might be getting some eye-drops. He had left J.D. doing 'Why Me Lord' and when he came back he said, "Thank You, J.D. You gave me the break I needed." The sweat ran down his face a little today but he wasn't sweating unduly today or yesterday, not that he was moving enough to make him really. We did get a perfect example of his '50s leg-movements though, as at the end of 'We're Gonna Move', in Love Me Tender, done for a joke and to make part of the audience screech.

He still broke up his activities by sitting down between songs, and from his perch by Estelle he introduced Dad, whom he said had been very ill, but was now fine. He sat and watched Dad rather blankly as he stood up from his booth in the spotlight and waved his arms above his head to his usual splendid ovation.

To talk to one girl, Elvis sat on the edge of the stage on his left hip with his legs out to the right - an unusual way of sitting on stage for him. He still receives the usual amount of hugs, kisses and mauls from the audience, and always responded good-humouredly, even to the less pleasant kind of attacks from some folk. Two interesting remarks he made were that he and the people on stage with him regarded the fans as part of the family (great cheers), and that Mort Sahl had been saying that the Elvis fans were the nicest people in town.

He received a large parasol and a tiny parasol from some Japanese fans who were in a flurry of confusion, so that the little parasol got turned inside out. He stuck it in the square neck of his suit and, back to the audience, facing Charlie, pretended it was there to spit into, much to Charlie's amusement. He carried the large parasol above his head, and put out his hand to test the Showroom for rain. He was doing 'Love Me', when he was given these presents and conveniently arrived at the "Ho so lonely" part as he accepted them, and said, "Ho So", to the Japanese with the authentic accent and oriental bow of acceptance.

There was a cheer from the right when Elvis introduced Jerry Scheff, and he looked round and said, "I'm sorry, am I blocking your view?" and moved aside. "It's all right, Elvis, you are the view".

Again Elvis had a beautifully appreciative audience, and the usual scenes graced 'Can't Help Falling in Love', and the descent of the curtain.


August 19 1975 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 19 1975 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 222-23 (September 2 1975)

Linda was in the audience, and Dad sat on the end of the stage to the right with two bodyguards.

'2001' came to an end, Ronnie began his drumming, the curtains parted, the audience rose and waited. Seconds later a figure in an amazing black and white suit tore along to the wings, swerved left onto the stage, and arrived at a run behind the microphone. Another effective entrance, Elvis. The suit was a two-piece with a black shirt, in the same design as the suit in which he is leaving the plane on News Service 215. It had a turquoise and silver disc on each cuff with six clanging metal points like drop ear-rings, and the same on each side of the half belt at the back. It seemed to be very nice and warm, in some substantial material! He had red, light blue, dark blue or white scarfs, and his black patent boots and a choker. The chokers are elasticated. He would pull them forward sometimes away from his throat, like a garter.

He said, "You'll never guess where I just was," which amused everyone greatly, and he added, "That never happened to me before," at which the audience laughed even more. He went on to tell how he had recently been at a football match in Memphis, and a girl had been talking to his friend, and said she heard Elvis was at the match, that he was in the Director's box, that he was in the bathroom. "Yes," said his friend. "Really?" said the girl. "I didn't think he did that." Elvis smiled and hung his head, while the audience roared on.

He did 'C.C. Rider', but stopped after that and instead of 'I Got A Woman', went into 'If You Love Me (Let Me Know)', still with the tomato-red guitar on which made his little dance more unusual. Then he had Charlie bring the blue chair out, and he sat with the guitar and said, "How am I going to manage this, Charlie?" Charlie seemed to know what was in his mind because he lowered the stand microphone down to Elvis' guitar, and held a microphone for him to sing into. Elvis did a perfect 'Are You Lonesome Tonight?' complete with "Do you gaze at your bald head and wish you had hair"? plus spoken verse, accompanying himself on the guitar and casting one or two romantic glances in Charlie's direction.

He seemed very tired again after 'Polk Salad Annie' and was coughing slightly, and as he rested on the chair, Charlie with a concerned look thoughtfully placed a glass of water near his elbow. He sat for 'Softly As I Leave You', and again for the Group's solos, first on his chair by Estelle, and then on the big new square amplifier at the other side facing Scheff for his solo, with a glance and smile back at the audience.

He introduced Dad again, and Dad waved his arms in the spotlight from the far end of this stage.

He greeted the Japanese with another bow and a "So So", at the right moment in 'Love Me', and had to exercise his top lip back into life after one of them kissed him.

He received a little hound with a whirling tail which made him laugh, and he sang 'Hound Dog' to it. It continued to walk for almost the rest of the show until Elvis caught sight of it plodding (doggedly), stuck against the edge of the Group's rostrum. "Will someone stop that thing humping away"? he said, with a charming smile.

He was whispering to James in the dark, leaning forward to him, and must have touched his face against the end of the guitar because he got a shock, poor Elvis, and leapt a couple of feet backwards. He accepted it without comment, however.

He was rubbing his left eye in this show and at last looked into the audience and said, "Is my Doctor there? Do we have any eye-drops, Dr. Nick? I have something in my eye". Dr. Nick hurried out, but Elvis never took any eye-drops after all. He added, "Dr. Nick is keeping my Daddy and me together".

He was again in a beautiful relaxed mood, but seemed more tired than for previous shows. Judge how the audience felt about him, however. At the end of a request version of 'Young and Beautiful' as Elvis was pausing and searching mentally for the words a girl yelled, "You're beautiful!" - and Elvis never finished the song because suddenly the whole audience spontaneously applauded and applauded and applauded. He just stood there amid it all and looked from JD to Charlie and back again, and shuffled his feet, beaming. Everyone on stage beamed back at him, and it was one of the best moments in an Elvis concert that I've ever experienced.


August 20 1975 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 20 1975 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 222-23 (September 2 1975)

Before this show when we were in the Coffee Shop at about 11 a.m. there began to be repeated requests for Dr. George Nichopoulos over the paging system. This went on and on and apparently the search was unsuccessful. At last it turned into "Paging Dr. Nick" and we knew they must be calling him for Elvis and hoping he would realise who wanted him by using Elvis' name for him. This met with no success either until at last in desperation they paged Mrs. Ethel Nichopoulos and Mr. Dean Nichopoulos as if in the hope that these people might know where Dr. Nick was. We felt like running through the hotel looking for him shouting, "Get up there, Dr. Nick!"

Linda was at the show, but I didn't see Dad. I think he was upstairs packing already. This was to be Elvis' last day.

Elvis wore a highly ornate dark blue suit with pale blue sleeves, and a choker with three turquoise pendants. He had white and dark blue scarves.

In this show, two friends of mine who have been coming to Vegas since '69 and who have frequently seen him on tour became very alarmed at Elvis' appearance. They had front centre seats and by the end of the show, they were convinced be was very unwell. I could see he was very tired and weary from the start of the Show, and for the first time, he showed some annoyance when there was feed back. He just stopped singing and stood disgustedly at the microphone scowling up the spotlight beam to the sound controls. My two friends say they laughed to get him out of it, and he smiled after a few seconds and carried on. He cheered up enough to write "C.C." in the air with his finger and to hastily scribble "Rider" after it.

He drank a lot of water during this show. He had all of J.D.'s while he sat over there. He went off again at this point leaving J.D. to finish the Introductions, but came back after a minute with a grin as if to say, "I know what you're thinking." He seemed to screw his eyes up a lot too, and towards the end of the show sat down near J.D. When he was about to do 'Why Me Lord' and leaned sideways on his chair with his hand over his eyes in an attitude of great tiredness. But he sat up almost immediately and removed his hand as if he realised he shouldn't look like that in front of his audience. He recovered again, soon, and still leaning sideways against the back of the chair, cuddled the microphone to his chest in the dark and began a series of wicked and highly distracting chuckles interspersed between J.D.'s pious recitations of "What did I ever Do?" and "Maybe, Lord, I can show Someone Else" and "Try me, Lord".

Bursts of energy alternated with weariness and Elvis decided he would conduct the orchestra's solo, of which he was very fond. He went to take a drum stick from Ronnie to conduct with, but Joe saw him and passed him the baton. Elvis conducted the orchestra most enthusiastically, using mostly his right hand, bouncing on his heels, and shaking his head so that his hair shook too. Then when he'd finished he used the baton for a sword fight with all the correct postures, and ended up by wounding his leg. He considered the baton for a moment and rudely said, "I can think of a good use for this. Just don't turn round".

He wore himself out doing first 'T-R-O-U-B-L-E' which he calls "T-R-O-", which had only a bit of motorbike this time; and then 'Burning Love', with prolonged and very energetic karate with his arm, elbow and shoulder.

Two little girls in long pink dresses walked across the stage to him, hand in hand, and just stood there before him. He tied a scarf round one child's head, and said to the audience, "You flew three thousand miles to watch me do this," and then put a scarf round the other child's neck. They both stood there with pink cheeks and shining eyes, absolutely delighted. Great applause from the audience and "Aaaaah's" from the band, at which Elvis whacked at Ronnie over the top of the drums with a scarf to make him be quiet. Then later, a little boy of about seven walked over and put a large silver and turquoise necklace round Elvis' neck, Elvis having to bend down very low. He hugged the little boy, and the little boy put his arms round Elvis and hugged him back.

During this show, Elvis remembered for the first time to introduce Charlie, and said, ''He's least but not last," adding that he'd always forgotten to introduce him until now. He said, "Will you accept my apologies"? and Charlie nodded and said, "Yes."

When they did 'And I Love You So', Charlie found the words for Elvis typed on a sheet and pointed to the right place for him, but Elvis knew most of it all right. The same happened with 'Until It's Time For You To Go' when Charlie stood by with the words looking very spare and conspicuous, but eventually he saw Elvis didn't need them and faded discreetly into the background.

Elvis made a joyful mess of 'Softly As I Leave You' this time. He sat very restlessly on his blue chair at the beginning, facing first to the side then the front, whereas he usually sits quite still. Then when he was supposed to say, "She lay down beside him", he moved his chair forward and distracted himself, and said, "He lay down beside her - I mean she lay down beside him". Then he saw these humour of it and sat and screwed up his eyes and laughed and said, "Why Me, Lord ?" and added, "Sure he lay down - he was dead", and laughed even more. But he finished the song well, regaining the atmosphere and control perfectly.

He wore a watch this show, and as he was drinking water would surreptitiously look at it. He was just waiting for the hands to move round so that he could finish. Under the circumstances his control, good-humour and effort were magnificent and beyond my comprehension. How did he do it?

After the show, a friend of mine was promised by a friend of Elvis' that he was in the best of health. She was confused and doubtful. She had given Elvis a gift at the end of the Show which he had looked at and said thank you for, but which he didn't take. She had thought he seemed to look through it and not to be completely aware of what he was doing. She and three other people assured me he had a slight rash across his cheeks too. The atmosphere was definitely uneasy.


August 20 1975 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 20 1975 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 222-23 (September 2 1975)

Linda was there, and Elvis illuminated her with the reflection of his red guitar, and she gave him a merry smile in return. He wore the same suit as for the Opening Show. The notes I made at the time say "Seemed cheerful - about the best organised show so far", so one wouldn't have known this was to be the last one. I think we had assumed from the start that it would be highly likely that Elvis would cancel at least a few shows, but his spirit and energy had well concealed the degree of his tiredness. Really, he had done magnificently.

He began unusually with 'That's All Right', went without stopping into 'I Got A Woman' and back into 'That's All Right', the band struggling to keep up. His good humour continued this show as he played with a glove puppet of a big old dog, wore an orange plastic fire helmet, got shot with a water pistol by an impertinent girl in the front row, and then shot nearly all the members of his group with the two pistols she gave him. He also wore a denim hat briefly, and seemed to tire less than in other shows. It could be that, like the Queen at the end of a visit, he was relieved that the strain was nearly over and was happy to know he was soon leaving. Surely they had already decided that this was to be the last Show. Jackie had been unceremoniously called off early so that Elvis could get on quickly and finish, and Elvis looked at his watch several times, and ended as soon as he had done forty-five minutes.

Still, he did a perfect 'Softly As I Leave You', and said, "How do you follow that?" and then sprang up and did a very energetic 'Burning Love'. He and Charlie did 'Let Me Be There', singing into each other's faces, till Elvis gave Charlie a final small ogle and at last moved away. He teased Charlie by just raising a glass of water and then holding it poised, so that Charlie started back, and said, "I thought you were going to throw it over me".

Red was imitating some of Elvis' arm movements in the wings, and applauding sometimes too, probably aware of the kind of effort he was making.

During Scheff's solo, Elvis was picking songs out of the ice bucket to do, and would put back what he didn't want, and lay down the one's he'd chosen on Charlie's table. Then he'd pause to screw up his face and shudder in appreciation of Scheff's solo, and then calmly go back to sorting the bucket.

He had a pleasant and mirthful chat with Estelle during James' and Ronnie's solos. It didn't interrupt at all, the music being well-amplified and Elvis and Estelle talking quietly Teté a tete.

Throughout the show, Elvis had received great applause, notably from some very enthusiastic male members of the audience, which is a thing he values. At the end the people were literally climbing over each other and over the furniture to get to Elvis. The Show had in fact been characterised by people's affection for Elvis and their eagerness to hold or shake his hand, even more so than I've seen before. People of all ages would stand and stand until he came to them. The girls climbed over everything, Elvis gave away scarves, accepted more gifts, kissed more people, ducked back under his curtain, and was gone.

The next thing we knew was the following morning when the place was found stripped of its hundreds of Elvis pictures and posters, the concession stand was gone, and nothing remained to show what had been except three small posters saying, "The remainder of the Elvis Presley engagement has been cancelled due to illness." Elvis was apparently seen walking out with his guards through the front door at 6 a.m., and by the time anyone knew what was going on he was in Memphis, back home in the Baptist Hospital.

Rumours, panic and confusion spread, fans fell weeping into each other's arms, you couldn't get on a plane out of Vegas for the numbers leaving, people were on the telephone all day to the Baptist or telling anxious friends as much as they knew, prayers were arranged for Elvis for the following Sunday's services, and we spent some hours in tricky negotiations to change our flight tickets home.

Meanwhile, back in the Baptist Hospital, Memphis, Elvis passed a restful first night and felt better the next day.

Get well soon, Elvis. Wouldn't you like to take a year off, dear, and have a nice long rest?


REMAINDER OF ENGAGEMENT CANCELLED DUE TO ILLNESS

Las Vegas, December 2 - December 15 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Jerry Scheff
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Drums: Jerome 'Stump' Munroe (December 7)
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; Sherrill Nielsen

December 2 1975 (Tuesday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 2 1975 Opening Show
Review by Martha Collins - Elvis News Service Weekly, Issue 233-34 (December 1975)

This is said to be the worst time of year in Las Vegas due to poor attendance - and it does seem slack - but not at the Hilton! The line for Elvis' Opening Night show stretched all around the Casino, past the lobby, and on past the elevators and shops! Hilton security men policed this immense line, and were very courteous and glad to give advice, even to the point of giving directions to the nearest McDonald's for hungry fans! Having stood for three hours, we finally found ourselves seated inside the Showroom and faced with a $22.50 tab per person (its gone up again, plus 13% tax, plus serving tip, plus seating tip) for two drinks and the privilege of being physically miserable from 5 - 11.00 p.m! BUT at 11.00 all the discomfort was worth ANY price when Elvis walked out on stage!

How did he look? Is he healthy? Is he fat? Is he old? Can he still do the shows? Thats what everyone wants to know. You probably aren't the least bit interested that earlier I was nearly run down by J.D.Sumner chasing a screaming girl through the Casino! Nor do you probably care about the repair man on his way up to Elvis' suite that afternoon who told me Elvis is never happy with the air-conditioning!

So ...... the show began about twenty minutes late. The Stamps (with a new bass singer) opened with a gospel number; Bill Blaise sang a very high and impressive 'You'll Never Walk Alone' and then J.D. shuffled out singing 'When the Saints Go Marching In' - got the audience clapping along. Next The Sweet Inspirations - in new wigs and pink outfits - did their old Stevie Wonder bit. The curtain got stuck and wouldn't close all the way - someone held it all through Jackie Kahane's routine! Speaking of which, Jackie added a couple of new bits that unfortunately weren't funny so he went back to astrology and the "Cuckoo Test". So far, so bad - only the Stamps sparkled at all. And then came Elvis!

He was dressed in a white jumpsuit, with glittery silver and black stripes down the legs and around the neck. The top looked like a vest with the sleeves full and gathered at the wrist into a self-ruffle - sleeves and collar were flecked with silver. Inside this was a beautiful and happy and seemingly healthy Elvis, smiling and tossing his head so that his hair immediately fell into bangs across his forehead. Is he over-weight? Yes. (This may well be connected to his illnesses). Can he sing? Yes - fantastically! Does he look old? Decidedly not!

The Opening Night audience held a lot of Southern businessmen (some convention) and we knew of three celebrities (Liberace, Bill Hatfield of the Righteous Brothers and Dennis Cole - a T.V. Series Star) but Elvis introduced no-one. The audience seemed a bit restrained at first and Elvis seemed intent on singing, with very little talk but many of those "delighted-little-boy'' smiles. Through his intensity, he brought the audience to its feet several times - particularly for 'How Great Thou Art' and 'America' at the end of the show.

For the most part he did the same Vegas Show, opening with 'C.C. Rider', 'Softly As I Leave You' was done beautifully (the audience was greatly moved), as was 'My Boy'. He did 'How Great Thou Art' twice as we were all so impressed with his vocal power and he loves to sing it)! A big surprise to me was his inclusion of 'America'; first verse sung gently and then spoken by Elvis as the singers hum - the last two lines sung by Elvis with great fervour and sincerity. There are very few Vegas Acts that contain gospel and patriotic songs! This is perhaps Elvis' way of showing us 'where he's at" and may be in honour of the upcoming Bicentennial as well.

Considering these songs it may appear as though he didn't rock. And though he did 'Fairytale', 'Polk Salad Annie', 'Big Boss Man', and a few oldies, he did not move much at all. He seemed physically stiff - which is not the way most of us think of Elvis! He may actually find his stomach uncomfortable - it looks uncomfortable, bloated rather than ordinary fat. He did not do much kissing (assuredly to the relief of his doctors) but threw a lot of scarves. Several women jumped up on stage and Elvis almost 'played with them - held them with a scarf, then hugged them, unconcerned, while his bodyguards struggled to get the ladies seated. Two youngsters actually walked to centre stage - Elvis was very sweet to them -gave each a scarf and a kiss on the cheek!) He asked one her age - she was crying with emotion and answered "Thirteen" to which Elvis replied "Oops - I won't say anything if you won't". He offered one woman a choice of kisses - "little or serious". She was nonplussed and admitted, "I don't think I could take it serious!" to the amusement of all. Once overwhelmed by grabbing females, Elvis pulled back and commented: "Piranha-fish!" He was very light-hearted, and the Sweets and Kathy Westmoreland fooled around with him a nice change from Norfolk in July!) During the Introduction-to-the-Band, while the solos were playing, Myrna tied one of Elvis' scarves (this done in shadow but I watch Elvis on that stage!) around his head like an Indian band and we could see he was talking animatedly but, alas, couldn't hear a thing! (I thought I heard a mock war-cry accidentally caught on the mic' but couldn't swear to it!)

"I'd like to say it's a pleasure to be back here - we've been off for about three months. I did a three-week engagement at the Baptist Hospital." (A shout of "We love you!" from the audience and applause.) "I love you too. 'Rest-and-fruit-juice', that's what they call it. I entertained the nurses. They, entertained me." (A chuckle). He then noticed Sherrill Nielsen (the only remaining part of Voice) who'd not worn a shirt but only a vest. Elvis teased him, of course, but I was touched by: "You're trying to show me up - not hard at this point."

In honour of the season, he included 'Blue Christmas' sung beautifully. But he stopped in the third line, complaining about missing chords and insisted on starting again. "Blue Christmas - take two"! Also included were 'It's Midnight', 'Early Mornin' Rain', 'And I Love You So', and 'Tryin' To Get To You'. Elvis asked the audience once for requests and sang 'Mystery Train'/'Tiger Man' (which he probably intended to do anyway!) He did a super rendition of 'You've Lost That Lovin' Feelin', dedicated to Bill Hatfield - "Sit still, Bill, I'll show you how!"

The show lasted one hour and twenty minutes. Comments from fans and non-fans showed most very impressed, though a few younger fans complained about the lack of movement and fire of old. Elvis did an excellent show, was in good spirits, and sang superbly! Most important, he was relaxed and happy and seem healthy!


December 3 1975 (Wednesday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 3 1975
Review by Martha Collins - Elvis News Service Weekly, Issue 235 (December 20 1975)

Before showtime, I investigated the elusive "Las Vegas Entertainers' Hall of Fame". This was rumoured to be in various places and I wanted to see it, as Elvis was elected a member. When I was last here (eleven years ago) it hadn't yet been built, although Variety insisted it existed at the Convention Centre. Today I found out it was housed in its own building downtown and burnt to the ground a few months ago! So much for that!

The large sign outside the Hilton has "Peace on Earth" over Elvis' name - rather fitting I thought. The souvenir booth this time is for the Deaf Children of Southern Nevada. New items include Christmas postcards of Elvis and the Colonel (dressed as Santa Claus) and a poster made up of these. On Opening Night, everyone in the audience received a "souvenir packet" - containing a photo booklet, 1976 pocket calendar, 1975 Summer Festival photo, and the Christmas postcard, and a Hilton postcard. There are no new menus - the summer photo is being used instead.

Tonight's show was absolutely fantastic - much looser - yet smoother than last night's! Elvis wore the same jumpsuit - only this time, from a different and closer angle - I could discern pale blue stripes on the belt. Elvis must be tense on Opening Night - he was NOT tense tonight! He expressed a total joy in the music, with his smiles and laughter, his body movement, and his powerful and expressive voice. 'Polk Salad Annie' tonight was a powerhouse, ending with a graceful and 'beautifully executed karate form!

Elvis is using his arms more - raising them above his head: sometimes it is as if all the instruments pour into his body and the whole sound flows out his arms and into his fingers. He knows every nuance, every chord, every sound he wants those on stage to make, and is master of the entire package. I've heard it said, by a professional dancer - that Elvis is possessed of such grace and beauty of expression as to have made a great dancer. Certainly many of his motions tonight, particularly with his arms and hands, reminded one of the ballet!

He added and subtracted songs, adding 'Just Pretend' (a request, said Elvis, with a raised eyebrow and radiant glance to the wings) and 'Burning Love', and subtracting a couple he'd sung last night. At one point he simply stopped and gave the show over to the audience - you could actually feel him withdraw control! Everyone was screaming for his attention, but he turned to the orchestra. "Doing one show a night is easy - we can just fool around if we want to, can't we?!" he said! Then he cupped one hand to his mouth and whispered to the musicians, who doubled over in laughter and surprise. We at the right side could see what he said, but I can't repeat it for fear of offending some upright fan - it was "F__ the show!". In the same vein, when the light man completely wrecked the 'Tiger Man' flashing sequence, Elvis slyly made what is considered an obscene gesture at him! As I said, he was LOOSE tonight! Someone in the audience gave him a T-shirt with cherries and "Cherry-Power" on the front - Elvis and Charlie first, then the audience broke up! (I don't know if that's a universal expression but won't explain that one, for sure!) It was some night!

Elvis was on one hour and fifteen minutes and once again the show started some fifteen minutes late. (Apparently no one feels as rushed with only one show!) Despite the "fooling around", he didn't mess up any songs but delivered them all with intensity and strength. Judging from comments in the casino afterwards and from the sobs and "My God's" I heard around me, he deeply impressed everyone as a singer! Again, several women jumped right up on stage - one grabbed him, turned him around, took his face in both hands, and kissed him soundly! He received many gifts, as usual - including another mechanical toy dog - which had him giggling for some time. He refused to walk over to the extreme ends of the stage, but quieted some wild screams by saying he'd be there in a minute. Then he turned in our direction and mumbled, sotto voce: "I lie a lot! " One woman screamed, "Elvis - I'm here!" He walked over to her and bowed slightly: "You're there, and I'm here!" Another woman begged him to give her little daughter a scarf - as he did so, she yelled "And a kiss for me!" and grabbed him, nearly knocking him over. Poor Charlie stood by a time or two, ready and puckered up, to catch the girls on the rebound from kissing Elvis, but no one even noticed him!

It was a thoroughly delightful show!


December 4 1975 (Thursday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 4 1975
Review by Martha Collins - Elvis News Service Weekly, Issue 235 (December 20 1975)

Tonight I was sitting with two girls from California who had struck up acquaintances with Sherrill Nielsen and Larry Strickland (new bass singer in the Stamps). They had lots of interesting news. Voice has simply disbanded and Donny Sumner (who is J.D.'s nephew) is now preaching. Elvis is supposed to be appearing at the LA Forum in January or February, and has just sold his house (about two weeks ago) in Palm Springs - leaving no homes at all in California. Around three weeks ago, he was at RCA Studios in L.A., recording and was heard practicing 'Love Will Keep Us Together' (the Captain and Tenille's big hit.) Photographers from "Photoplay" magazine nearly got photos of Elvis leaving the studios but Elvis requested they not take any. They agreed, but one hid and was planning to shoot anyway. Several fans there realised this and as the photographer aimed, one girl threw her coat over the camera. Seeing this, Elvis stopped and personally thanked the fans for their help! The Stamps are doing a gospel concert in January in Pasadena - according to Larry, they tour three-hundred days of the year! Sherrill Nielsen told the girls a new contract HAD been signed with the Hilton - for another two years. When asked when Elvis would be back, he said, "Summer". Marty Allen was here Opening Night - and Linda Thompson too. Sherrill also told the girls that the show tonight would start on time but that Elvis simply isn't ready until 11.00. He was right - the show started promptly at 10.00 with an additional twelve-minute spot featuring the orchestra alone!

Elvis came out in the black "Alpine-Gypsy" outfit - which is breathtaking. Multi-coloured gems cover the front and back, drip down from the waist, and fall in a cascade over each knee. "Good Evening, Ladies and Gentlemen. Welcome to the Las Vegas Hilton", Elvis said, and paused. We thought he was thinking of a new way to introduce himself but he shrugged, looked puzzled, and then said. "You know who you are!" !! Obviously, he was loose again tonight! But so was the band - which wasn't good at all! Elvis teased them for their ineptitude but occasionally seemed really cross an d rightfully so!) His first problem, however was his rings - one was taped on too tight, and he couldn't bend his finger. "I've lost four or five rings this year - I have to tape them on," he complained. Someone on stage said, "I'll take your finger!" (meaning he wanted the ring!) Elvis promptly turned and said "I'd be glad to give you the finger!"

He had some trouble getting going and lost himself in a couple of songs. Told us he would start off slow and taper off! It wasn't long before the band began to annoy him, particularly Glen Hardin. Glen started the wrong song and Elvis stopped and said, "That's wrong, and I'm not going to tell you, We'll wait till you figure it out!" Someone in the band yelled "Let's do 'America'," knowing that comes near the end of the show and sensing the evening would be difficult! Elvis turned off mic' (though we could all hear him) and shouted back : "America??! America??!! Goddamit, America ??!! I want to do 'Blue Christmas'", he added petulantly, and the band ignored him! At that point, Elvis determined to sing different songs and mix-up the show to try to rattle everyone. He was fairly successful! "What's wrong with you tonight?!" he laughed at them, and went and sat on a soundbox in good-natured exasperation. "The band is dead. Are you really here? They're not real. It's just a backdrop, a painting!" Glen really messed up 'Softly As I Leave You' - Elvis ignored it till the song ended and then bawled Glenn out! He was half-jesting, half-serious - but definitely not pleased! Different songs tonight included 'Blue Suede Shoes', 'It's Now Or Never', 'Bridge Over Troubled Water', and 'Little Darlin'. He also did 'Just Pretend' again - a powerful, exciting version, infinitely better than the recording! He again announced it was a request - then said, with a very serious look, that it was for Linda! (Listen to the words of the song - one wonders just what it means to the two of them!) Two celebrities were introduced from the audience - Mike Connors (star of Mannix - Elvis called him a "very good friend") and Julie Newmar - who later begged a scarf from Elvis. He recognised a fan in the audience - asked her if she'd been before - she said yes. He was wearing the bracelet she'd given him last night and showed it to everyone, thanking her again very sweetly. Once again, Elvis' singing was phenomenal - we noted even the stagehands applauding! (In the theatre this is considered a very great honour!)


December 5 1975 (Friday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

December 5 1975
Review by Martha Collins - Elvis News Service Weekly, Issue 235 (December 20 1975)

We were super-excited tonight to discover Lisa Marie (with Linda Thompson holding her hand) in the audience - she came in through a side door during Jackie Kahane's routine, lead by Joe Esposito. Lisa has had her blonde hair cut again - it is straight and falls softly around her face - and she is still very small for her age. She looked around wide-eyed, and Linda busied herself talking to her, pouring her a drink, and being generally attentive. Lisa looks so much like her Father - she's a doll! Elvis did not introduce her, and he stayed outside the gold curtain at the end of the show until he was sure Lisa and Linda had left safely - he very obviously was watching them. He wore the white outfit again - from where we were tonight we could see fine blue lines in with the metallic and black, and rows of zig-zags in the same colours on the full sleeves. The gold belt buckle was encrusted with turquoises. Elvis admitted to being sleepy - and he was perspiring even when he first walked out on stage. As he shook himself, perspiration flew off and he commented on it: "Isn't that awful?! I start sweating when I put on the suit! I get all psyched up and start sweating before I even hit the stage!"

He was still worried about the band, but needn't have been - it had pulled itself together since last night! Once, when Elvis forgot what song he wanted to sing, he turned to James Burton and said, "What's next?" Every single band member shouted in chorus: 'Tryin' To Get To You!'. They practically sa luted! Elvis jumped back and they all broke up, but Elvis was very pleased! Glen Hardin came in for criticism again - Elvis reprimanded him during his solo, and instructed him on a part of 'Softly As I Leave You'. Rumour has it that Glen is very hurt that Elvis has publicly criticised him and is ready to quit. True or not, Elvis expects the very best of everyone, and Glen has not been up to par. Elvis seems very stern with him, then smiles to soften the mood, but one can see Elvis is a demanding taskmaster. (Let's hope this problem doesn't lead to a real quarrel - which reminds me of Norfolk and the girl singers. Myrna is constantly wearing the ring Elvis gave her there - every show - it's gold and diamonds and BIG!)

'Just Pretend' was done again - a fantastic version - absolute powerhouse - I can't begin to describe it! Over and over again Elvis simply overwhelmed the audience! 'Polk Salad Annie' was wild - no other word for it. He played with the ending of 'It's Now Or Never', going very low and very soft and making it more impressive than ever. Those low notes are getting better and better - he always looks at J.D. when he's successful, just thrilled that those low sounds came out of him and not J.D.!!! ('It's Now Or Never' was a request - when someone shouted it out, Elvis' answer was: "It certainly is!") 'How Great Thou Art' had to be repeated - the audience wouldn't stop applauding and gave him a standing ovation. He laughed then and shook his head: "It's hard to follow, I'll tell you," he said, feeling his throat to see if it was still there! A girl called our, "Elvis!" "What do you want?" he answered. "One Night With You!" she screamed, and the audience roared.

He did a bluesy, sensuous version of the song to great cheers and applause all through it! Another hassle for Elvis - besides shaping up the band and Glenn! - is the light man in 'Mystery Train'/'Tiger Man'. He completely goofed up the flashing sequence for the third night in a row - Elvis tried twice and then stood totally still with a look of utter despair on his face, while the audience laughed. "He should be shot," he muttered afterwards, glaring up at the light man. (And as we left the showroom, the light man was studiously practicing!!!) Back in 1956, a reporter noted that Elvis gives the appearance of being relaxed, to the point of laziness, but that in reality, he is "coiled like a tight spring." Perhaps the band and crew have forgotten how much a perfectionist he is, and how much hard labor goes into making a great show look effortless!

Given a lei, Elvis announced that "A lei is worth a black scarf" and winked in our direction, controlling a smile, while the rest of us laughed aloud at the double entendre! He wandered from JD to Joe Guercio, mumbling about the light man again. Then he looked out seriously and said, "I'd like to tell you something - that it's really good to be back here working. We're really enjoying it!" The audience roared its approval, and during the applause a woman threw a large, gaily-wrapped box on the stage. Elvis jumped, then looked up knowingly and told us, with wide eyes, that Santa Claus had just gone over - "Did you see the reindeer?!" and dissolved into laughter. "Just dropped it down - wow!"

The audience moaned as 'Can't Help Falling In Love' began - cries of "I love you, Elvis!" rang out as Elvis walked the length of the stage, giving out scarves and an occasional kiss. Everyone rose to their feet - he acknowledged each side, and the balcony, then disappeared behind the gold curtain. This show was a bit shorter than last night's - one hour, five minutes - but like the others, Elvis was FANTASTIC!!! As I rode to the airport the next morning, the cab driver asked me how I'd liked Elvis! "Just great!" I said, and the driver nodded. "They may pay him $1,000,000, but he's been a shot-in-the-arm to Las Vegas! He brings in $10,000,000 in business every time - he's really brought this town alive again. A real Star! The very best!" I couldn't agree more!


December 6 1975 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Holiday Season In Vegas (FTD)° (2nd half only - spliced with 1st half from Omaha, June 30 1974 ES)
I Got A Woman / Amen       Holiday Season In Vegas (FTD)°
Love Me       Holiday Season In Vegas (FTD)°
Fairytale       Holiday Season In Vegas (FTD)°
Instrumental       Holiday Season In Vegas (FTD)°
And I Love You So  
HRA1
8659 Holiday Season In Vegas (FTD)°~Live In Las Vegas CD4°
Tryin' To Get To You       Holiday Season In Vegas (FTD)°
All Shook Up       Holiday Season In Vegas (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Holiday Season In Vegas (FTD)°
One Night       Holiday Season In Vegas (FTD)°
Polk Salad Annie       Holiday Season In Vegas (FTD)° (1st few seconds only - spliced with
version from Omaha, June 30 1974 AS)

December 6 1975 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Polk Salad Annie       Holiday Season In Vegas (FTD)° (last few seconds only - spliced with
version from Omaha, June 30 1974 AS)
Introductions / Band Solos       Holiday Season In Vegas (FTD)°
_Guitar Solo (James Burton)       Holiday Season In Vegas (FTD)°
_Drum Solo (Ronnie Tutt)       Holiday Season In Vegas (FTD)°
_Blues (Bass Solo - Jerry Scheff)       Holiday Season In Vegas (FTD)°
_Piano Solo (Glen D Hardin)       Holiday Season In Vegas (FTD)°
Introductions       Holiday Season In Vegas (FTD)°
_School Day (Joe Guercio Orchestra)       Holiday Season In Vegas (FTD)°
Just Pretend
 
HRA1
8660 Holiday Season In Vegas (FTD)°~Live In Las Vegas CD4°
How Great Thou Art  
HRA1
8661 Holiday Season In Vegas (FTD)°~Live In Las Vegas CD4°
Burning Love       Holiday Season In Vegas (FTD)°
Softly As I Leave You       Holiday Season In Vegas (FTD)°
America  
HRA1
8662 Holiday Season In Vegas (FTD)°~Live In Las Vegas CD4°

December 7 1975 (Sunday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 7 1975
Review by John Andrews - Elvis News Service Weekly, Issue 236-37 (January 8 1976)

White, sleeveless jumpsuit, with fairly simple silver studding designs, blue shirt, white boots, a bright red-wood colour guitar all hung from the frame of 6'2", eyes of blue and a not-so-heavy, if somewhat pale, Elvis Presley, as he launched into an energetic version of 'C.C. Rider'. You'd better believe it, too, those two legs of his were really moving already.

"W-e-e-llll now," followed straight after a quick thank you, then a few more, "Well's," before a slightly puzzled expression appeared on his face as a slight ringing sound could be heard through the sound system which caused him to comment, "Do you hear that..... hmmmmm ?" (as he mimicked the sound) " ... God is trying to tell me something..... well, well, well, well, well, well, .... that ringing again.... well" (sung deeply), then he stood back from the mic', put his feet together and did a very polite little bow and said, "Thank you very much," as if ending the song there, before he went straight back into 'I Got A Woman' - a good version with much leg-pumping from Elvis. During the 'Amen' sequence, he stopped to - move his legs around in time with drum beats declaring, "I'm just seeing if it all works, folks, you know, I've got to wake it up." A few more great movements, then, "Wait a minute, ho, ho, hold it, hold it," which then prompted a girl in the audience to call out. This broke up Elvis and the audience as he said, "Ah, did you hear that, some lady in the front here yelling,?" (then in a high voice) - "don't stop, honey, don't stop." The 'Amen' sequence then continued with JD's bass slide accompanied by Elvis' bending at the knees and the most amazing facial expressions. "What happened,"? politely enquired Elvis of JD though, adding, ''I mean I know it's Sunday night y'all, and after Saturday, but.... ju..just tell me, does anybody know, do you know JD.. huh?"

"I became sick," sounded like JD's booming reply.

''You have, boy," Elvis laughingly boomed back before going on to finish the song and tossing the guitar backwards into the air for Charlie to catch. "Thank you, ladies and gentlemen, thank you very much, welcome to the show tonight, we hope you have a good time and uh, we're going to do a lot of songs, old ones and new ones, I hope we do something that you like ....... good God", Elvis staggered back as somebody pushed a large black toy gorilla on stage, "Lord, have mercy..... Stump", (that's the stand-in drummer's nickname) "did you bring a relative along or something?" Then, turning to the Group he started to say, "That's the biggest black...... ? ? ?" and the rest of that remark was said off mic', perhaps just as well! Then, trying to control himself he continued, "That's Ronnie Tutt's kid, isn't it"? "Anyway, honey, don't be so happy about it", (said to some girl nervously trying to give him another gift), "that's cute, what is that? Listen to the damn..... what is it? It's weeping do you know that....... can't speak English, Oh! I thought you said it can't speak English, I should hope not. Thank you, sweetheart." Then he handed the doll or whatever it was tied up in pink ribbon to Charlie, who was still struggling with the gorilla, so Elvis tried to make the gorilla stand on its own and said, "Wait a minute, Charlie, just you string along with me, can't stand up either, he's drunk" (the gorilla, not Charlie). When that exercise was accomplished Elvis then took a drink of water declaring, "Let me have some water, Charlie, my mouth feels like the old cotton fields back home, son, you know? Have you noticed, Ladies and Gentlemen, really, in this town, the people around going hrrm.... that's right, man, 50,000 people going hrrm, hrrm... hrm... hello, how you doing.. hrrm, hrrm, hrrm, hrrm.... like he's on a motorcycle.. brrm, hrrm... hrrm, hrrm..... I'd like to explain . one thing to you before we eh. eh... start singing.... uh.. my, uh, regular drummer, Ronnie Tutt, his Wife has had a baby, or is having a baby or doing something.... I don't know which one... and, and filling in for him is, uh,.... you stayed out in the sun too long, son, I mean ug... uh.... I know his name... you've been out in Jamaica, right? ..... is Jerome Munroe, ladies and gentlemen..... he's the uh, he's the Inspiration's drummer and he, he's done it before, so he can cut it, you know........ I don't know if I can or not, you know, but he can." (Jerome looked really proud after Elvis' kind and re-assuring words, which I'm sure were partly intended to kill Jerome's obvious nervousness and build up his confidence).

A hush of expectancy spread over the showroom then which caused Elvis to whisper "God, it's quiet out there isn't it...... everybody's going... c'mon, what you going to do... what am I going to do... count out my fingers.... Treat me like a fool......" and so we went into 'Love Me' during which he put on a Donald Duck hat he was given. Also, during the song a little boy of about five or six years old was put on the front of the stage. He was dressed in a white jumpsuit and cape, with a red lining to the cape, a red insert in the flare of the trousers and a red scarf. This caused howls of laughter from everyone as he just stood there on the edge of the stage looking rather nervous as Elvis carried on to laughingly finish the song, shielding his eyes with his hand at one stage in disbelief, making The Stamps and the Sweets really hold the last note until they nearly burst. Elvis really made this little boy sweat it out as he had to stand there for quite a little while on his own and once or twice he went to step back down, but was told to stay put by, I presume, his mother, to which he pulled the most amusing yet rather bored expressions. Eventually, after the song had finished, Elvis went over to him, knelt on one knee and put his arm around the 'mini-Elvis', and enquired of him, "What's your name?"

"Jimmy", came the reply.
"Jimmy, have I seen you before?" asked Elvis in a quiet, gentle voice - just as he did in the movies sometimes when speaking to children.
"N-no," Jimmy answered with a slightly wobbly voice.
"Have you seen me before?" Elvis continued,
"Yes," said monosyllabic Jimmy.

"What you got, a note for me", asked Elvis taking the little note, and a gift, from Jimmy and unfolding it to read out aloud, "I am five years' old and I sing and dance like you do. Would you, please, sing 'Hound Dog' with me...... Alright?" With that Elvis stood up and stepped back a few paces to leave Jimmy at the front of the stage as Elvis sang 'Houng Dog' somewhat quietly whilst Jimmy jiggled away to the song. Perhaps surprisingly Elvis included the "choong-choong" ending as he jammed with the group. At the end of the song though, Jimmy stayed put, so Elvis walked over to him and proceeded to instruct by demonstration how to go down to the floor with one leg outstretched to the side. Jimmy tried to follow as Elvis said, "You gotta go all the way down.... can you do it,"? but seeing that mini-Jimmy needed to work at it a bit more, Elvis then declared, "You're not ready for this show". Then saying, "Give him a hand ladies and gentlemen," Elvis helped him off the stage and added, "Plucky little fellah...... awful cute.... very cute.... uh.... my little daughter, she was here last night..... she'd fall in love, you know." Then someone asked for Elvis' scarf and Elvis straightaway said, "Surely": gave away the scarf and then commented again about Jimmy, "He was moving better than I was... I mean a kid'll ruin you, you know that?" Then followed some in-joke with Charlie about that last comment before Elvis proceeded into 'Fairytale'.

Now, with 'Fairytale', this was the first song that, in a way, was taken 100% seriously and it became evidence how difficult it is for even an excellent drummer like Jerome to just step into things without much practice. If you listened carefully, you could tell that the beat was a little irregular at the beginning and that parts of the backing were going a little fast for Elvis and James who you could feel were trying to slow and steady the pace a little. Perhaps at another show with Ronnie there, had the same thing occurred, I can imagine Elvis might have stopped things and started the song again, but perhaps not wishing to unsettle Jerome anymore than he was already, Elvis powered on and allowed the song to settle into the slightly faster pace than usual. Wow, and did he power on, because for the first time, he started to use the new fantastic quality which he has added to his already fantastic voice. Incidentally, my comments concerning Jerome's drumming in that and other later songs is a purely personal feeling and I may well be wrong. Make no mistake though, Jerome is a fantastic drummer and I'm sure that there is no drummer anywhere who could have just stood in like that at such short notice and done such a great job. Really, only through lack of practice performing with Elvis, could you notice that slight lack of sharpness and crispness normally such a prominent feature in all Elvis' performance. Nevertheless, it didn't detract any from the amazing extra quality and power in Elvis' voice that was to become so noticeable this season. During 'Fairtytale', in the line - "I tried my best to love you", Elvis turned and laughed at Jerome.

'And I Love You So' which followed immediately was a really beautiful performance and included one or two experiments by Elvis singing one or two words in a very deep bass. James' guitar work on this song was superb as were Kathy's high voice - parts which really compliment Elvis' voice especially well in this song. Unusually too, on the closing few notes, Elvis added a few "choong-choong-choong's". (For the uninitiated, that isn't something out of the Hilton's Benihana Japanese Restaurant, but the best imitation I can make in written format of the sound Elvis makes! )

"This next song is.... is one of our older songs, but we've been doing it a lot recently, called 'Tryin' To Get To You', was the way Elvis introduced his unbelievable presentation of this song. No kidding, some of the notes he was hitting, holding, bending and sliding in this song seemed almost in-human and far superior to any he's sung in previously, even on record. It was noticeable too that James' guitar effects seemed to be after more of the Sunday's sound, with the occasional Scotty Moore-type touch. If Elvis was uncertain before if he could "cut it", this song eliminated any lingering doubt amongst even the most doubting Thomas.

'All Shook Up', was delivered short and sharply, but not before Elvis was given a white toy rabbit. 'Teddy Bear' came next and during this he collected a wooden plaque with some kind of shield on it and then, much to his amusement he was also given a little white jumpsuit.... One about twelve inches long, I guess. This cracked him up so much that it caused him to goof up the beginning of 'Don't Be Cruel', which followed in medley format and during this song, Elvis tried the little suit up against Charlie (I wonder why!) Also, he was given a bible during the song.

Whilst asking Charlie if he had any idea on what they were going to do next, some girl yelled out for him to come up to the balcony to which Elvis replied, "Jump up the balcony.... you kidding ...... do you think I'm, I'm.... you know..... need a vine like Tarzan, go arrhh.... (Tarzan yell).... miss and go through the wall and arrive up at Caesar's Palace. ?" As more and more people began to call out for Elvis to sing various songs he said, "I can't do all them songs at once.... just one at a time.... otherwise I'd be going...." (then he made a sound like a gobbling turkey). Then he cut short those people who persisted in calling out by going straight into 'One Night'. In this he didn't call out his name in a high voice, but purposely mixed up part of it to come out as, "I ain't never, I ain't never done, did, done, did, done, did, no wrong"

'Polk Salad Annie' very carefully and earthily pronounced by Elvis led us into that pile-driver of a song. This song really gets more gutsy and involved, save for the spoken intro. (which I for one miss) every season. Elvis really pushes those musicians to kick hard while he is giving his all out front, bouncing around and at the end, going down to the ground twice, once with his left leg outstretched and then the right leg. He has also started doing some kind of pirouette at the beginning, but don't worry, that's not done in Nureyev style whilst wearing open toed paisley sneakers (who let Jackie Kahane into this review....? We can't have that!) Also, he does a sliding motion at the beginning with his feet, alternatively putting his toes of both feet together, then the heels of both feet whilst moving across the stage at the same time. Towards the end he makes the mike lead move in snake-like fashion up and down until he drops the mike from about six inches off the ground as he goes into the finale.

After all that, not giving him a chance to recover, another girl calls out asking Elvis to throw a scarf up to the balcony. He replies quizzically, "One scarf for the balcony? Okay, give me that baseball." Then, as Charlie started to give a scarf for Elvis to throw, Elvis said, "There's no way, Charlie, you know, unless you put a rock in it... then miss and hit the Maitre d'" (duck Emilio, it's not often you get that type of tip, I bet), "you know.....?" Then, as Charlie proceeds to tie a knot in the scarf a drum roll starts, Elvis warns, "Okay, here it comes, kid", he draws back his powerful right arm, prepared himself, the audience hold their breath..... and.... wait for it, Hercules unchained in the shape of one Elvis Presley, deliberately makes the most feeble throw so that the scarf floats limply through the air just managing to reach those seated ringside, I suppose he knows it's impossible to make it without weighting the scarf, and then it could be dangerous, so he doesn't try. In the process of this great effort, he did, however, manage to lose his bracelet. He did admit himself, "That was a meagre effort.... there goes my bracelet, you know.... this couple down here gave me that bracelet the other night..... the same ones that asked for 'Sweet Caroline' and caused James Burton to get his fingers caught in the strings, you know?"

Introductions came next, JD and The Stamps, The Sweet Inspirations, Sherrill Nielsen, Kathy Westmoreland.... who drew a big cheer and applause which prompted Elvis to say "Got your family out there then, kid. ... ... from Norco ?" Then John Wilkinson, James Burton who plays a solo of 'Johnny B. Goode', which somehow Elvis manages to join in on quite a lot. On to Jerome to whom he sais, "Stump, do you want to take a drum break ?" (Jerome looks reluctant), "Ha, ha, ha,.. you, you can do it man, you know I mean, just uh, just do whatever you feel uh..... come on..... Jerome Munroe ladies and gentlemen.... alias Stump." Boy, and did he come on strong, no kidding he was really stumpin' else (sorry 'bout that) At the end Elvis gave him an "okay" sign. You could see, though, that James played along with him to give him encouragement. Jerry Scheff's solo came next. During all this time, it was fascinating to watch Elvis in the shadows over by the Sweets. He was drinking water, talking to the Sweets, occasionally Sylvia or Estelle would start rocking on their stool with laughter, he really seems to crack them up with an endless supply of comments and also he is continually moving his legs to the funky solos of his group. It's great to catch Elvis when he's slightly off-guard at times like this. For Glen's solo, Elvis however, stood over by Jerry Scheff and talked to him, perhaps to find out if there was any special reason for the slightly sudden end to Jerry's solo which Elvis had briefly commented on. Charlie got an India war whoop from someone in the audience which Elvis mimicked. Joe Guercio's Orchestra did their piece and Elvis got them to repeat the ending with a spotlight on the rhythm guitarist Tony, who certainly knew how to play a guitar, even if in a rather jazz style. Well, Elvis did describe him as, "Weird."

Then, he said in answer to a request Elvis went into 'I'll Remember You', adding, "That was from the Aloha Special From Hawaii." Maybe he didn't think many people there would know it was on the Spinout album in 1966. This beautiful song was delivered faultlessly. At the end of it, though, on walked a small figure to hand a chain to Elvis, Elvis bent down to him and said, "What you got, that's pretty, thank you very much, son.... what's your name?"

"Jimmy", came the reply from this small boy who I think was the same as the Jimmy who had worn the jumpsuit earlier, but had now changed. Either that or it was his twin brother.

Slightly puzzled, Elvis said, "Your name's Jimmy, too..... thank you, Jimmy, it's very nice."

Things started off peacefully enough in the next song, little did we know that something from the region of Las Vegas, more specifically around about stage centre from the Showroom Internationale at the Hilton, would record a reading on the seismic scale..... no it wasn't an earthquake, it was Elvis' voice as it took off to the thirtieth floor without him during 'How Great Thou Art'. No one, but no one, who hears this ever believes it, but it's true, the power he has in his voice is staggering. If you can imagine the power in his voice in the - towards the end of the studio recording of 'It's Now Or Never'.... amplify that about a million times and you might get some idea. The response to the song was so much, a standing ovation, that he had to repeat part of it again, including the powerful sequence. Phew!

Perhaps it was significant that, 'Early Mornin' Rain' came next, maybe he wanted to cool himself, and us, down after the last song. A really pleasant song this nicely performed even if he did manage to change one of the lines to "Out on runway number nine, big 880 set to go", although it didn't quite come out as 880, sounding more like eighty eight, but still, we all knew he was referring to his new 'plane, the Convair 880.

'It's Now Or Never' followed straight on, really great this and it's very pleasing that Elvis is beginning to include this more regularly now. An interesting new arrangement on the strings has been introduced, and James played some latin-sounding chords. Towards the end of the song, Elvis struck some really deep notes, and after hitting them, would turn and smile at JD who smiled back approvingly. Of course, Elvis' voice was as strong as ever in this song.

Walking over to Charlie to collect another scarf to put on, Elvis suddenly realised, "I've already got one on haven't I? .... Do I have a scarf on? ..... why you fool" (to himself), and then he proceeded to go into the beautiful 'Softly As I Leave You', for which Charlie placed the blue stool behind him, but Elvis didn't use it. As always this song got a very enthusiastic applause..... it's perhaps surprising it hasn't appeared on an album or single.

If that song hasn't appeared on record yet, then may be the next one he was to sing should be. In view of the American Bicentennial, it could very well be a No. 1 single in the U.S. The song is entitled 'America'. Really, although it is perhaps an unusual type of song for Elvis, he makes a fantastic job of it, starting the song quietly, a spoken piece part of the way through, very earthily and dramatically pronounced, then leading into a very powerful finish with, of course, Elvis' voice powering above all else. A very moving song, the type that almost brings a lump to your throat, even if you are not an American. Deservedly, it got a tremendous applause.

'Can't Help Falling In Love' was performed after Elvis had wished everyone a Merry Christmas and an affectionate farewell. During the closing camp, he stood underneath part of the curtains held up by Red and Sonny West and as usual acknowledged all parts of the showroom, including the balcony as the audience gave him another standing ovation. Wow, what a show.. the only slight disappointment being the fact that we would have to wait another twenty-four hours for the next show as there was no midnight show. At least common sense had prevailed, though, and Elvis was not forcing himself to do two Shows a night every night and risking hospitalising himself again. Incidentally, Elvis was on stage for 1 hour and 10 minutes.


December 8 1975 (Monday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 8 1975
Review by John Andrews - Elvis News Service Weekly, Issue 238-39 (January 15 1976)

Elvis' intro. after '2001' was played very tightly by the group ..... a sure sign that Ronnie Tutt was back. Looking a little less pale and with noticeably less swelling around his middle than the night before, Elvis appeared in an all white full jumpsuit with blue inverted pleats in the flare of the legs and silver designs on the suit and white belt.

During the powerful and fast version of 'C.C. Rider' he took time to inspect the back of his redwood coloured guitar and then advance across the stage and lunge at John Wilkinson with it. As the song went into a quieter part where Elvis starts to really move by calling out the drumbeats 1-2-3-4 and shaking his body to each beat, James somehow, unusually, hit an odd note which drew an equally odd glance from Elvis.

That song over he asked "God, is it Monday? ....... Monday already?" and then proceeded to go into what sounded like some old blues song (maybe one he just made up though) by singing, "Well, Monday morning, morning, morning ..... Monday morning, Monday morning my head is bad" ('Blue Monday And My head Is Bad'). The group hadn't been able to follow him on this and so Elvis said, "These guys wouldn't give me a key if I'died up here." Still laughing at the group he went to start 'I Got A Woman' with a "Well, now" but then broke off to comment, "You know, these people are silly, I swear to God, .... Well, got to be nuts to come out here anyway...... Well ......O said that didn't I ...... okay where was I Ronnie?" which Elvis asked whilst leaning crossed-legged against the mic' stand. Ronnie replied, "Well". To which Elvis commented, "Oh, what does he know, he just delivered a baby yesterday .... he did, I swear to God." (big applause). Charlie then mumbled something to which Elvis asked, "What ...... I didn't ask you nothing Charlie .... you're about as funny as a diseased alligator, do you know that .... uh..... uh, we'll talk about it later" (I think there was some kind of in-joke here). With that Elvis then laughingly launched into 'I Got A Woman'. During this his hair flopped into his eyes, which caused him to change one of the lines to 'I can't see." When he came to the part in the song where he 'checked out his parts his movements brought the hair into his eyes, so he said, "I gotta get a haircut, I swear I can't see nothing man .... like an old sheepdog, you know" (somebody suggested 'Old Shep') which Elvis heard and repeated laughingly saying, "Old Shep ..... live and in person man .... oh God." Then after a few great movements from Elvis as the group jammed, JD went into his bass slide which again, as the night before, didn't sound quite right. After making a few comments and laughs off-mike having a quick talk to Joe Guercio and then applauding JD, Elvis enquired, "What's wrong JD?". "I'm pregnant," was JD'S excuse this time, "Ronnie, can you take care of him for me?" Elvis asked, and then went into the closing of this song. Elvis' usual backhanded throwing of the guitar to Charlie was a bit off target this time at the end of the song ..... and Charlie missed it. "You know, that's the first time you've dropped it son, what's the matter with you?" Elvis asked of Charlie (who has actually dropped the guitar before).

"Good Evening Ladies and Gentlemen .... uh, welcome to the show, ha, ha, ha, I'm trying to say it's crazy, I swear, you know ........ I really need a haircut, Charlie, you got any shears up here, anything ...... just cut some from the front so I can barely see the audience, you know, I, I can't see 'em anyway but, the front row, you know." Charlie struck a match intending to perhaps burn off the hair falling in Elvis' eyes, but thank goodness they didn't attempt it. Elvis then continued, "Well we hope you have a good time this, this, this, this, this ..... what is it ....... this night, noon, night, what ...... mid-evening" (said quizzically) "oh ..... I tell you what I'm hearing up here on stage ..... mid-evening, night, na, na, na" (as Elvis mimicked the sound of the group calling out to him) "...... anyway we're going to do a lot of songs, and we hope you do something that you like" (we like them all Elvis), "hope JD stays awake during the show .... no, I'm just kidding you JD, you know,. He's uh, you know, he's an old professional showman, you can kid him, he's ready for a home for the silly anyway, ha, ha."

"Treat ...... wait a minute", Elvis went to start the next song but then went over to speak to Charlie who had mumbled something. When he came back to stage centre he said, "He does more talking and says nothing, you know I mean ....... never have I come so far, stayed so long, and heard so little," and with that profound statement Elvis then launched into 'Love Me'. Gifts he received during this song included a "Pet Rock", an enormous Sucker (lollipop to the English) and a green glove puppet. Of course Elvis had to play with this puppet and so put it on his left hand as he shook his head at it before making the puppet attack Elvis at the throat. Also, as he often did during this song, the, "Oh so lonely," bit became, in reference to the Japanese, "Ah so, Ah so lonely."

"Well, whatever's next, you know, just lay it on me, I don't care," was the way Elvis introduced 'Fairytale'. Yet another fantastic performance on this song that should have been on a single. Elvis' legs really move like pistons in this song and a musingly at one stage stopped to pull one hand forward with his other hand.

Immediately at the end of this song the group and orchestra went to start the next song, but Elvis stopped them by saying, "Now hold it a minute ...... no wait a minute, just hang loose for a second, the drummer broke his drum so I got to give him a little time ...... I think the guy that used them yesterday sabotaged them Ronnie." As he was 'killing some time' waiting for Ronnie he walked across to stage left where those good American fans Len and Rosemarie Leech were seated. Rosemarie was holding up a photograph. for Elvis to take. Seeing it Elvis started back for a moment, declaring "What in God's name is that honey," then laughed as he studied the photo which was one Len had taken on a recent concert. It was a fantastic close-up on Elvis face taken when Elvis had 'posed' for them for a milli-second at this concert and the pose captured him with his guitar pick in his mouth in 'fang' fashion. Then Elvis read the small caption they had put with the photo, "It says Dracula Eat Your Heart Out." Then Elvis asked Rosemarie if she wanted the pick he had now, but Rosemary wanted a kiss with it which Elvis stated to be, "A pick and a kiss". Rosemary got this and a scarf too I think, plus a bonus of dripping sweat as he leant over to give her a long kiss (we know why don't we Rosemarie!) He was also given a medallion and said, "This is for Lisa ? ...... oh, it's for me."

The fact that Elvis had taken this short pause to allow Ronnie to repair his drum once again reminded me of how much an 'aware' person Elvis is. He's really sharp and quick, nothing escapes, him, just consider that he had poured his soul out in 'Fairytale' but seemingly had been the only person to notice that Ronnie (who was behind him on stage) wasn't ready to start the next song. It was typical of Elvis to make sure that Ronnie had time to put things right. When Ronnie was ready then Elvis okayed the group and orchestra to start 'And I Love You So'. This song is Elvis', no one should attempt it but him, a really beautiful performance with Elvis controlling his voice to hit every note perfectly and smoothly and as powerfully as the song required. James' guitar work blended especially well, as did Kathy's high voice parts.

"This next song is one we've been doing for a long time, er, I recorded a long time ago and we've been doing it quite a bit lately, it's called 'Tryin' To Get To You'". Just before he started to sing he took a drink of water and then cleared his throat, "Arrrrrrr ........... that was it, do you want me to do it again," he kidded he had done the song, and then he started it properly, or went to because it came out as ''Ive been, ha, ha, ha, ........ God Almighty, give me the key" (they played it) "..... thank you, we've got so many songs that don't have any intro., d'you notice that, you know, we do, and they've" (the group) "forgotten it ...... all playing with Peter, Paul and Moses er, Mary" (born 10,000 years ago in Elvis Country?). Obviously Elvis was referring to James, Glen and Ronnie's session work with other artists. With that Elvis then went into another fantastic version of this song, which seemed if anything sharper than the previous night, perhaps because Ronnie was back, Elvis sings this song so fantastically now, it seems criminal not to release it as another live version.

Elvis then rattled his fingers on the mic', smacked them with his other hand and went into 'All Shook Up'. In this song for some reason he made his head twitch, touched his heart, pointed to someone in the audience and had a 'tug-of-war' with a girl in the audience over one of his navy blue scarves. You see you get more than just a song with Elvis, you get a variety show thrown in with each song .... no expense spared.

'Teddy Bear' followed on immediately during which some girl almost pinched a scarf from Elvis' neck as he looked slightly amazed. In medley, 'Don't Be Cruel' continued and during the line, "Baby if I made you mad with something that I might have said, please don't forget the past, the future looks bright ahead," he turned and grinned at the Sweets and Kathy (in obvious reference to the Norfolk Concert.)

'Until It's Time For You To Go' opened with Elvis changing one of the lines to, "I'm not a King, just a man, take my BAND". Happenings during this song included Elvis dabbing his scarf under both arms before giving it to some girl, his stand ing in front of Kathy during her high voice parts trying to put her off (he didn't succeed), waving his arms in the air to a girly who was waving at him, starting towards her, then turning back, teasing her that she wasn't going to get his scarf, but then throwing it to her, whilst another girl precariously stood on a table to attract his attention which somewhat alarmed Elvis in case the table should break. If all of that wasn't enough he then decided to 'conduct' the Orchestra and Group in the closing of the song. Phew, it's an actioned packed show this one isn't it .... who said he was "just' a singer"!

Calling it, "This Time You Gave Me A Mountain," Elvis introduced 'You Gave Me A Mountain' yet another song in which he demonstrated his fantastic voice control as he drove the whole Group and Orchestra along.

With his whole body vibrating from head to toe and following this by spinning around in a slow turn and then spinning back slowly Elvis danced his way into a really gutsy version of 'Polk Salad Annie'. For those of you who may have been told that Elvis isn't moving any more, whilst his movements may not at the moment be quite as vigorous as they may have been he is still a constant 6'2" of pulsating body in this song in particular. His whole body seems alive with the music and occasionally he lets go with all the wild action he will always be associated with. There's no doubt he can move as well, if not better than ever. If just seems that in view of his health this year he may have been told to cool it on the movements, but every few minutes he conveniently forgets these instructions. At the end of the song he still jumps in the air.

During the introductions of the Group Elvis unusually started off speaking whilst standing in front of Ronnie. However, for James solo he walked over to stand in front of Sylvia to talk to her and take a drink from her glass of water. During Ronnie and Jerry's solos he pointed at, pulled at and even talked to the microphone lead which for some reason this season persisted in hooking underneath the platform which the Group stand on. Then he had a quick word with Ed Enoch whilst their solos continued eventually ending up trying to put Jerry off by waving a scarf at him. When Joe Guercio's Orchestra finished their solo Elvis asked, "Joe, was that a little bit slow?" to which Joe looked a bit puzzled as Elvis persisted, "Was it a little bit slow ...... is it because it's Monday, or you just don't give a damn, or what," and although he had a slight smile on his voice the tone in Elvis' voice suggested he wasn't pleased. Joe said that the reason was "Both", as Elvis suggested ?? However, Elvis still got him to repeat the ending featuring the guitarist Tony.

"This next song is a song we did on an album about three years ago" (nearly five actually) "called 'Just Pretend' ..... I'm doing this for Linda." and with that he tapped out in the air the opening bars of the piano and the opening drumbeats before he started to sing a fantastic version of this song. The arrangement was very similar to the original recording although Elvis tried some interesting variations with his voice, hitting some really low notes. Some very well blended high notes from Kathy were introduced as well. A beautiful and very effective production like this deserved the big applause it got. GREAT.

'It's Now Or Never' came next and once again allowed Elvis to demonstrate the amazing range of his voice when he hit some very deep bass notes towards the end, with approving smiles exchanged between Elvis and JD, before Elvis soared right up the scale for the last few powerful notes. The main 'action' during this song was when one girl pulled Elvis down by the ring on his finger, so that she could have a kiss.

'One Night' had no sooner started then Elvis decided to help Ronnie by giving one of his cymbals a bash. After a little bit of goofing around at the beginning of the song, Elvis really got it on and turned in an outstanding version of this song, even if he did quickly repeat a few of the words several times in some places so that he sounded like a gobbling turkey.

From this, 'How Great Thou Art' continued straight on. Once again the unbelievable power in his voice which Elvis demonstrated in this song brought the audience to its feet causing him to say, "We'll do it once more, okay ...... phew," and then he did equally as unbelievably powerfully .... he certainly doesn't run out of steam easily.

"It's hard to follow that song, ha, ha, ....... this next song" (then he took a heavy breath, still recovering) "is the one that we've been doing quite a bit ....... it's a true story of a man who was uh, in a hospital and he's dying and his wife has been sitting by his bedside for three days and three nights and un, somewhere on the third day, between midnight and day, she lay down beside him and dozed off to sleep. He felt her when she dozed off to sleep. At the same time ...... he felt himself start to die," was the dramatic way Elvis introduced 'Softly As I Leave You' to a silent spellbound audience. You could have heard a pin drop, the atmosphere Elvis creates in this song is uncanny as he speaks his way through it with Sherrill repeating the lines in his superb tenor voice and with Glen's equally superb piano playing providing the only backing right up to the last line where Elvis joins Sherrill in singing some delicate high notes.

The atmosphere in the showroom becomes even more acute as after that song Elvis once again goes into the very moving 'America', complete with his earthily and dramatically spoken lines before managing to prove yet again the power in his voice by outdoing the Orchestra also punching out the finale of that song.

Before the applause has had a chance to die down, as always seems to be the case towards the latter half of the show, Elvis keeps the pace of the show very fast and goes straight into the next song 'Mystery Train'/'Tiger Man', a really great, tight, rockin', sockin' hunk of a song with Elvis driving himself and, in particular James and Ronnie to give their all. Mind you, he still found time to slap himself on the mouth in between shaking his body in time to the strobe lights.

"Uh, thank you Ladies and Gentlemen, you're a fantastic audience and uh, ..... what is that? ..... looks like Wayne Newton," he said to a Japanese fan who handed a doll to him, as he continued, "That's pretty, thank you ..... you from Japan? .... there's a lot of people that are here from Japan .... whole planeload of them....." (it's funny how Elvis always seems to mention the Japanese, but rarely fans from other countries - like England) ".... looks like Wayne Newton. I swear it does," as he handed the doll to Charlie before he noticed that sitting next to the Japanese fan, "the guy sitting next to looked like Wayne Newton .... him .... look at this guy ..... stand up a minute, stand up, look at that, Wayne Newton, look at this guy ..... Japanese Wayne Newton." Then someone handed him a baby's dummy which he proceeded to put in his mouth before turning to Charlie almost sharply saying, "Hey, Charlie, want to put the doll away and bring the scarves on." By this time the audience was beginning to get noisy with people trying to attract his attention. One girl dropped a scarf Elvis had thrown to her so Elvis' comment was, "Honey, you wouldn't make the dodgers, I tell you that". Then someone else said they were from Canada which caused him to say, "All the way from Canada ? ..... from what part of Canada? ..... Toronto ..... we, we may be there, ne, next year ..... we may be there next year". This then caused people throughout the audience to shout out where they were from which then prompted him to say, "Isn't that funny, just mention States that's it, you know, come out and do a whole show, just ..... Alabama, Mississippi, Tennessee, Cal, California, Phoenix, Tokyo, Bangkok ....... nah, it's time for us to go folks, we've kept going long enough". This caused a big "NO" from the audience so Elvis said, "Well, I've been out here all night, no, is there anything you want to hear, especially," which resulted in a whole jabber of various song titles from the audience. Elvis asked of the Group "Can anybody hear anything? ...... no, they didn't say 'Burning Love', Joe .... what did you say, w-wait a minute, wait a minute ..... tell you what, get a spokesman ...... Fever Fever ..... watch the light man go crazy," and so it was that we got a bonus of 'Fever' which in one part Elvis sung with his hands held teasingly behind his back. One line, normally, "Fever in the morning," he changed to "Fever in the back," after he had just made a sudden shake of the legs. At one stage in the song he held his hand out to indicate that he wanted the spotlight more accurately lined up on himself. Towards the end of the song when he did one of the knee-drops he said, "God, I almost didn't get up". His closing words in the song were, "Forget it, that's all." However, not quite satisfied with the ending of the song which had been a bit jerky he called to Jerry Scheff to play the last few bars again, which he did as Elvis voiced the last few words properly this time.

"I'd like to tell you Ladies and Gentlemen that it's been a pleasure working for you and it's nice to see everybody out here" (the Group) "and 'till we see you next time be careful and uh, uh, God Bless You," were Elvis' closing words before 'Can't Help Falling In Love' and the closing vamp during which he still found time to give Charlie a kick and then get tangled up in the curtains as they came down on him as he was acknowledging all the corners of the showroom. So came to an end, some one hour twenty minutes after it had started, the type of Elvis show which made you feel proud, exciting, exhausted, amazed, speechless and a dozen other things at the same time. A real action packed show and certainly not one from a fading star, but one glowing with vitality and humour and a show which reverberated to the ever increasing power and range of Elvis' unequalled vocal talents.


December 9 1975 (Tuesday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 9 1975
Review by John Andrews - Elvis News Service Weekly, Issue 240 (January 21 1976)

Just before the show, seated at the same table as us, were a group of six middle-aged people. One person amongst this group, despite the fact that he had not seen Elvis before, knowingly declared that Elvis would, like most of the other stars, probably only appear for two short sets and that is all he would do. The other members of this group gave agreeing nods ...... but hang it all, they're not going to get away with that, so I quietly announced to the outspoken member of the group that for his information Elvis had performed non-stop for one hour twenty minutes the previous night and rarely did less than an hour. The astonished expression and stunned silence from the somewhat deflated spokesman had not been broken by the time the lights went out, the strains of '2001' started and an excited buzz went around the showroom.

....... then suddenly there he was ........ Dracula, no Elvis. In fact it was Elvis playing Dracula again, with the guitar pick in his mouth fang-like for the benefit of Len and Rosemarie Leech and the photo they gave to him the previous night. In addition to the guitar pick the even slimmer than the night before Elvis, who in turn had been slimmer than the night before that, was wearing the black suit with turquoise blue puff-sleeved shirt outfit, similar to the one he had worn at one of the New York Concerts that year. It was really interesting to note how the swelling around Elvis' stomach had apparently reduced in just the 48 hours since we had first seen him this season. In fact weight-wise he seemed comparable to the weight he was during the second tour that summer and from the back he looked as slim as ever he's been. It all seems to prove it's not a usual case of weight, but just a swelling around the stomach region which can come and go almost overnight.

........So anyway 'C.C. Rider' played and sung in just the way it should be, hard and fast, kicked things off. He found time to amuse himself and us during it to reflect the spotlights from his Guitar on to faces of people in the audience and to point to one or two as well. Then he strode across to John and lunged at him with the guitar. He moved his legs around quite a bit, hitting the left one in order to get things working properly, and then turned round to laugh at Ronnie and the rest of the group before bringing the song to a close.

"Thank you very much, thank you ..... what's wrong with you guys tonight?" Elvis laughingly asked of the group, "What? .... oh, you just woke up ....... oh ...... God is love, so did I ...... Welllllllll now," he started to sing, but as he did so his hair started to fall in his eyes again so he declared, "I still need a haircut, I can't see up here, I'm just a sheepdog, you know ...... Welllilli, ....... what was I doing," he turned to the group and asked.

"Well," replied Ronnie.

"Oh, shut up ..... Well I said I got a Woman ....... whoa, whoa, whoa," he stopped from launching into the song to go back to, ''Well, well, well, well, well, well ....... I wake up just about halfway through the show," and then he put in a very deep "Well, well, well, well, well ....... well, well, ......... snore," as he pretended to go to sleep as he lent against the mike stand with one foot crossed over the other, but woke himself up to continue in a very deep voice, "Well, well ....... wellllllllll ...... it's not as good as JD but it's okay ....., and thank you that's all, thank you," as he straightened himself up to give the most polite little bow, pretending he had finished the song. Then he got into 'I Got A Woman', rotating the mic' on its stand as he sang, but then getting the thumb of his left hand caught in his belt. The 'Amen' sequence during this song was longer than normal, but Elvis closed it with some great loosening up' movements in time with Ronnie's drumbeats although half-way through he asked Ronnie to stop, saying, "My leg won't work, it's cramped," but he soon got it uncramped to continue with a few more movements before coming to a halt saying, "That's enough, just after eating." JD's bass slide ca me next during which Elvis flashed his eyes and eyebrows in surprise at some of JD's rather uneven notes, adding though, "No, that was very good JD, you must be feeling better ..... did you get over your uh pregnancy?"

"I'm still on menopause ...." replied JD, plus a few other words which weren't clear.

"I knew you and Charlie'd get together," commented Elvis who hurriedly then went on to close the song. Having finished it he then said, "Thank you very much Ladies and Gentlemen, good evening, we, welcome to the show, we hope you have a good time, we're going to do a lot of songs, you know, old ones, new ones, and I hope we do something that you like ...... right or wrong ..... I walk a long here" (the stage front) "uh ........ honey, you were here last night with that same picture weren't you? ....... you're leaving tomorrow morning and what ....... want a scarf, okay," was the discussion he started with a girl holding a picture up for him. As he exchanged a scarf and a kiss for the picture he held up the picture. It was a copy of the one which appeared on the cover of the Elvis Country album.

The audience went "ahhhhhhh" as Elvis kissed the girl, so Elvis went, "A hhhhhhhhh," to imitate the audience, adding "That's me man..... in poverty stricken East Tupelo," as he described the picture.

Then someone yelled out "Merry Christmas" to him. He heard this and in a surprised tone of voice repeated, "Merry Christmas ...... Merry Christmas ...... good God, who said that ........ no, somebody out there said Merry Christmas, is it Christmas? ......uh .......uh, you know, I have to drink a lot of water out here because it's so dry here in Vegas you know, uh, d'you notice people around here going hrrm, hrrm...... how you doing? ..... hrmm ...... even the singers over here are going hrrm, hrrm, hrrm..... I think it's a Harley-Davidson, or a Hell's Grannies, er, Angels ..... hrrm".

Without another "hrrm", 'Love Me' followed. To start off with he was given some kind of black and white pennant, then had a tug-of-war with a girl over a scarf. Then he exclaimed as he staggered back for a moment, "What in the hell is that?" as someone pushed a black toy buffalo up to him. Elvis took it and started to carry it about with him as he continued singing, in one place changing the words to make reference to the buffalo, as, "My baby," which he sang in a very high voice. The song over he started to examine his new companion and asked, "What is this? ...... a buffalo ....... hey Charlie, you do them a one man buffalo stampede ..... do you remember that ....... you got enough guts to try it? ..... watch this, this is a one man buffalo stampede," and with that Charlie who was laughing his head off went to stand behind Glen. Then he got down on his hands and knees as Ronnie started a drum roll. Then suddenly from behind Glen at the piano, stumping loudly and quickly came the sight and sound of the one man buffalo stampede ......... Charlie Hodge. The stampede came to rest just short of Elvis at stage centre as the orchestra sounded a brief fanfare. Still laughing at this Elvis then asked, "What was the little girl that was put up on stage?" since a little girl had for a few seconds been put up on stage, but then put back down when Charlie stampeded. The little girl quickly was put back on the stage and Elvis asked, "Is it her birthday?" as he went over to kneel down beside her, putting his arm around her. Then he enquired, "What's your name?". What sounded like, "Camela," was slowly slurred by the little girl. Even Elvis didn't understand what she said so he asked, "What?" "C-a-m-e-l-a," came back the again drawn out pronunciation of her name. "Cam?" Elvis still struggled. "C-a-m-e-l-a," equally slowly, but slightly louder persisted this little girl, "C-a-m-e-l-a," equally slowly Elvis successfully repeated this time and then continued in the same slow voice (much to everyone's amusement) "O-k-a-y C-a-m-e-l-a .......... I tell you what kid ....... you got a Birthday coming up?" "No, it's already been my Birthday," it sounded like she said. "Well, I can't sing it to you, oh my golly," sounded like Elvis' reply as he gave her a scarf and a kiss. Just then some guy in the audience yelled out ''Elvis." Immediately Elvis replied "What," and then seeing someone holding something white up for him he asked, "What in God's name is that man?" It was a large white Teddy Bear dressed in a white jumpsuit. "Come here Charlie," asked Elvis needing help. "You know what, all kidding aside, this looks like Ronnie Tutt, my drummer, from behind it looks just like him and he showed the rear view of the Teddy Bear to Ronnie, pretty good ..... okay, take it on son," and this last comment from Elvis addressed to James led James to start the intro to ....... 'Fairytale', a fantastic version of this too, a fantastic version of a song that should have been a No.1 single for Elvis, released by popular request from the album that deserved to be a No.1 for Elvis, the album called Today. As usual, Elvis really gave a lot of physical body music with this song, he just comes alive with it ...... great! 'And I Love You So' (during which, as he often did during the line, "The shadows follow me," he made shadows on his face by holding up his arms between himself and the spotlight), deservedly got a big applause which Elvis cut short by announcing 'Tryin' To Get To You' although somehow after having said that they'd been doing it a lot lately, the group didn't seem quite ready to start, so Elvis said, "I don't know if they're ready to do it or not, but you know ........ let it go man, give it a try..... do you think you can do it? huh, you know more than I do." And having concluded his little discussion with the group, wow did they show they could do it, and Elvis, man that Elvis, he really bent his voice every which way with this song ...... just unbelievable. 'All Shook Up' followed with Elvis barely taking a breath from the finish to the previous song. Then almost as quickly 'Teddy Bear' and 'Don't Be Cruel' followed in medley sequence. Someone gave him a Sheriff's badge during this medley (not from Shelby County, I bet). Also during the song he had a quick conversation with a girl, kidding her he couldn't reach over to give her a kiss, but then he did.

"Ah, I'd like to do a little bit of uh ..... what?" Elvis stopped in mid sentence to ask what someone had shouted to him, and then he continued as more and more people called out asking him to come over to them, "I'd like to do a little bit of 'Love Me Tender'," and he did, finding time in it to tangle up Charlie with the scarves he was trying to hand to Elvis and then being given a Hawaiian lei by some girl who was standing on a chair to reach him. In the process the lei got caught on the microphone in much the same way as his necklace did in On Tour.

"Okay ..... Polk Salad," was all Elvis needed to say and everything started to happen with this really tight, fast version which included a lot of movement from Elvis such as several spins and a short burst of Karate as he 'attacked' Ronnie. As he went down with one leg outstretched and went to get up and then go down with the other leg outstretched he pretended to get stuck and so put his hands together and looked upwards in mock prayer. As usual the song ended with Elvis leaping into the air. When the song ended Elvis walked around for a few seconds drinking water and taking a breather. During this time he was given a plaque and a room key. When he got the key he started to say, "It's room, uh, uh." He was about to go into the intros for the group when one persistent girl who had been yelling out his name prompted him to ask, "What honey?" "Can I have a scarf?" asked the girl from the back of the showroom. "Uh?" he didn't hear her. "Can I have a scarf?" she repeated. "If you can get down here kid, I can't throw it all the way back there you know." "Bring it up here," she persisted. "Bring it up there hell, and get raped," I think he said and then he continued, "I tried that once and never got back on the stage again ...... Take a dive Charlie, you know ....... no, I mean, I mean the reverse ..... you know, got Alabama clay between your ears ....... first of all the gentlemen that opened our show tonight, they're one of the top gospel quartets in the nation, Ladies and Gentlemen, JD Sumner and the Stamps Quartet. Now I have known, uh, I've known JD Sumner since I was sixteen years old ..... which uh, it don't say much for him, but uh, no, uh, I used to go to the gospel conventions in Memphis and uh, I was there when he joined the Blackwood Brothers Quartet, you know. I was sixteen years old. I never thought he'd be working the stage with me, I'd be working the stage with him, or vice versa, but it's a pleasure JD ..." (applause) "... that's enough of that."

Intros followed for the Sweets, Sherrill, Kathy for whom after the applause had died down he pronounced her name again to sound like "Bessy Westmoreland". Then cam John, "You don't trust me do you John, I don't blame you," Elvis added. James did his great solo which sometimes becomes an excuse for Elvis to sing 'Johnny B. Goode' from the shadows whilst drinking water and joking with the Sweets. "And on the drums from down in Dallas, Texas is hard working Ronnie Tutt," was no understatement from Elvis for the unbelievable drumming of Ronnie and again whilst he is drumming away, Elvis' legs are constantly moving as he stands in the shadows. "Outasite man, in fact uh, you know you've got to keep awake back there," was the way Elvis congratulated him before telling Jerry Scheff to "Play the Blues." Yet again, during this solo Elvis was humming away and moving in the shadows. Glen's solo really gets a funky sound going which James and Ronnie get in on as also does, you guessed it .... EAP, yes he's there again, "yeahing," away. At the end of Glen's solo though he kidded, I think, by telling Glen, "You goofed up the ending you know that don't you I wasn't going to say that, right, because you're, you know, you're so good..... you know, you make just a few meagre mistakes ..... but that's your one for tonight son, okay .... nah, only kiddin'. And the fellow that gives me my scarves and water and sings harmony with me" (a few people in the audience call our "Charlie'') "...... now, wait a minute now, let me introduce him ....... he's already got a big head as it is" (Charlie mumbled something to Elvis) "..... ha, ha, ha, he said he was born that way... no uh, Charlie and I were in the Army together and uh, we've been together for a long time ...... Charlie Hodge Ladies and Gentlemen". Joe Guercio and the Orchestra and the rhythm Guitarist Tony all got their mention too. 'Just Pretend' followed straight afterwards and was again dedicated to Linda ...... lucky Linda to have such a beautiful version of this song dedicated to her.

For 'How Great Thou Art', which came next, he stood to attention during the beginning before yet again soaring off into outer space. Needless to say the standing ovation he got caused him to repeat it again.

Saying, "That song is hard to follow," he came up with an ace ..... 'Burning Love', a real pile-driving version with Elvis almost spitting out the "hunka, hunka Burning Love," lyrics at the end.

Charlie brought out the blue stool and placed it behind Elvis as usual for 'Softly As I Leave You' and as usual Elvis didn't use the stool. With the atmosphere of that song still in the air, Elvis continued the now fast pace of the show, and heightened the atmosphere in the room by going straight into 'America'. Then just as quickly into a fantastic version of 'It's Now Or Never'. He did find time in the song however, to receive some kind of glass jar and then in the line, "Your lips excite me," he turned first to Charlie and then the Sweets to grin at them, presumably there being some kind of in-joke here. At the end of the song he surprisingly commented, "Uh, I couldn't hit that, that so, have you do it, okay," and so JD agreed. The ending was then played again with Elvis and JD working together, with JD hitting the very deep note. I'm not quite sure why Elvis did this, because he normally hits the low note perfectly, and I'm sure no one but him was aware he hadn't hit it to his satisfaction anyway, but still, that's Elvis, an unpredictable perfectionist. The harmonies between James and Glen in this song were very noteworthy too.

"What about 'One Night' with y'all ...... give me a scarf Charlie, water, you know, vinegar. anything," was the way he introduced 'One Night.' When he came to the line, "Just call my name," he staggered back for a moment in case too many people yelled it out. He found time to mimic James on the guitar for a few seconds and then on one note when he really powered out the lyric he circled his arm to emphasise the effect. Charlie went off stage for a few seconds during this song .... to collect more scarves.

'Mystery Train'/'Tiger Man' followed straight on without a break. Again this song really came over with a punch, although Elvis stopped for a moment to indicate applause for the trombone player who had been playing the train whistle sound. Elvis' movements during the strobe light sequences in 'Tiger Man' are perhaps a little more slinky than in the That's The Way It Is. but this song has every bit as much energy, if not more than the version on the live '69 album. After the song Elvis went to start his closing speech but got interrupted by people calling out for him to sing certain songs and asking for him to come over. To one girl that was calling for him to come over he said, "She's scared? .......... I'm the one that's scared, not her." Still the banter from the audience continued so he declared, "I'd like to say a couple of things ..... bblllllll bblllllllll" (pronounced in a high voice) "...... that's it ........ I'd like to talk a little turkey with you ....... gobblegobblegobblegobble" (was pronounced at high speed in a high voice .... he'd make a good impressionist) "alright, now I'd, I'd like to uh, I'd like to mention ...... y'all want to go to the bathroom?" (said to a girl near the front who was leaving her seat) "is that where you're headed ..... I'd like to mention uh, ... uh the fellow that keeps all this sound together up here Ladies and Gentlemen, as many instruments as we have, with all the musicians, the singers and the Orchestration, his name is Bill Porter .... he's out there ..... Bill .... he's in the middle man, is he out there? ...". (no sign of him standing up for the applause) "...... are you asleep Bill? ...... alright, you know, join the club, so are we ..." Then he was nearly interrupted by some girl talking to him, "I can't talk, I can't do that .... I'd like to mention um, that it's uh, you know, it's good to be back working again because I was off for about three months and uh, .. um it's good to have everybody back" (big cheer) "...... all the musicians and everybody has just picked up where we left off ...... almost ...... no, you've been a fantastic audience Ladies and Gentlemen, and uh, we'll be here tomorrow night and through Tuesday evening whatever ....... if we don't see you uh, you know, we come to your home town whatever .... uh, yeah I know, just take care of yourself and may God Bless You ..... take it easy". Then he closed the show off with 'Can't Help Falling In Love', starting the song with the words, "Wise men know, when it's time, time to go ....." ..... and go he did, much to everyone's sorrow after such an outstanding and happy show.


December 10 1975 (Wednesday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 10 1975
Review by John Andrews - Elvis News Service Weekly, Issue 241-42 (January 28 1976)

Apart from some trouble Jackie Kahane had with the microphone, things started normally enough...... that is, normally enough for an Elvis show, which really is never like a normal show that any other performer might put on. Wearing the dark blue suit with the white/silver eagle on and a blue and white striped belt and black patent leather boots, Elvis started 'C.C. Rider' by pretending to look at his watch and then opening one eye with his fingers to suggest that he had only just woken up.

After thanking the audience briefly, he went, solo, straight into the most beautiful version of 'Can't Help Falling In Love', which I have ever heard him do live. It was so close to the original, it was uncanny. It took a few minutes for the group to realise what was happening before they joined in. Glen Hardin and Jerry Scheff were the quickest off the mark. When the back-up vocals joined in then he started to sing it in the more normal Vegas fashion and changing some words to, "Like a river flows, surely find the key," and then as he continued the song he started to sing more softly leaving the group more out on their own as he said, "Watch them get lost". The song then built into its usual climax as Elvis called for everybody in the group to join in. Then Elvis took the usual closing-type bow and the closing vamp was played..... and Elvis left the stage walking off in the wings on his left, bumping into a laughing David Stanley, his step-brother who was in the wings. Then he came back on grinning all over his face as he declared, "I don't know what happened, I, I thought the show was over," and then he turned round to look back at the group and orchestra only to find half of it wasn't there.... they had joined in on the joke and started to leave too. This only succeeded in breaking Elvis up even more.

Having done a few "Well's", to start 'I Got A Woman' he suddenly decided to ask, "Is the orchestra back?" before going on to give a few more deep "Well's", and a few deep imitating the sound of a motor cycle as he rode it) groans and then finally pretending to close the song at that by taking this polite little bow that he does so effectively and by saying, "Thank you, ladies and gentlemen, that's it"....... but it wasn't not by a long way because from that he went straight into a superb version of 'When My Blue Moon Turns To Gold' which the group tried to pick up very quickly and soon had a large part of the audience clapping along. Then no sooner had he sung a few lines than he stopped the song by just a few notes to close it off and then declare, "But you see..... you know, that was just a joke, these people have never listened to my records on stage, they don't know what I do.... they just guess at it" - with Elvis and the Group still laughing at each other he then went back into 'I Got A Woman', with him still declaring during the sequence of Ronnie's drumbeats, "I still need a haircut, I can't see", then as he started to do the leg movements in time with the drumbeats he said, "This is how I got started, you know........just twitching", and brother did he twitch, some really great movements as he pretended he was riding a horse with the wind blowing his hair back, before bringing the sequence to a close by saying, "My horse is tired, goodnight". The 'Amen' sequence then continued with JD's bass slide which caused Elvis to vibrate his whole body and to make the most amusing expressions before asking, "Did the audience leave. ....JD?" "That was pretty good, but since you're the lowest bass singer, and one of the best in the world, you can do better."

"My Wife showed up," explained JD.

"Is that why your voice is weaker, ha, ha, ?" replied Elvis before going on to sing a few more "Amen's" during which James got his fingers caught in the strings, which caused Elvis to comment, "James, bbrrrrrow" (Elvis imitated the sound) "what've you done there?" as he looked at him questioningly before saying, "Serious", as he tried to steady things before JD started to repeat his bass slide again. 'I Got A Woman' was finally finished by Elvis swinging his guitar twice in the air before throwing it backwards to Charlie and then putting his hands together and looking upward in mock prayer hoping that Charlie would catch the guitar.... he did.

After the song he started to hand out one or two scarves and give one or two kisses. One girl asked for his pick, which prompted him to reply, "I've got to have my pick, I don't know for what because I don't play guitar" (lies) "but, you know, say, I play a piano, uh, a trumpet," Then someone else gave him a long kiss after which he said, "I've got a feeling we're going to start a trend here, you know".

"I hope it lasts us all night," replied the girl.

"I hope it lasts all night........ well, I can't do it," said Elvis then taking some kind of puppet clown he had been given. Then he promptly dropped the thing on the floor and so said, "I just killed him..... uh, no... yeah knocked him out." As he then picked it up and toyed around with it he said, "He's just tuned in to what's been going on so far, you know.... uh..... Sesame Street.... uh, we hope you enjoy the show, we're going to do a lot of songs and uh, old ones and new ones...... and we hope we do something that you like....we haven't, so far, but we will....we usually start off slow and taper off."

"You're beautiful Elvis", someone then yelled out from the audience,

"Yeah", he agreed jokingly, "I've got to be careful or they'll stick me out... families out there, kids.... because I'm, I'm, I'm, I'm, I'm, uh sane....... there are those of you who may doubt that," he then continued which caused him to waggle Jerry's beard as he laughed at Elvis' antics with the puppet and what Elvis said, and to James, Elvis said, "What you laughing at, James?" In reply, too, to Elvis' comment about people doubting him being sane, Charlie held his hand up to which Elvis said, "I want to see a show of hands, that's a shirt, man." Then Charlie mumbled something else to Elvis which made Elvis reply, "Charlie. .... wait 'till later.. you said that up in the room, you know, earlier, when you were getting dressed, forget it?" It was a little difficult to follow exactly all that was going on here, as it sometimes can be if Elvis has some kind of in-joke going with the group.

Anyway, 'Love Me' then followed, which he had no sooner started than a little girl smartly walked onto the stage, got a kiss from Elvis and then just took the scarf from his neck before he could stop her, and then she quickly went back to her seat as the somewhat surprised Elvis mockingly aimed a kick at her as she left and called her a "Vicious kid". Then he was given a T-Shirt with a motif on which when he looked at he read it out in puzzled tone, "Evel Knievel?" Another gift he took during the song was a picture of a small yacht done in some kind of cord.

"Thank you very much, ladies and gentlemen..... take it up", introduced another faultless version of 'Fairytale'. Several times during this song he turned to smile at the Sweets, who in turn beamed back at him. In the line, "There's NO NEED explaining, any more," he wobbled his whole body as he hit the several connected notes used in the words NO NEED.

An equally faultless version of 'And I Love You So' followed immediately. It was nearly enhanced by a few coughs from Charlie whilst he was singing harmony with Elvis, but professionally Charlie turned away from the mike to cough, unobserved by Elvis. Superb vocal support from Kathy in this song, too, and Elvis at the end also mentioned, "That was Sherrill Nielsen doing the high note part, that, that was really, really, really nice, Sherrill."

"This next song is a song that we uh, cough, cough, .......my, mmmmmmmmmm my head's twisted, Charlie, just turn it," Elvis then said walking over to Charlie, who then proceeded to try untwisting Elvis' head, accompanied by a "Click" sound from Elvis to indicate that it had been untwisted, saying, "That's it, right..... Lord, I'm going crazy, uh, this is a, the song that I did a long time ago, we've been doing it a lot lately, 'Tryin' To Get To You',..... Tutt, you're as crazy as I am" (said to a laughing Ronnie Tutt) ".... ready, Joe?...... you're not straight", was the introduction, interspersed with drinks of water, that Elvis gave to a powerhouse version of 'Tryin' To Get To You'. .

'All Shook Up' came immediately next, and included much scarf giving by Elvis. 'Teddy Bear' followed just as quickly and then 'Don't Be Cruel' in medley version. During 'Don't Be Cruel', he found time to pinch a girl on the nose after he had given her a kiss. He also received some kind of plaque and then a note which was handed to him in a rather strange manner by a girl who just walked on to the stage and handed him the note saying it was for the management. He looked somewhat puzzled at this as the girl did not want a scarf, kiss or anything, but just insisted that the note be given to the management. For the moment he just tucked the note into his belt unread.

Throughout the show, and particularly during the last song, Elvis had been somewhat amused by a girl sitting ringside. As soon as he had finished the song, he went over to where she was and said to her, "Honey, stand up a minute.... no please, just stand up for a second," and a girl with very closely cropped hair stood up as Elvis announced, "Kojak...... Kojak, with a little bit of hair, before he shaves in the morning to do his TV Show''. Elvis was now down on one knee with his hand on top of this rather embarrassed girl's head as he continued, "When I was working at Paramount, I used to," - some girl then yelled out to him which threw him for a moment before he continued again, "I was working at Paramount you know, I was, I was doing a movie and uh, Telly Savalas was working there and so was uh, Yul Brynner.... and I used to go into make-up in the morning I'd hear these electric razors.... bzzzzzzzz" (very good imitation by Elvis of the sound of an electric razor), "you know, guys shaving their heads", then returning to the girl on whose head he still had his hand, "What happened to you, kid ?", and then he gave her a kiss. Then followed a bit more playing with the audience who were calling out to him, before one girl handed him a note which he carefully read out aloud, "you must just say hello........ alright, hello". To another girl pleading for a scarf he said, "Honey, do not say please, it's, it's uh, you know, I got so many scarves, I got a guy backstage, the whole job he's at, just weaving hmm." Yet another girl asked him for a kiss, but before he would commit himself, he asked, "Give you a kiss, how old are you?"

"Seventeen", came the reply.
"Seventeen, now let's see," he considered, "....they say the kissing age is twenty years, forget it," sounded like his comment.

Not telling the group what he was going to sing next he asked, "Do you want to see if you can guess ?" Glen guessed at 'Until It's Time For You To Go' and started the piano intro., but Elvis declared, "Wrong, wrong..... second guess," and this time Glen guessed right when he played the intro. to 'You Gave Me A Mountain' and acknowledging to him, "You're right," So Elvis went into this powerful song, and gave a really knockout performance.

Whilst the intro to 'Polk Salad Annie' started Elvis found time to sort out the scarves and select a bright yellow one to put on before getting into some really wild movements in another fast, tight, driving version of this song. Just typing this review now, I find it hard to sit still knowing the energy that Elvis and the whole group put into this song. Elvis did still find time to indicate that he wanted the spotlight colour changed before going into the leg stretch both ways at the end and culminating the song by kicking out karate style into the air over the heads of those in the front. After the song he said immediately, "I just killed a fly on the floor and nobody saw it".

With the backing music for the intros. of the group playing Elvis announced "I forget to tell you, uh, for those of you, that I kissed..... I caught the...... if I had it you got it, you know......I'm only kidding".

After a little more chatter with the audience he moved on to say, "I'd like to introduce you to the members of my group. ....uh... click, click, click" (he made a noise to attract the attention of the group) "... they're not paying any attention when I'm going to announce them," and with that he introduced the Stamps, then on to the Sweets, who he introduced by saying, "The young ladies on my left, we've been together for about...... six years... too long, uh, uh, six years, no they really live up to their name, The Sweet Inspirations". Then next, "The fellow back here that does all the harmony with me, both on record and personal appearances... Sherrill Nielsen........ sleeves have gone haven't they?" was the way Elvis commented about Sherrill's jumpsuit, which needed a separate shirt, except Sherrill wasn't wearing one. Then as he walked around to where Kathy was standing he asked, "Is there anything happening up there....... nothing happening down here, either," before going on to introduce Kathy by saying, "The little girl that does our high voice singing, she's from Los Angeles, her name is, uh.... Nor... uh Kathy Westmoreland", as he practically pulled her off her feet by holding one arm up. When he went to introduce John Wilkinson the cord of his mic' hooked up underneath the group's rostrum, and so the introduction became, "On the rhythm guitar from Springfield, Missouri..... is a chord, I mean, is a John Wilkinson.... John..... the cord has a habit of hanging up right here.... therefore, lending a rural area right here..... I'm going to cut it, with scissors, light up like a Christmas tree, pcckkkh" (Elvis' impersonation of the sound of him lighting up like a Christmas tree) Then he continued, "On the lead guitar, from down in Shreveport, Louisiana... uh.... James was in Shreveport, Louisiana when I first started singing.... on the Louisiana Hayride , in Shreveport, .... James Burton ladies and gentlemen," and with that James went into 'Johnny B. Goode' which Elvis sang slightly off mic' nearly all the way through as he stood by the Sweets, sipping water and pumping his legs to the beat, whilst Charlie took a rest by sitting on Elvis' blue stool (how dare he). "On the drums from down in Dallas, Texas is hard working Ronnie Tutt," and boy, did Ronnie work hard, whilst Elvis again stood over by the Sweets making cracks, one of which really doubled Sylvia up with laugher. At the end of Ronnie's great solo Elvis announced, "Thank you, Ronnie, yeah, it was fantastic....uh, Ronnie uh is the father of a new baby that was born, when was it, day before yesterday, Ronnie ? oh, Saturday... Congratulations..... it's a baby girl.... her name is what?"

"Not quite sure, yet," answered Ronnie.

"You're not quite sure, yet," echoed Elvis, "That's funny name.... you're not quite sure, yet...... come here, you'renotquitesureyet..... I'd like you to meet my daughter you'renotquitesureyet..... you're thinking of what?...... Ticonderocatie. ... God, is it an Indian baby?.....oh, they don't know that, okay..... on the Fender bàss, ha, ha.... have you got anything in it" (he asked of Jerry in connection with Ronnie's baby) "ha, ha.... anything we can talk about on stage, uh.... ha, ha... have you checked your beared.... uh, from up in Canada, on Fender bass is Jerry Scheff.... play it," and with that Jerry played the blues with Elvis "yeahing" in the background as he dug the music. For Glen's funky solo, with James, Ronnie.....AND Elvis lending much support in this great jam session type sound, Elvis also took a minute to take out the "Management" note he had put in his belt earlier and read it before leaving it for Charlie to read, placing it on top of the speaker by Charlie. Charlie, Joe Guercio and the rest of the orchestra, including the guitarist Tony were all then mentioned in turn.

'Just Pretend' was again dedicated to Linda and Elvis had got well into the song before saying, "Just a minute, hold it a second, let me tell you something.... when we go into that part.... you know, add the organ, the singing, there's no bottom whatsoever."

Just then, some guy in the audience boomed out with a deep voice, ''Tell 'em, Elvis"

Equally deeply Elvis boomed back, "I will," much to everyone's amusement before going on to add "Second take," as the song started again with Joe Guercio looking slightly embarrassed However, when they got to the same part again, Elvis listened carefully for the organ and asked, "Is he playing?"...... hold it... it ain't enough. . . . . girls stay out (referring to the Sweets and Kathy)... males (The Stamps)... cllllkkkk (he made a sound to indicate that he wanted them to stay out too as he pointed to them to stay out). ".... hit it.... play it again...... take two.... clllllllkkkkk..... take three... we'll get it right if we stay up here all night" (a great idea Elvis), and then they went back to the song for the third time..... with a VERY prominent organ sound which Elvis had to laugh at, although I think Joe Guercio had seemed to turn slightly red at all the goings on. Once again, Elvis played out in the air the piano bridge parts before giving the okay sign to acknowledge that he was satisfied with the organ sound now. Then Elvis turned it on himself, delivering a version of this song with such feeling that made you feel so proud to be an Elvis fan. Kathy's singing was again very effective in this song.

"Thank you very much........ this next song is a gospel song that we do ladies and gentlemen, that we've had a lot of requests for....... and there's a gentleman in the audience......... that I'm sure you've heard and seen on television........ he has a ....programme called Church of Tomorrow, and uh, his name is Rex Hombard, Reverend Rex Hombard, I'd like to do this song for you....." 'How Great Thou Art'. If we'd thought we had heard Elvis at his most powerful ever in his previous versions of this song this season, we were in for a surprise...... for when he hit the powerful part, he let all the stops out, holding the note for even longer than ever..... un-believable. During the standing ovation he got for it first time around he agreed to do it again, but just as he was preparing to do so, someone rather thoughtlessly called out for 'My Way', and Elvis shot a very annoyed look in the direction of the voice before launching himself and his voice into orbit again.

Charlie dutifully brought out the blue stool for Elvis at the beginning of 'Softly As I Leave You', but since he never had used it this season he instructed quietly, "No Chair." This song cast its usual spell over the audience..... it really should go on record, one day.

The strains of 'America' played over the applause of the previous song and then Elvis came in, quietly at first, but then building to a powerful, but controlled pitch at the end. The song was nearly additionally enhanced when one of the Sweets accidentally caught a mike stand with their foot and sent it heading for the floor, but Sylvia reacted quickly and saved the day, and the crash, by catching it just before it hit the floor, all of which Elvis was unusually oblivious to.

'Mystery Train'/'Tiger Man' came steamin' in immediately, as ever Elvis and the Group were really hot on this one, even if the light man wasn't, causing Elvis to give one or two rather surprised looks in response to the lighting effects. If I remember rightly, Allan Clarke of the Hollies was at this Show, unbeknown to anyone, I think, but I did notice his reaction to this song in particular, was VERY enthusiastic.

Surprisingly then, considering the look he had given earlier, Elvis said, "There was somebody at the back that requested, uh, 'My Way'..... I don't know if we got the chart, we haven't done it in quite a while.... if we can find it we'll do it for you" (there was much activity by Charlie and others trying to see if the chart was around anywhere) "... yeah, my time is up, but here ladies and gentlemen, but uh...uh..... 'Little Sister', okay, we'll do, Little Sis, Little Sister, while we're looking for 'My Way', or 'My Way' while were looking for 'Little Sister', whatever one comes first," as there appeared to be no sight of the lyrics Elvis turned to Joe Guercio and asked, "Uh, do you have any lyrics, Joseph, ?" but, as he didn't Elvis attempted to start it, but forgot the lyrics after the first couple of lines, saying, "That's it, forget it.... now just a minute, wait a minute, wait......" (then to the light-man who had started to dim the lights for the song) ".... hey, keep the lights up, don't get excited up there in the booth, just... you know... we, we don't, we, we, we don't have anything locked in there man, we just play it by ear" (and with that he shoved the microphone into his ear much to everyone's great amusement, and Elvis' too). ".... okay". Then he went over and stood in front of Sylvia who mouthed the words for him to sing as Charlie scuttled off stage left to try and get some words to the song. When he got to the line, "and so I face the final curtain," he gave a really despairing look. At one stage, though, Sylvia couldn't remember the lyrics either, so Elvis chided her, "What?..... you don't even know it, either ?" Charlie had by now re-appeared with, apparently, some words which Elvis tried to sing from, but then got lost, and whilst leaning on Sylvia, first asked Sherrill to sing it on his own, and then asked the rest of The Stamps to sing it with him, before deciding then to hit Sherrill with the notes Charlie had given to him. Eventually though, Elvis finished the song off......P-O-W-E-R-F-U-L-L-Y.

"Thank you very much ladies and gentlemen, I'd like to tell y'all, it's uh, you've been a fantastic audience, it's it's been a pleasure working for you and uh,.... I'll have a blue Christmas," was just the way he surprised us all by singing this favourite amongst Elvis fans, Christmas or not, and as he continued the line to say, "without you", he glanced in Charlie's direction. He nearly changed one of the lines of the song to, "Decorations of red on a green purple, no Christmas tree." Just to complete the colour scheme he was handed some yellow puppets. Deservedly, this quietly and gently-sung song got a tremendous applause before Elvis went on to say in reply to someone who called out for "You Ain't Nothing But A Hound Dog", "You're not, either..... nah, I'd like to say, uh, ladies and gentleman, that it's uh, great to be back working again and uh,..... wait a minute folks, really, you know, I can't do all them songs" (which people were still calling out for) "you know, just a heart with money in it, that's all." I think he said, continuing , "uh, and it's great to be back working again and uh, I had about a three month lay-off and everybody's been really fantastic up on stage and the audiences have been really great, you know" (big applause) "... and so... until the next time we see you, if we don't see you have a Merry Christmas and a Happy New Year, and we bid you an affectionate........" (grin at JD) "..... farewell", and with that he again told us that, "Wise men know, when it's time to go," as he went into 'Can't Help Falling In Love' towards the end of which he was given some kind of Mexican Poncho which he tried unsuccessfully to twirl in Fun In Acapulco style, but instead ended up with it in a heap over his head.

..... And so another very memorable and yet again unique show ended, which amongst all the many outstanding things it contained one of the most outstanding was the beautiful version of 'Can't Help Falling In Love' he had sung early in the show.


December 11 1975 (Thursday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 11 1975
Review by John Andrews - Elvis News Service Weekly, Issue 243-44 (February 1976)

... a puff of anticipation........a flash of excitement. ... and a hearty, "Oh See", meant only one thing.... Elvis. Yep, here he was again looking as fresh and enthusiastic as ever as he launched into another energetic version of 'C.C. Rider'. This time he was clad in a white v-neck jumpsuit with gold trimmings, a gold and white puff sleeve shirt, a blue scarf, blue and white tiger striped belt and was wearing the silver/jewelled Maltese type cross around his neck.

"Well....." he started to sing, but then commented, "God, the lights are bright, I'm not kidding you....... thank you, I may just melt before the thing's over that is, phew," and then he continued with a few more "Well's", which drew forth several screams, causing him to say "God, I haven't done anything yet, just... ha... just welling, well, well, well," and then came yet more "Well's before he declared, "You came here expecting to see a show didn't you"? "This is it". As he crossed his legs for a moment and lent on the mic' stand, with his left-hand thumb hooked in his belt, as he considered whether to continue - he did continue. A few more "Well's" and then the, "Thank you very much, that's it", complete with the polite little bow. With that 'I Got A Woman' was then started in earnest, complete with much leg-flexing from Elvis. The 'Amen' sequence included the "checking the parts out" piece, although during one movement Elvis kidded, "Almost broke my neck that time, you kidding," as the audience called for more, but he did give out with some more, and how, so much so that he said, "That's why Ed Sullivan cut me from the waist up, you know.... I knew nothing, boy... the Inspirations are worse than I am, you know." With that, then it was time for the JD bass slide during which Elvis waggled his scarf at him. Laughing at JD's antics afterwards, Elvis went to say, "You see, he's a..... oh," he'd realised that he had missed the mic' when speaking and so, speaking into the mike then asked JD to do better, "I hope". Just as JD was about to go into the deep slide again, ''Don't smile at me JD, just worry about that note," instructed Elvis. That was accomplished and Elvis closed the song, tossing the guitar to Charlie, welcoming us to the show and then bursting into laugher as he heard a loud CRASH behind him. He turned round to see Joe Guercio all arms and legs on the floor, he had fallen off his stool. "What'd you do Joe....? My conductor just fell off his stool. ...uh.... now look, you know, let's just try to keep everything together tonight because... last night it kind of fell apart" (mainly due to Elvis' fooling around) ".... not me, them" (gosh, did he hear me?), and with that he looked upwards and put his hands together in mock prayer at his dishonesty. "We're going to do a lot of songs, old ones, new ones and we hope that we do something that you like, you know and...... just have a good time and uh.... sit back and go to sleep, uh sit back and just, you know... take it easy, right, Charlie," but as Charlie agreed Elvis gave him a kick. Still pausing Elvis then asked, "What time'd the show start?..... Oh.... Treat me like....." and yes, you guessed it, that was his intro. to the next song, 'Love Me'. In one kiss he gave out, he had to ask the girl to "Let go, let go baby", and then he staggered back for a moment and stood still in mock shock before going back to the edge of the stage to collect a pink plastic back scratcher which he dug Charlie in the ribs with when he gave it to him. After the song was over he spotted a little girl standing up by the edge of the stage and so he walked over to her and said, "Come here, sweetheart, can you get down here, I can't", but in order to get to the little girl he had to get down on his knees before asking her, "What's you name?".

"Midget", replied the equally small voice.
"Midget ?" replied Elvis quizzically, "Mickey?" he then tried.
"Bridget", confirmed Bridget.
"Oh, Bridget......... I just woke up, you know, it's-how old are you, honey?" Elvis continued.
"Five.....six," decided Bridget, much to everyone's amusement.

"Well, I have a little girl that's seven years old, her name is Lisa..... and you're very cute", he said then giving Bridget a kiss which drew forth a big "Ahhhh", from the audience to which Elvis responded by saying, "Ahhhh yourselves....... ahhhhh." Then someone called out, "Over here," to which Elvis asked, "Over where?" before turning to James and saying, "Don't wait for me, just start the damn thing". ............ and start it James did, with the intro. to 'Fairytale' and during this introduction Elvis continued to stare in Bridget's direction before getting his whole body and voice into this standout song. At the end of the song, during the big applause some little fellow about seven years old walked across the stage, Souvenir photo book in hand, heading for Elvis. "Where you going, Kid ?", enquired Elvis, before breaking up with laughter as the little boy proceeded to thrust the book at Elvis muttering something. "He wants me to do what?" Elvis looked in the direction of the owners of this bold youngster, who had to quickly return to get a pen from them.

"Sign it", came the abrupt instructions from the youngster, and such was the abrupt way in which it was said that everyone just cracked up, as he continued "sign this right here," pointing to a particular place on a particular page as Elvis pulled a priceless expression. By now the little boy was sitting on Elvis' knee as Elvis asked, "It's got to be right here, right?.......... it's got to be right there?"

"It could be anywhere," granted this persistent little fellah.
"It could be anywhere? ...... yeah, but you said right there," teased Elvis.
"Yeah, that's where you said", now fibbed this little character.
With a highly-amused expression on his face Elvis declared, "I like this kid, he's as crazy as I am, you know.... ha, ha.... is it to you? Okay..... what's your name?"
"Tony," came the reply.
"Tony, okay..... that's the name of the guitar player.... nah, hell he's not here tonight".

".... excuse me, kid, I didn't mean it" (he tried to excuse his language, and then looked upwards)..... "don't just look down, help me, you know". Elvis chatered as he started to sign the book asking, "T-O-N-Y, right, ?! Just checking on the spelling", but then wondered about the spelling of his own surname saying "Prezley...... P-R-E-Z-L-E-Y..... shut up". Signing completed, Tony went to leave and Elvis called him back, "Hey, hey.... shorty... come here, your pen, thank you, fellah," as Tony left the stage then without apparently a word of thanks to Elvis as quickly as Elvis instructed the group, "Okay, take it on".

'And I Love You So' was what they took it on with, as yet again Elvis demonstrated why this song belongs to him alone.

Having then introduced the next song, 'Tryin' To Get To You', Elvis paused for a moment to say, mainly to James, "Uh... well..... that is another one of those songs that has no intro. you know, we've got a whole bunch of songs that I just start cold, you know, I just guess at the key and.. ... you know, so does the band." Guessing or not, though, Elvis then hit the first note right on the button, and continued the whole song in, as ever, perfect voice. During the line, "When my way was dark at night, it would shine as bright as light," he would indicate the bright light coming from the spotlights. Then as the song came to a close, he emphasised the closing beats of stamping his foot on the floor in time with the beats.

A quick drink of water followed, during which Elvis again commented about the dryness of Vegas and the habit of people there going, "Hrrmmmph, hrmmmmmph," because, "Unconsciously, everybody's going, hrrmmmmmph, hrrmmmmph," but then as one or two people started to imitate him going "Hrrmmmmph," he chided them in fun, "Don't do it now, you know........ so uh, anyway, the medley, right". He then said to Charlie, adding, "Another one of those songs with no intro...... who picked this show out anyway?........ I wasn't here, I didn't have anything to do with it", and that was yet another unique way of introducing 'All Shook Up'. He received a bunch of flowers during this song, and then got his mic' lead hooked up on the speaker which was by Charlie.

'Teddy Bear' followed immediately and then 'Don't Be Cruel' followed in medley format. During this he found time to "inspect" J.D.'s black two piece suit with red flared trouser legs and cuffs to the jacket. As Elvis proceeded up wards he reached the collar and then gave J.D. a smack on the face before moving on to collect a toy teddy bear and a mini-guitar, which he attempted to play.

James wasn't quite sure what the next song was to be, probably not having heard Elvis call out 'Hound Dog' and so Elvis asked of James, "Do you remember that song?...... it's not 'Sweet Caroline', you know," before then launching at speed into 'Hound Dog'. Something was thrown up to Elvis on the stage, but he ignored it. He did, however, accept some sort of drawing caricature of himself that he was given. There was a good 'jam' sequence in the middle of this song, featuring some great 'wow-wow' guitar playing from James. At the end of the song a girl stood up holding a big banner. When he saw it, Elvis exclaimed, "My God, look at that....... it's your birthday ?. today is your birthday....... what's your name?....... what's your name? ...... Edna..... okay.... sing happy birthday to you?....I'll sing happy birthday to you...... then you get a kiss later, okay?.... can't do 'em both at once..... Edna, right," then it sounded like he said, "That's Nick's wife," in reference to the name before proceeding to sing happy birthday to her, really showing the quality of his voice over the rest of the vocalists as his vibrato came across on the last few notes.

'Until It's Time For You To Go' came next. In this song he got bitten when delivering a kiss and so exercised his JAWS (sorry about that) er, his jaw for a moment before then signalling to Charlie to hold back with the scarves because the rest of the song would not include any kisses, but was going to be taken seriously.

'Polk Salad Annie' kicked off as tightly and energetically as ever.... Elvis' legs were really pumping like mad during James' solo as Elvis seemed to get it on even more heavily as the song progressed even if he did throw a smile at JD when JD gave a slightly out of place bass note. The movements at the end were fantastic, no kidding, pretty well the equal of the ending to any version of 'Polk Salad' from Elvis as he spun around, around and then back again, unusually nearly tangling himself up in the cord of the mike in the process. With a leap in the air from Elvis the song ended and the audience just erupted into applause at this outstanding performance. You can tell that Elvis really put himself into this song, because for a few seconds he walked around and then sat on the blue stool whilst drinking water. Requests for songs were shouted out and Elvis repeated the titles, 'Little Sister', 'One Night', 'My Boy', 'Welcome To My World' before he commented, "Say, that's twenty-seven songs.... 'Rip It Up', twenty-eight".

With that Elvis went into the introductions for the group, commenting on the way about Sherrill's sleeveless jumpsuit saying, "Forgot the sleeves to your shirt again, didn't you, son".... "Play something JD", Elvis mistakenly asked of James when introducing him and during this great solo from James, which Elvis accompanied off mike, Estelle went off stage to return during Ronnie's amazing solo, which really was unbelievable as Elvis wound it up with a, "Whoo... yeah.... thank you, Ronnie, get back in your cage, son", as he then continued to walk backwards to Jerry whilst still drinking water asking of Jerry, "How do you follow that, Jerry, you know..... tap dance, ?" He echoed Jerry's comment. As Jerry played the blues, Elvis walked back over to stand in the shadows and talk to the Sweets before coming back over to introduce Glen for his own outstanding funky solo, which James, Ronnie..... AND ELVIS, joined in on. Charlie got a big cheer from the audience which caused Elvis to ask, "Got your family out there again, Charlie?"

After the intros. Elvis again dedicated 'Just Pretend' to Linda, tonight the organ fill, which had caused problems the night before, was noticeably present and, as he seemed to like doing, Elvis once again played 'in the air' the staccato type notes that Glen played. Kathy also as usual blended her soprano notes in perfectly and effectively during this song.

'How Great Thou Art' was then performed with its usual shattering effect, enhanced by some very effective red lighting during the POWERFUL PRESLEY PARTS.

Unusually though, Elvis didn't repeat the powerful part again, but cut short the applause and got straight into 'Burning Love', a really fast moving, powerful version of this song with plenty of movement from Elvis. This was particularly exciting for me, for although having seen thirty-four Shows of Elvis to this date, I had never seen him sing 'Burning Love', (Rex Martin still hasn't, ha, ha,.... but then you've met Elvis and I haven't, Rex, so I guess you're still one up on me........... so far!)

With hardly a pause then, 'Softly As I Leave You' - suddenly hushed the showroom as Elvis proved his fantastic ability as a performer in transforming a rocking atmosphere in a showroom full of 2,000 people to an atmosphere of complete silence and awe, and people commented at the end of the song, "Wasn't that beautiful"

Then 'America' really developed the atmosphere to an extent of 'lump in your throat' emotion.

Again, cutting short the applause Elvis started 'It's Now Or Never', although for some reason, he had to start it twice, as he laughed at something after starting it the first time. Elvis really gave a superb performance on this song and it was nice to see it becoming a regular inclusion. At one point during the song as he was singing, he walked across to stage left and instead of walking towards the edge of the stage disappeared behind the curtains in the wings, followed by Charlie, but he soon came back out, as did Charlie.

"I'd like to tell you that, uh, you know, it's a pleasure to be back working again, because I was off for a couple or three months" (big applause) ".... thank you, and uh.... uh..... I'd like to do uh, to dedicate this show to uh, to all you people and especially to Mr. and Mrs. Thompson and everybody that came in for the show and uh.... uh, if we don't see you anymore for a while, have a Merry Christmas and a Happy New Year and ug, may God bless you". Then Elvis started 'Can't Help Falling In Love' by changing the lyrics to "Wise men say, when it's time to put Charlie away," as Charlie handed scarves to Elvis who was giving them away wholesale fashion before then pulling up the curtain to reveal Red West standing behind it. Before disappearing under the curtain to be revengefully attacked by Red, Elvis collected a cushion which had his face printed on it.

"WOW! ,. what a Show, what pace......" was the general comment from an excited audience as we jostled our way out, collecting any 'left-over' souvenir photos. on the way.


December 12 1975 (Friday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 12 1975
Review by John Andrews - Elvis News Service Weekly, Issue 245 (February 17 1976)

Is it a bird? ........... Is it a plane?....... No, it's Super-Elvis who is striding out onto the stage pulling the curtain high into the air behind him as he does so. Yet another different start from the ever-unpredictable Elvis who for this show was wearing the white jumpsuit with gold designs. 'C.C. Rider' as tight, if not tighter and more energetically perform ed, kicked off the show.

For the first few, "Well's," of the next song Elvis tried to balance the mike at an angle on its stand, but without resting it on his chin.....unfortunately though this didn't prove too successful, The audience had been fairly noisy up to now, and continued to be so as many girls screamed out to him and as one girl let out a big groan he commented, "You're almost there boney," and then added for the benefit of some, "Get it later," before then completing part one of this song by taking his little bow and saying, "That's it, thank you very much." Part two of 'I Got A Woman' then followed on immediately and some unusual organ work was interestingly included in this part before the 'Amen' sequence, which was slightly more protracted than normal giving a Gospel Convention touch to the whole thing. As this sequence closed Elvis caused everything to slither to a halt for a moment, but a piercing scream from a girl interrupted proceedings even more as Elvis reacted, "Good God kid, really." His reaction then developed into the 'checking out the parts' segment as he co-ordinated his gyrations in time with Ronnie's drumbeats. This only served to encourage the screamer even more and Elvis' reply to her was, "Honey, you're ruining my hair, you really, whole left side is gone." Nevertheless, he continued with even more gyrations, much to everyone's appreciation. JD's bass slide, which came next, hit some 'unusual' notes on the way back up the scale. Charlie started to laugh as Elvis commented of JD, "That was adequate, ha, ha," but then some girl interrupted by shouting out to Elvis (for the 99th time so far this show that she loved him. "Honey I heard you the first time I come out here....... I love you too sweetheart, but I've got to do the show, you know."

'Sweetheart' pluckily persisted, "What are you doing after?".

There being no answer to that,Elvis took off his guitar for a moment and good-humouredly advanced across the stage towards her and went to 'attack' her with the guitar, before giving her a big kiss instead, to keep her quiet. Ronnie accompanied this 'extra' by bashing away on the drums as once again it was proved that persistence pays off (well for some, anyway).

Trying to compose himself after that he continued, "Ah, anyway, ha...... anyway he can do, ha,.... I tell you by God, I tell you," the whole place and 'Sweetheart' was still in uproar, and Ronnie was still rattling away on the drums in excitement, so Elvis asked of him "What you doing Ronnie?.... I lost your teeth right, hugh..........no, he can do better, better, better, he's the lowest....." but still this active audience called out and so in desperation Elvis put his hands together, looked upward and began to sing, "Our Father.......... Eventually he succeeded in saying, "He can do it better than that, he's the world's lowest bass singer, so listen to him this time." A quick powerful segment of the 'Amen' sequence then led into JD's repeat of his bass slide during which there was a tremendous feedback howl. Elvis yelled, "Cut,..... hold it," and hold it they did before JD experimented to try and trace the cause of the howl by singing his bass notes in short bursts, then building into a more steady note as Elvis yelled out "Harley-Davidson," which then prompted JD to add more of a rasp to the notes he was hitting, whilst Elvis pretended to be riding the Harley. Good co-ordination and understanding between Elvis and JD there. Finally then they closed this lengthy epic.

Song over, Elvis then noticed someone holding up a big poster and so needing assistance to hold it he instructed, "Charlie, come here son....it takes nine hands." As Charlie obediently came over to help Elvis hold up the poster Elvis then proceeded to read out aloud what it said, "This is the only show we're going to see this time, my girlfriend is seeing you for the very first time..... click, click, click, click" (he made that sound) "...we got TERRIBLE seats.....you give that Maitre'D enough money he'll put you up here with me" (no comment) ".....can we PLEASE come up for a kiss and scarf.... what else can we get for you.... a hand grenade, ah no....um, uh, to give to you.... do it now so you won't forget it.....it will make a dream come true.....signed what?.....my Daddy?...... no, signed Rose and Talena.... Salena... okay, come here sweetheart". Then as Elvis delivered the kisses he asked, "Now my gift from you...... is that it honey?" as she gave him a Mexican hat. With this he turned to Charlie and said, "Charlie, you know.... you got the little Mexican hat dance." Elvis was still taking about giving a kiss to the girl that gave the hat and so said to her, "It has to be a mutual agreement, right...... get out of here," suddenly to Charlie who had started his Mexican hat dance. As Elvis then confirmed that someone wanted a kiss and a scarf, he turned to Charlie and said, "Charlie, unload a scarf" and as Charlie came over he sneaked a kiss too from the girl. With uproar still in evidence Elvis went to start the next song, but stopped to say, "Let me, help me regain my composure, I've just completely lost it up here yet......Oh, I got to tell you something ladies and gentleman, this little girl down here.....shhh" (to someone calling out to him) ".... the last time we worked here, you weren't screaming so loud, they taped up her mouth... he did" (her companion), "he taped her mouth up, I swear to God," then as this guy presumably said he would do again, Elvis continued, "I hope so....nah, where's the tape?".

'Love Me' finally then got under way, during which he was amused to receive a decorative toilet seat. The Japanese touch was included in this song as he came to the line ''Oh so, ah so, oh so, ah so lonely." For the final note of the song Elvis made The Stamps and the Sweets really hold it out for a long time. However, after they had nearly collapsed he chided, "You guys cheated, you cheated you took a breath, everybody except Bill Baize and Sherrill."

Then seeming to indicate a change in the sequence of songs Elvis said, "Let's go to 'Tryin' To Get To You'," commenting also that it was another sing with, "No intro., right..." (James played one chord) ".... that's it," and that was all it needed to allow Elvis to hit the first note of the song right on the button. The rest of the song was just as exact and outstanding and such was the power of his voice and the amazing vocal effects that he achieved in this song that applause came during the song... as well as after of course.

'And I Love You So' drew an equally big applause, and deservedly so. The peace during this song helped me forget the fact that a young lady who during the last song, had been assisted away and off my feet, shins etc., had accused me of not having any parents as she reluctantly joined the Security man "helping" her back to her seat! You'd better believe it, an Elvis show is never dull, on stage or off,

'All Shook Up' continued straight on and was in turn, immediately followed by 'Teddy Bear' and then came 'Don't Be Cruel' and it was during this song that he was given the sack. Nope, the Hilton didn't fire him, but a girl gave him a large sack full of Christmas gifts. With the music still going he proceeded to pull out the gifts one by one and inspect them, but then began to get impatient and so turned the sack upside down and emptied the contents on to the stage, saying, "Look at all that stuff," and then espying a small football, declared, "A little bitty football.... a little bitty football team, right," before then tossing the football in the direction of his booth.

'One Night' started off powerfully, but somehow in the middle of it he started to go wrong and said, "I've lost it," as he circled his finger against his head and then flicked his guitar pick in the air. "Don't get excited, we'll all be lost," he told the group who were still playing as he got back into the song and experimented with some of the phrasing through to the close of the song.

Saying, "Let's do 'This Time You Gave Me A Mountain'," Glen started the piano intro, the orchestra played it's intro. but then Elvis interrupted, "hold it, I'm sorry, it's my fault.... I've got to give you time to get the music out right." He realised that slipping this song in, out of sequence, not everyone was ready to go straight into it. Two brief seconds later though they were. Elvis then really powered his way through this song and the audience responded at the end with a big applause, which was cut short by...............'Polk Salad Annie', with an anything but a nearly 41 year old looking Elvis leaping about the stage and driving the group along to kick even harder on this ever improving version of this fantastic song. There sure ain't no energy shortage when Elvis gets it on with this song, no sir, or no ma'am, as the case may be.

At the end of this explosion, apparently quite unprompted, Elvis said whilst collecting a glass of water from Charlie, "Gabby Hayes."

Charlie then began in a Gabby Hayes type voice, "Buckaroo bi bids you all here tonight." Elvis then asked him to impersonate, I think ''Homer Pyle," but not being familiar with US TV that name may be incorrect.

However, Charlie replied in, I suppose, that person's type of voice, "I can't do Homer Pyle," and continued with something I couldn't quite hear.

"Do Gabby Hayes on a Mexican song, 'Guadalajara'," Elvis further instructed Charlie. Charlie tried his best then to oblige by singing the first few words of that song in a Gabby Hayes type voice.

''You're all out of breath Charlie, what's the matter with you," teased Elvis after Charlie had tried to sing several long tongue-twisting Mexican words without taking a breath, Obviously he hadn't listened to Elvis' phrasing of that song on the Fun In Acapulco album.

Then it was time for the introductions as Elvis said, "The fellows that opened our show tonight, is about the top Gospel Quartet in the nation, JD Sumner and the Stamps Quartet...... did you notice I said THE and not one of the." Then followed intros for the Sweets, Sherrill, "The little girl that does our high voice singing, she's from Los Angeles, her name is Kathy Westmoreland...." (Applause) ."... the little boy that does our extremely high singing, he's from Nashville, his name is Bill Baize.....he's the only one that held that note out earlier, in the first song, second, third, fourth, whatever.....no." Then having reached John Wilkinson he said, "Don't jump....six years, have I ever touched you?..... ha, ha........... No...... from Springfield, Missouri.... on rhythm guitar is John Wilkinson," Next came James, "On the lead guitar from down in Shreveport Louisiana originally, now he's ma ed to Los Angeles, is James Burton," and with that James went off into a great solo on 'Johnny B. Goode', accompanied in the background by Elvis singing off-mic' as he stood by Estelle drinking water and cracking jokes so the Sweets were laughing and giggling nearly all the time. I'd really love to know what he said to them. "Hardworking" Ronnie Tutt and Jerry Scheff gave their all on their solos, Elvis attacking Ronnie with a scarf towards the end of Ronnie's solo, and doing quite a lot of low voice "yeah's," during Jerry's efforts. Glen was just about to launch into his solo when Elvis stopped him by saying, "Hey Glen, let me tell you something.... I don't like that, play some boogie-woogie son, you know, just play straight boogie." Wow, and did Glen obey as Elvis really joined in singing along with the beat and fooling around to confirm firstly to Glen "That's it", but then jokingly going on to add, "That's average," but it was obviously much more than that as Elvis continued to sing along with Glen all the way and also at one point mimicking Jerry as he played the bass. Charlie, Joe Guercio and the orchestra then got their mention, as did Tony the orchestra guitarist. Elvis adding, "Whoo, good God, that's out-a-site man," as Tony finished his solo.

"Uh, my little daughter's in the audience ladies and gentleman," Elvis started to say, but then someone handed to him a photo they had of themselves standing with Elvis backstage somewhere, "Let me see it honey, let me see it.... hey that's a good picture, how old are you then, kid," but as he was inspecting the photo as he stood at the edge of the stage he became aware of a hand creeping up inside his trouser leg. The hand came down as he enquired as to where the photo was taken and the name of the person concerned. Charlie tried to add something but Elvis stopped him by saying, "Shut up Charlie." Elvis then continued with the photo by saying, "That's a good picture, do you want me to keep it or is it yours?" He seemed really pleased when told he could keep it and so then carefully handed it to Charlie. Then back to Lisa, "I'd like for you to meet my little daughter Lisa, she's up before I told her to," Elvis commented as Lisa stood up in the booth and turned around for everyone to see her as she stood in the spotlight. "My dad is out there ladies and gentleman, will you say hello to my father," Elvis continued as Vernon Presley stood up and waved before Elvis commanded, in fun "That's enough Daddy, that's enough of that ". Elvis is so obviously very proud of his family, his face tells all at moments such as these.

Then came 'Just Pretend' dedicated this time by Elvis saying, "For Linda.....and Charlie, ha, ha." There was no joking though when it came to this beautifully song. For those of you who were not lucky enough to hear him perform this live, you've missed a gem, no kidding. Yet again, Kathy's high voice parts in this song were really outstanding, and Glen and Jerry's work was very noticeable too, plus a nice few blending chords from Jam es at the very end. G-R-E-A-T.

'How Great Thou Art' demonstrated perfect voice control from Elvis and the standing ovation he received for it drew a repeat of the ending. I tend to run out of adjectives to describe Elvis' incredible performance of this song.

'Softly As I Leave You' followed straight on to cast its usual spell over the silent audience, silent that is until the applause which as at other shows was curtailed by the opening strains of 'America'. This is yet another song that I hope all Elvis fans get to hear.... go on Elvis, I dare you, release it as a single in America's bi-centennial year...... it has to be a No. 1.

Once again the applause was still going when it was run over by 'Mystery Train'/'Tiger Man' which featured some very energetic movements from Elvis during the strobe light sequences.

Elvis then paused for a brief second as he heard someone call out for a song and he asked, "What do you want sweetheart?..... asking for what?..... 'Little Sister'," and then much to everyone's pleasure he turned to the group and instructed "Little Sister". They obliged and the song got off with a very driving beat and some wild movements from Elvis, although I was kind of hoping he might add on in medley sequence the song 'Get Back', as he had done in '72, but it was not to be this time.

"I have to get my Italian suit on here.....'0 Sole O Mio'," Elvis then proceeded to sing the original Italian lyrics to 'It's Now Or Never'. He began to sing it in a very Neapolitan (no, that's not an ice cream) and operatic style, that would have been quite authentic at any opera house. However, he couldn't quite remember all the Italian lyrics and so turned to Sherrill and enquired, "What is it Sherrill?" and then he struggled out a few more of the lyrics before the girl he had spoken about earlier in the show, the girl who had her mouth taped up, called out, "I love you."

"That was where we started isn't it," he quickly noted before returning to the Italian version for a little while, gaining much applause as he continued with assistance from one of the members of the orchestra who was relaying the lyrics to Elvis via Joe Guercio. Eventually though by singing, "O Sole O Mio, whatever it says," he gave up and returned to the more familiar lyrics of his twenty million plus copy selling version of the song. Glen Hardin was as always, very effective in this song, soo to were James and Ronnie....but make no mistake Elvis showed everyone the way home as he hit the notes clear and strong.

Then just a quick "Ladies and gentleman, I'd like to tell you really that, uh, you're, you're a fantastic audience and it's been a pleasure to work for you and, if we don't see you have a Hap, Merry Christmas and a Happy New Year and uh, we'll be here through, whatever, Monday, the 15th and until then may God bless you, take care and we bid you an affectionate.....farewell," from Elvis and in he went to close with 'Can't Help Falling In Love'. As usual he acknowledged every corner of the showroom before disappearing under the curtain and leaving us just wishing for more, and more, and more and more, and more, and more, and more....well, you know what I mean!


December 13 1975 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Dinner At Eight (FTD)°
I Got A Woman / Amen       Dinner At Eight (FTD)°
Love Me       Dinner At Eight (FTD)°
Help Me Make It Through The Night       Dinner At Eight (FTD)°
Tryin' To Get To You       Dinner At Eight (FTD)°
And I Love You So       Dinner At Eight (FTD)°
All Shook Up       Dinner At Eight (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Dinner At Eight (FTD)°
Wooden Heart       Dinner At Eight (FTD)°
You Gave Me A Mountain       Dinner At Eight (FTD)°
Polk Salad Annie       Dinner At Eight (FTD)°
Introductions / Band solos       Dinner At Eight (FTD)°
_Guitar solo (James Burton)       Dinner At Eight (FTD)°
_Drum solo (Ronnie Tutt)       Dinner At Eight (FTD)°
_Blues (Bass solo - Jerry Scheff)       Dinner At Eight (FTD)°
_Piano solo (Glen D Hardin)       Dinner At Eight (FTD)°
Introductions       Dinner At Eight (FTD)°
_School Day (Joe Guercio Orchestra)       Dinner At Eight (FTD)°
How Great Thou Art       Dinner At Eight (FTD)°
Softly As I Leave You       Dinner At Eight (FTD)°
America       Dinner At Eight (FTD)°
Mystery Train / Tiger Man       Dinner At Eight (FTD)°
My Heavenly Father (Kathy Westmoreland)     Unreleased
Blue Christmas       Dinner At Eight (FTD)°
Can't Help Falling In Love / Closing Vamp       Dinner At Eight (FTD)°

Review

December 13 1975 Dinner Show
Review by John Andrews - Elvis News Service Weekly, Issue 246-47 (March 1976)

Well it's Saturday night and ........ for once Jackie Kahane really got through to the front part of the audience, where all the fans were. The microphone gave up on him and consequently he came out with some very funny ad-libs as he went through three mikes before he found one which worked. He commented at one stage that without a mike he couldn't do much else, having no scarves to give out. When he finally found a mike which worked, part of the way through the 'Signs Of The Zodiac', sequence (no it wasn't anything to do with The Trouble With Girls movie) he asked one girl to speak into the mike about the type of people who were born under the sign of Libra, commenting that as she had seen the show 208 times she should know by now.

As Jackie left the stage to an unusually big applause, the lights dimmed and we got back to Taking Care of Business ..... with Elvis.

Elvis emerged for this show wearing the black jumpsuit with red and gold designs and white puff-sleeved shirt and some kind of garter on his right arm. '2001' and the intro. to 'C.C. Rider' kicked things off as tightly as ever. Despite pausing for longer than usual in collecting the guitar from Charlie and then glancing at his watch, everything was fine until Elvis opened his mouth to sing .... for when he did ........ nothing happened. Well in fact something did happen, but I doubt that those at the back of the showroom heard it until a very annoyed looking and sounding Elvis commanded, "Wait a minute, wait a minute .....," and as the group and orchestra slithered to a halt he continued, "Uh, all the big musical .... cool it" (to someone who shouted out to him) ".... all that big musical introduction and come in and they didn't have my microphone on .... did Jackie eat it, or what? What? Okay just give me the, the whatever it is, intro. on that bit." No kidding, I wouldn't have liked to have been the person responsible for that goof, Elvis looked really angered because they had been late in turning his mike on. However, it was switched on now as the group picked up the intro to 'C.C. Rider' again and Elvis managed to join in with them this time, as he adopted his usual stance for this song; right hand on mike, and left thumb hooked into his belt and both legs pulsating with the beat.

Elvis started the next song very, "Well, now," and continued with a good many more "Well's" as he maintained a big grin on his face and even found time in between to have a few quick words with Charlie before getting more seriously into 'I Got A Woman' and doing quite a long segment of it prior to the 'Amen' sequence and the consequent, "Waking everything up folks" part. Then came JD'S bass slide, which when it went slightly off-tune on the way back up the scale prompted a priceless expression on Elvis' face. Then in Sunday preacher style voice Elvis reprimanded, ''I cannot allow that to happen again JD ..... you run slap damn out of breath son ...... I told you about staying up all night, you know ...... I don't do that."

'I'll do it better, " JD replied in his usual bass tone.

''I hope you do," equally deeply Elvis emulated and then continuing in the same deep voice, he added, "Wise decision JD", then returning to a more normal tone he became tongue-tied when saying, "No, all kidding aside he, you know, he's the world's lowest, lowest, lowest, lowest ........" (he took a deep breath and tried again) "lowest bass singer, and he can do it better than that so listen to him this time ladies and gentlemen." A quick burst of the "Amen's", led up to JD's part again, just before which Elvis instructed him to "Take a deep breath." Some how JD's rise back up the scale still wasn't all that even and Elvis commented afterwards, "His rhythm never got up to the top you know, you lost an engine. If I was in an aeroplane, I would have fainted seventeen times." With that Elvis then finished the song off, throwing his guitar high into the air behind him for Charlie to catch (the guitar that is, not the air).

''Thank you very much ladies and gentlemen. Good evening .... it is evening isn't it? .... is it? ...... phew ....... welcome to the show. We hope you have a good time this, this evening, we're going to do a lot of songs, old ones, new ones, in-between ...... and walk around and, you know ..... lay on the stage, remain on stage," was the way Elvis finally got around to introducing himself. Then he continued, as he noticed his left leg was still vibrating, "What's wrong with my left leg?...... it's going crazy. It's too bad the rest of the body don't join in. No, all, all, all uh, all serious ness aside ..... he hasn't any cheer out here, you're having too much fun, you know ..... no they've got, no a good sense of humour .... a bit like a deranged alligator. Now think about it ..... a deranged alligator .... what would he do? ...... Estelle, you're an expert on alligators what would he do? ...... Nah, if he's mentally deranged what would an alligator do? ...." (Estelle didn't know, but Charlie muttered something) ".... Charlie ..... you're no .... uh ..... um .. .. .. black ....... and I didn't ask you the question .... Charlie ..... don't let it happen again ..... Charlie, what does a deranged alligator do?"

"Anything he wants to," explained Charlie.
"You said the same thing earlier, you know, " Elvis remarked.
"I thought I heard it somewhere," was Charlie's reply.

Just then Elvis noticed Joe Guercio perched on his stool, resting his face on one hand and looking rather bored, so Elvis said, "Joe ...... our conductor's back there going" (Elvis imitated Joe's expression) ".... and when's he going to start the show" (Elvis mirrored Joe's thoughts) "..... it's none of his business when I'm going to start the show, you know" (Joe had to laugh at that), Just then Elvis noticed someone trying to hand him some yellow object and asked, "What is it honey, a yo-yo?" As he took it from her he added, 'Well, that's the way I feel ...... can you have a what? ....... sure that's all you get," he teased as he part gave her a scarf at first, then relented and gave her the whole scarf and a kiss too. Returning to the yo-yo, he then tried his talents at that, accompanied by a drum roll from Ronnie. As he tried somewhat inexpertly to yo-yo he became aware of the silence in the showroom and remarked, "I sense deep anxiety out here folks," continuing then to succeed with one or two yo-yo's before it refused to yo-yo any more. Keep practising Elvis, there's only one string attached to success in that field. "Oh yeah," he exclaimed as it started to work for him, but then it stopped and he handed it to Charlie as he started the next song which was ........... 'Love Me'. During this song he was given some enormous sunglasses and so then declared himself to be "Elton John", as he put them on and tried to imitate Elton's voice.

"This next song we're going to do is a request from um, uh, some people from Memphis out here, Mr. & Mrs. Thompson and uh, it's uh 'Help Me Make It Through The Night' ....... it's another one of those songs with no Intro isn't it? ....... so I ain't had to wait for it," Elvis finished his introduction with that small discussion with James before delivering a superb version of this song. James and Glen provided excellent support for Elvis in this song, and Kathy provided some well blended high voice parts too. The string section was very effective too, but make no mistake, Elvis was the most effective of all. Just as they reached the end of the song, Elvis instructed the light man, ''Don't turn the lights off yet," since he had noticed the lights starting to dim early.

"This next song is uh, a song that I recorded a long time ago, that we've been doing quite a bit lately it's called 'Tryin' To Get To You' ........... no Intro ...... I just guess at it," Elvis once again observed about the beginning of the song and perhaps looking for inspiration, turned his head upwards and said "Don't just look down, help me, you know." Of course though he didn't need any help, particularly with this song, because he twists his voice through it to prove yet again that his voice is as outstanding as ever, if not more so, just superb.

'And I Love You So' did have an Introduction, but Introduction or not, no difference, the song is now another gem in the Presley repertoire.

'All Shook Up' started off the medley and it was during this song that he collected from one of the English fans in our group, Audrey, the special photograph which we had managed to take of his new Convair 880 plane. For the moment the next song was 'Teddy Bear' and during this song, much to our surprise, an American fan handed to him an import copy of The Sun Collection album which had been released in England. 'Don't Be Cruel' rounded off the Medley at the end of which he asked, "Let's see uh, let me see that Album for a second."

"It's from England, Elvis, RCA in England, newest album" the American fan explained.

"It is!" exclaimed Elvis as he proceeded to examine the album sleeve. "I've never seen it before in my natural born hitherto young therefore, fore, for art thou days ..... The Sun Collection ......... no, that's the first uh, the first five records I cut ...... yeah, how'd it come out in England ? .. really ........ yeah, it is ......... thank you very much, that's very nice of you."

Then we had been sitting with bated breath for during all this time he had been standing also holding the photo we had given to him. Now let me explain about this photo. We had been told earlier in the week that Elvis' new plane was out at the Airport and we had also been told, from a very reliable source that Elvis was waiting for some new steps for the plane and at the moment had to depend on whatever steps the airport could provide. So, we decided to try and take a photo of this 'plane whilst it was still at the airport. Well to cut a long story short, despite being nearly arrested a couple of times and several other rather 'alarming' incidents we managed to get a good photo of the 'plane. This was mainly thanks to a friendly local cab driver who took us round the back of a motel near the airport and then by standing on the cab and looking over an eight foot high wall ace photographer and good fan from England, Barry Knapp, did his stuff with the lenses whilst the rest of us watched out for the cops, or Howard Hughes, or anyone. Well we got the photo, had it developed into an 8 x 10 (or 10 x 8), mounted the photo in a wooden frame and on the front, just beneath the plane put the caption "TCB Airways ...... What, no steps? ...... is this any way to run an airline?" Then on the back of the frame we added Dan Rick Airways R.I.P. and signed our names on it. Now for those of you that know your Elvis Movies, you should appreciate that, I hope. If you don't know your movies ...... well now, just go and see Paradise, Hawaiian Style again and you'll understand what it was all about.

However, after all that I'm not quite sure if Elvis appreciated our in-joke. He chuckled at the caption on the front of the photo, but didn't turn it over to read the punch line on the back. He did chuckle though and also made the comment, "That's a, a, little bitty picture of a great big aeroplane." He was just going on to say something else, when, unfortunately someone interrupted him by asking for a little bitty handshake and so we never really got to know if Elvis appreciated the photo and its comments ...... I wonder if he remembers his movies that well? Then someone else handed him one of these little statuesque things that you can make from a mould. The figure was, of course, of Elvis and was painted in gold, very apt. "Did you make this? .... that's beautiful. That's very nice too, thank you," Elvis remarked as he studied the gift, but then someone asked for a kiss and he agreed to it, conditionally, by saying, "Sure, if I can bend over that far ..... come here, well you know .... there's just so far the suit will go and then ......" but Elvis succeeded in giving the kiss before returning to comment about the statue, 'It's got, uh, emerald green eyes man,"

Then someone else handed him a Christmas card which Elvis proceeded to read out saying, "Merry Christmas from Jan and Neal ..... Jean and Neal" (he corrected after Neal told him). Then he unfolded something else from them and again proceeded to read it out, in deliberate detail .... ''Hmmmmmmm, Jean and Neal again ......... 9630, Gerald Avenue, Sepulveda, California ..... 'phone number 91343, ha, ha, ....... no thank you very much, that's very nice of you."

Much to everyone's amazement, and pleasure Elvis then turned to the group and asked, "Do you know what key we would do 'Wooden Heart' in?" and then went straight into the song. After the first few words he started to sing "la, la, la" and then asked Sylvia to join in, but then as she started to la, la too he said in a voice that sounded just like the one he used in G.I.Blues when having t-r-o-u-b-l-e with 'Tiger's" milk, ''Nah, nah ....... nah, nah, hell." With that he took over again and even began to sing the German lyrics, but just when you thought he was going to sing it all seriously he changed one line to, "It was always you from the tart, heart, start," and had trouble preventing himself from laughing before he finished the song adding at the end of it a midst the very big applause and cheer that he deservedly got, "Thank you ladies and gentlemen .....I did that for all the kids in the audience and my little daughter Lisa out there ...... Lisa ..... come here kid ....... she's seven years old." Lisa dutifully stood up and you could see the very proud expression that, understandably appeared on Elvis' face as she did so. However, she slightly overdid it and so Elvis instructed, "That's enough Lisa."

Without another word, 'You Gave Me A Mountain' followed on and as usual Elvis gave a really powerful performance on this song.

If that was a powerful performance, then I suppose you can only call 'Polk Salad Annie', which ca me next extra-powerful, as Elvis got it on hard, fast and tight as he lost himself in the music of this song. Even so he still found time to withdraw a loose strand from his scarf and then cast a disapproving glance up to the light man when the orange lighting was not what exactly Elvis wanted. Phew, what performance and movement from Elvis in this song.

At odd moments prior to and even during the introductions which Elvis now commenced, we noticed that our photo of the plane was passed around several people, Charlie, Glen, Jerry, Ronnie and Joe Guercio and Charlie seemed particularly intrigued, even reading the punch-line on the back ... at last, someone did. The Intros. themselves were reasonably straightforward, as much as they can ever be where Elvis is concerned. When he same to Sherrill, Elvis commented again about Sherrill's sleeveless jumpsuit, "Sherrill, that's a nice outfit, you know, but they forgot the sleeves didn't they .... no, I'm only kidding." When it came to Kathy's introduction Charlie decided to play with the yo-yo, unbeknown to Elvis who practically lifted Kathy off her feet again as he hell her hand high. Once again when he got to John, Elvis had to laugh again at the "habit" the mic' cord was having of hooking itself under the group's rostrum. The solos from the rest of the group were as superb as ever, James seeming to improvise more on 'Johnny B Goode' whilst Elvis stood hands behind his back over by the Sweets making them laugh every few seconds at comments he was making. Charlie's introduction from Elvis came out as, "The fellow that gives me my water, my scarves and sings harmony with me, um, Charlie and I have been friends for a long time, his, his name is Spokane, Alabama, his name is Charlie Hodge". For the rest of the intros. Charlie continued to study the photo and the Sun Album.

When it came to the rhythm guitarist Tony, from Joe Guercio's Orchestra, Elvis asked, "How old are you Tony."

"Twenty-five", replied Tony.
"I hate you", Elvis joked.
Tony finished, then Elvis showed everyone the way home with his version of 'How Great Thou Art', but the massive applause he got for his tremendous performance did not encourage him to repeat the ending again, maybe because he knew he had another show to do that night.

Instead, 'Softly As I Leave You' followed straight on and then 'America' in turn, carried on immediately afterwards ..... and both songs together in this way leave an amazing atmosphere floating around the showroom, even if he did call America "Amexica" at one stage.

However, that atmosphere is soon blasted away by 'Mystery Train'/'Tiger Man' which really is a gutsy rockin' song that Elvis so effectively delivers at a blistering pace. It's pure rocking Elvis at his best all the way through, and he certainly moves well in this song. However, he was far from happy with the light man and during the first strobe light sequence, shot an angry look in his direction as they continued for too long. When this happened again in for a second time he waved a warning finger in his direction .... I wonder if that guy will still be there if Elvis returns to the Hilton! Elvis made some comment about the lights at the end of the song, but unfortunately I didn't catch what he said.

After this song Elvis asked "Uh, Ladies, Ladies and gentlemen, is there anything you'd like to hear before we go?" Phew, that question nearly caused a riot as a sea of voices erupted with various requests. "What? ...., 'Blue Christmas' ..... 'I've Lost You'," Elvis started to repeat what he heard, but then he read a note out, "Would you please let Kathy sing a song and, and give her a scarf.. let Kathy sing a song and give us a scarf ...... click, click, click, click, click, click" (Elvis made that sound) "...... I promise not to request 'Sweet Caroline' if you will ....... Kathy, you're up for the ?" (something he said which I couldn't make out). Kathy put her hand over her mouth in shock and then had a short conversation with Elvis before this small and attractive figure in white delivered an astoundingly powerful and perfect 'My Heavenly Father'. The audience were somewhat taken aback I think by the power in Kathy's voice as she hit every note perfectly. Elvis stood next Charlie during the song and as Kathy soared to the extra high notes he raised his left arm into the air, unbeknown to Kathy. Deservedly Kathy got a very enthusiastic applause.

Then Elvis took the stage front again and said, "Thank you Ladies and Gentlemen, that was beautiful ...... you've been a fantastic audience to work for Ladies and Gentlemen, we have another show to do tonight and uh, if we don't see you again well have a happy, uh, Merry Christmas and a Happy New Year ...... anyway uh, until we see you ........ what?" he stopped because people had begun again to call out for songs. He heard one title and repeated it, "Blue Christmas" (big cheer) "........ now let me tell you what's happening, here's something I want to say, the people in the casino and the people with, within line and the Maitre D's have done everything but throw baseballs at me to get me off the stage, I should stay fifty minutes, I've been on for an hour and five minutes ... so" (big cheer) "........ 'Blue Christmas' ..... I got to read back my tape."

With that he went into the song changing one line to, "I'll be so white, blue, just thinking about you." Apart from that though Elvis delivered a quiet but very effective version of the song. During the song he received some kind of poster and a very clever dollar bill which had the face of Elvis printed in it. This had been very clearly done as the bill was I think an actual greenback.

He cut short the big applause though by going, sadly, into 'Can't Help Falling In Love' and yet again he was deluged with gifts during this song. Included were a toy tiger and a skateboard which, being Elvis, he of course had to have a go on. It was great to think though that in just a few short hours he would be back on stage again, although sadly for us it would be our last show for this season... still, Elvis had made sure our Christmas would be anything but blue!


December 13 1975 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
I Got A Woman / Amen       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Love Me       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Tryin' To Get To You       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
And I Love You So       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
All Shook Up       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
You Gave Me A Mountain       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Help Me Make It Through The Night       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Polk Salad Annie       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Introductions / Band solos       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
_Johnny B. Goode (Guitar solo - James Burton)
    Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
_Drum solo (Ronnie Tutt)       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
_Blues (Bass solo - Jerry Scheff)       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
_Piano solo (Glen D Hardin)       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Introductions       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
_School Day (Joe Guercio Orchestra)       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Just Pretend       Good To Be Back°~Just Pretend°~Thank You Very Much°~Holiday
Season In Vegas (FTD)°
How Great Thou Art       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Burning Love       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Hound Dog       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Welcome To My World (part)       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Softly As I Leave You
HPA5
6102 Just Pretend°~Complete Elvis Presley Masters 29 (Sony)°~Elvis Aron
Presley CD3°~Complete Single Collection 9°~Good To Be Back°
~Moody Blue (FTD)°~Holiday Season In Vegas (FTD)°
America  
GPA5
3809 Just Pretend°~Complete Elvis Presley Masters 29 (Sony)°~Elvis Aron
Presley CD3°~Complete Single Collection 9°~Good To Be Back°
~Moody Blue (FTD)°~Holiday Season In Vegas (FTD)°+Moody Blue
(FTD)° (spliced with abandoned studio master
)
It's Now Or Never /       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
O Sole Mio       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Little Darlin'       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Little Sister       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°
Can't Help Falling In Love       Good To Be Back°~Just Pretend°~Holiday Season In Vegas (FTD)°

Review

December 13 1975 Midnight Show
Review by John Andrews - Elvis News Service Weekly, Issue 246-47 (March 1976)

To paraphrase two of Elvis' earlier hits ..... well it's Saturday night and ... have you heard the news, there's Good Rocking Tonight ...... and make no mistake, that was never more true than of this particular Saturday night. Still reeling from the impact of the Dinner Show, here we were again joining in with the enormous cheer that greeted Elvis as he walked on in the blue jumpsuit with the large silver eagle design back and front. There were also silver designs down the outside trouser legs, a silver inverted flare in these trouser legs and silver designs on the standup collar. The belt was in tiger-stripe style, but in blue and white. Black patent leather boots, silver Maltese cross and a white scarf finished off his outfit.

'C.C. Rider' this time featured much fooling around from Elvis. He kept reflecting the spotlights onto various members of the audience, via his guitar, then decided to lunge across the stage to 'attack' John with his guitar before throwing his guitar pick at Ronnie. At the end of the song he walked over to Ronnie and had a quick chat with him and then returned to stage centre to explain, "Thank you very much ...... gosh ...." (just then the same fan who Elvis had mentioned at a previous show about having her mouth taped up, called out, "I love you," to Elvis) ".... I love you too ..... uh ...... what happened to the drummer? What'd he do ...... have some Gatorade or something before the show. I mean that's the hardest he's played in the whole thing, you know, he just decided to go crazy."

"Well now," from Elvis as he went to start the next song, was interrupted by a piercing scream from a girl in the audience, but Elvis regained his composure to continue with a few more,"Well's," before deciding to turn the mike to point straight up into the air for a few moments and then declaring, ''That's all, thank you very much," and taking his 'pretend' bow. Immediately then he got straight on with 'I Got A Woman' at one stage pausing as he felt his throat. The 'Amen' sequence found Elvis again reflecting the spotlights from his guitar onto his booth and its occupants. During the 'checking out the parts' sequence he took time out to comment about the lighting, saying, "The light man is cutting me from the waist up." Then, with his parts 'checked out', it was time for JD'S bass slide, which seemingly sounded okay, but obviously not to Elvis as he declared, "Ah, that was a meagre attempt ...... no, no, no, I'm not kidding .... he can do better than that ....... just listen to him this time." Then a quick burst of the "Amen's" and down went JD again, but on the way back up the scale he deliberately let his voice soar as an aircraft engine (piston engine, that is) might. Once again the looks on Elvis' face during this sequence were priceless. Apparently satisfied with JD'S second attempt Elvis then closed off the song and swung his guitar several times in the air before throwing it backwards to Charlie.

The audience for this show was really wild and lots of girls were screaming out to Elvis. One girl really got to him though when she held out a yellow object for him as Elvis asked, "Honey what you got?" Then he found out that it was a yellow fire chief hat. As he held it the red light on top of it started to flash and at the same time it let out a whistle which sounded like one of the old American Railway Locomotives. Highly amused at it Elvis asked us to, "Listen to the darn thing." Then, as if that wasn't enough he was also handed a large pair of blue sunglasses, which had windshield wipers fixed to them, and these wipers really worked too. "Elton John," he declared as, being Elvis, he of course had to put both the helmet and the sunglasses on. Not even satisfied with that and the drum roll Ronnie had given him, he called for the group to go into 'Love Me'. The whole place nearly fell apart as .... if you can imagine the picture ...... there was Elvis, microphone in his left hand, wearing this yellow helmet, which also had the name 'Elvis' printed in black on the front, the red flashing light on top of it together with the whistle every few seconds and then also the large blue sunglasses with the working windshield wipers ....... and singing 'Love Me' at the same time. Occasionally he would have to put his hand on top of the helmet to prevent it sliding off his head. Just for added affect too, in the line of the song, "Won't you love me," where there is normally a solid beat at the end of that line, Elvis gave a loud, "Pop", sound, He eventually took off the helmet and sunglasses during the song, but then received a further gift of a mini Father Christmas from someone and a drink of Gatorade from Charlie. At the end of the song he made the Sweets and the Stamps hold on, and on, and on, and on to the last note, then laughingly asked, "Did anybody cheat? Did anybody take a breath? ...... You're not sure yet ........ Almost."

Elvis then started to introduce the next song 'Tryin' To Get To You', but paused for a moment to inspect his hand. "I mean, I'll be there in a minute ..... just hold it ..... my band aid's fallen off," he explained and then having repaired things himself, despite the offer of help from several 'nurses' in the audience, off he launched into the song. Yet again Elvis' star shone extra bright during this song, he was really outstanding vocally and also included quite a bit of movement.

'And I Love You So' quietened the atmosphere down, as the audience just had to stay spellbound at the quality of Elvis' voice. An odd noise from the sound system made him cast a quick glance backward during this song.

'All Shook Up' cut short the applause for the previous song and a part from the music we also saw Elvis given a Mickey Mouse and a Donald Duck. Then almost in medley format, 'Teddy Bear' continued the fast moving pace of the show and during this song he received from an English fan now living in America, Loretta Rodriguez, a cushion on which she had very cleverly embroidered in very accurate detail the picture of Elvis taken in 1974, when he was wearing the black leather full length coat and white open neck shirt (you know, the photo which the movie mags got hold of and then superimposed nearly every girl in America as standing by his side, Linda, Tanya Tucker, Cher, etc. etc.)

However, in this case Loretta had embroidered a picture of Elvis' father, Vernon, alongside the picture of Elvis. 'Don't Be Cruel' finished off the medley, and the gifts he received during this song included two hotel keys.

Immediately after the medley, Elvis called for the group and orchestra to start, "This Time You Gave Me A Mountain," as he calls 'You Gave Me A Mountain'. The Intro had just started when he called, "I'm sorry, I'm sorry, I'm sorry, hold it, hold it, hold it ........... no, I'll get to it, just cool it a minute ...... someone gave me this" (he held up the cushion Loretta had given to him) "...... this, this is um, me and my father, thank you" (he studied it for a moment and then handed it to Charlie for safekeeping). Just then somebody called out for him to sing 'Welcome To My World', and to our surprise he did just sing the first few words to it, but then stopped, having embarrassed the girl who called out, and proceeded to demonstrate his powerful but sensitive voice control in 'You Gave Me A Mountain'.

''Thank you very much, ladies and gentlemen, uh, this is a request for um, 'Help Me Make It Through The Night', this is for Mr. & Mrs. Thompson," was the way he introduced the next song and he went to sing it, "Take ........ take ....... an Alka-Seltzer, nah, take the ribbon from your hair ....." and yet again we discover more of Elvis' spontaneous humour. As we know, it's an agile mind on top of that 6'2" body. This song came across really beautifully, Elvis projecting his voice perfectly, James providing good backing on the guitar, Ronnie coming strongly at just the right moments as did Kathy, blending her high soprano notes very effectively. The string arrangement was very effective too in this song (Felton Jarvis at work here?) Elvis received a picture and a large red envelope during the song, but we never did find out what the envelope contained.

Then suddenly, every cobweb from the funky angels around the showroom was blown out of sight with one of if not THE, most powerful version of 'Polk Salad Annie' I have ever heard from Elvis. Wow, no kidding, the energy from that song was enough to light up Vegas for a year. He started with some slow stalking movements, then grinned at the Sweets ....... a hint of the fireworks to come perhaps. Then his whole body just beca me like a snake, as he was at one with the music, music which was superbly provided by James, Ronnie, Jerry, Glen, John, the orchestra and the vocalists ..... every one of them giving 101% whilst Elvis was giving 1001%. During one of the instrumental breaks Elvis stepped over to have a quick word with Charlie, but even as he did his legs kept moving. Then he returned to stage centre, his legs moving like pistons whilst Jerry and James played hard. Then for the end of the song: He gave some really wild karate movements, stretching his legs out wide and making Karate chops with his hands, From where we were seated, near the front, but to the side, it looked to me as though Elvis virtually did the splits at one point, both legs outstretched at the same time, but other fans say he did this one leg at a time. Whatever, it was certainly one of the best ever versions, musically and physically. Doing two shows a night must agree with him. He got a very well deserved ovation from the audience who were still jumping up and down in their seats after the song had finished.

Introductions for the group followed "First of all on the left, the fellows that opened our show tonight, one of the top Gospel quartets in the nation, if not THE top Gospel quartet in the nation.... JD Sumner and The Stamps Quartet. The young ladies on my left, have been with me for about six years, I think they're fantastic, the Sweet Inspirations" (applause) "..... they're not fantastic, but. .... I'm only kidding you know." By now Elvis was leaning on Estelle's shoulder and continued to do so for a short while as he continued by introducing Sherrill. Then over to Kathy, "The little girl that does our high voice singing, she's from Los Angeles, her name is Kathy Westmoreland." Next came, "The little boy that does our extremely high singing, his name is Bill Baize." Interrupting his introduction of John Wilkinson, yet again the cord to Elvis' microphone hooked up underneath the group's rostrum. As Elvis attempted to unhook it he commended, "There's something under there that's eating that cord man, you know." Eventually he managed to unhook it and then continued with the introductions. James did his solo, with off-mike accompaniment from Elvis in 'Johnny B. Goode'. Then came Ronnie who just about knocked himself, and us, right out. When he had finished Elvis commented, "Whoo..... Thank you Ronnie, thank you," and then he went over to Jerry and asked, "On the fender bass........ how you going to follow that, Jerry....I mean........you and Charlie do a little cha-cha-cha......" (then Charlie muttered something) "you'll what?....... hat and cane business, you know.......on the fender bass from up in Canada is Jerry Scheff." With that Elvis left Jerry to show how the blues should be played on a bass guitar whilst Elvis went back to stand by the Sweets. Within a few seconds all the Sweets were squealing at something Elvis had said...... very interesting....... but what did he say I wonder? Glen then got it on with his own solo, keeping it more up tempo, as per instructions from Elvis at a previous show. Once again Elvis joined in by, "Yeahing," in the background. The introductions rounded off with Charlie, Joe Guercio's Orchestra and a special feature for rhythm guitarist Tony, Elvis noting that Tony's, "Mother-in-law's out there." During this solo Joe Guercio managed to drop his baton.

Then Elvis introduced Lisa by saying, "I'd like you to, to meet my little daughter she's in the audience.... Lisa......she's seven years old now.........turn around honey." (Lisa was standing on the seat in the booth as the spotlight picked her out and she turned around for everyone to see her).. "And my father in that booth, will you say hello to my daddy, please........ hello dad." Some people started shouting at some thing which sounded like they were asking him to bring Lisa up on stage to sing. Even Elvis wasn't quite sure what they said at first and said "You what?....uh, oh, uh we can't do that because uh, uh, it's against the law."

Instead he quickly went into 'Just Pretend', as usual, directing' Glen during the opening notes on the piano. As ever, Elvis was on top form for this song, which comes across so beautifully performed live, with Glen Jerry and Kathy featuring strongly in the backing, with Ronnie and James closing it well behind Elvis' strong lead.

'How Great Thou Art' followed directly and, if possible, seemed even more powerful than ever before. The standing ovation he got at the end persuaded him to repeat the ending and repeat it with yet more energy still ...... amazing, just amazing.

It would have been quite the thing for any normal singer to have sung something easy after that, but with Elvis ....... no chance ........ instead he kicked hard into 'Burning Love'. Again, Elvis put a lot of movement into this song and during the ending, when powering out the lyrics, "Hunka, hunka burning love," his arms and legs were in perpetual motion.

After that, he daringly said, "Thank you very much, uh ..... is there anything you'd like to hear, especially?" That brought forth an almost unending stream of requests from the audience for a variety of songs, 'Fever', 'Suspicious Minds', 'Return To Sender', 'Viva Las Vegas' etc. etc. However, one request was aided by the fact that they gave Elvis a wind-up dog, which he of course had to put on the stage and allow it to work its way across the stage whilst he sang 'Hound Dog', complete with a great jam ending.

At the end of it he wiped himself with a towel and took a drink from a dripping glass of water. Someone then must have asked him to sing 'Welcome To My World', for he started to sing the first few words on his own without accompaniment. Then he said to Glen, "Got the key?" and Glen proceeded to play the Intro to the song as Elvis sang the first few lines, and delivered a few kisses at the same time but stopped it saying, "That's all." Instead he decided to give us 'Softly As I Leave You', and immediately he announced it the whole showroom went suddenly silent before Elvis and Sherrill with accompaniment from Glen, gave another perfect version of this song. As usual at the end of that song, Elvis acknowledged Sherrill's contribution by saying, "That was Sherrill Nielsen doing the singing in that song ....... beautiful Sherrill."

'America' had no, and needed no Introduction, the atmosphere this song and Elvis' treatment of it evokes can only be experienced, not described.

A little uncertain what he would do next, Elvis hit on 'It's Now Or Never', and this was greeted with a bit cheer and applause from the audience. It really is sad that we haven't yet got a live version of this, every Elvis fan should hear it, and the power in Elvis' delivery of it. Again at this show he decided to experiment with the original Italian Lyrics and, with assistance from Estelle's shoulder, which he leant on as he faced Sherrill who helped him with the lyrics he proceeded to give a very operatic and authentic Neapolitan touch to the original song 'O Sole Mio'. Deservedly so, he got a very enthusiastic applause for his efforts.

By now, Elvis seemed to be so happy with things, that you got the impression that he sang just whatever came into his head, not attempting to stick to any format. The fact that he decided to sing 'Little Darlin' next seemed to emphasise the fact that Elvis was really having a ball up on stage. His legs were soon pumping away with the beat, and when it came to a slide from Glen on the piano, Elvis ran his hand from right to left across an imaginary keyboard in front of him. He pointed at one of the Stamps as they were singing, and made the Sweets stand up and join in on the song.

Cutting short the applause, Elvis continued his fast moving 'party for the fans' atmosphere by launching straight into a great version of 'Little Sister', which you could tell by his beaming face he really enjoyed singing.

Unfortunately though, the party was about to come to an end as Elvis said, "Thank you very much Ladies and Gentlemen. I'd like to tell you that you've been a fantastic audience ..... and uh, I'd like to uh, acknowledge my sound man Bill Porter who handles all the sound up here ..... and Felton Jarvis ........ because they do a fantastic job of handling all the equipment and I'd like to thank all my musicians because I was off for like three months, you know and they, they came back like ...... when I came back they're gone, you know, got up and left, no when I came back everybody just really, you know, um, goofed up ....... no ........ anyway, if we don't see you, ha, ha, ........ if we don't see you, you know, for a while, have a Merry Christmas and a Happy New Year and uh, thank you and we wish you good night and bid you an affectionate" (pause as he turns and grins at JD about some in-joke here on this word) "...... farewell." With that Glen started the intro to 'Can't Help Falling In Love'. Handing out scarves and kisses he accepted a red rose from someone, stood under the curtain held up by Red and Sonny as he acknowledged all parts of the showroom whilst Ronnie started off the closing vamp ..... then suddenly there he was running off into the wings at stage right to collect a towel from his stepbrother David Stanley .... and that was it, he was gone.

Conclusion
I would just like to briefly say in conclusion, if anybody is still reading that is ...... a big thank you to Kathy Westmoreland, Felton Jarvis and Lamar Fike for reassuring me that there are still people connected with Elvis who are interested in and take time to talk to the fans. It's so easy in Vegas, particularly in Winter seasons, to get a somewhat distorted image of where Elvis is at these days. Some of the hassles that go on just to try and get to Elvis don't help and some of those people supposedly close to Elvis seem to project an image in stark contrast to the one we have gleaned of Elvis over the years. In particular these three people I have mentioned, together with the general happiness of Elvis on stage this season just set the record straight for me. I'm sure this was one of Elvis' strongest ever performances at Vegas and everybody up on stage with him were superb, particularly as soloists, Ronnie, James, Glen, Jerry, John and Kathy. You may be hearing rumours of how good James and Glen are during these tours with Emmylou Harris, but you'd better believe it, they're never as hot as when their talents are combined with Ronnie, Jerry and John .... AND.... with Elvis out in front just getting better and better and better with every year. If some of you feel that, now having heard so much in detail about what happened in December at Vegas, you don't mind so much having not been there, forget it, for in the words of the song Elvis did at Vegas in '69 ...... "It's only words and words are all I have," and no words have ever been or will be able to describe just how good ELVIS PRESLEY really is!


Tape Logs
Recording Information
Softly As I Leave You
Softly As I Leave You
Recording Information
America
America
 


Music Sheets
Music Sheet
Softly As I Leave You
Softly As I Leave You
Music Sheet
America
America (Thanks to Christopher Brown)
 


December 14 1975 (Sunday - 10.00pm Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      Fashion For A King CD2 (FTD)°
I Got A Woman / Amen       Fashion For A King CD2 (FTD)°
Love Me       Fashion For A King CD2 (FTD)°
Tryin' To Get To You       Fashion For A King CD2 (FTD)°
And I Love You So       Fashion For A King CD2 (FTD)°
All Shook Up       Fashion For A King CD2 (FTD)°
(Let Me Be Your) Teddy Bear / Don't Be Cruel       Fashion For A King CD2 (FTD)°
Hound Dog       Fashion For A King CD2 (FTD)°
Until It's Time For You To Go       Fashion For A King CD2 (FTD)°
You Gave Me A Mountain       Fashion For A King CD2 (FTD)°
Polk Salad Annie       Fashion For A King CD2 (FTD)°
Introductions / Band solos       Fashion For A King CD2 (FTD)°
_Johnny B. Goode (Guitar solo - James Burton)
    Fashion For A King CD2 (FTD)°
_Chicken Pickin' (Guitar solo - James Burton)       Fashion For A King CD2 (FTD)°
_Drum solo (Ronnie Tutt)       (Not Recorded)
_Blues (Bass solo - Jerry Scheff)       Fashion For A King CD2 (FTD)°
_Piano solo (Glen D Hardin)       Fashion For A King CD2 (FTD)°
_Happy Birthday (to Charlie Hodge)       Fashion For A King CD2 (FTD)°
Introductions       Fashion For A King CD2 (FTD)°
_School Day (Joe Guercio Orchestra)       Fashion For A King CD2 (FTD)°
Just Pretend       Fashion For A King CD2 (FTD)°
How Great Thou Art       Fashion For A King CD2 (FTD)°
Burning Love       Fashion For A King CD2 (FTD)°
Softly As I Leave You       Fashion For A King CD2 (FTD)°
America       Fashion For A King CD2 (FTD)°
Little Sister       Fashion For A King CD2 (FTD)°
Heartbreak Hotel       Fashion For A King CD2 (FTD)°
O Sole Mio / It's Now Or Never       Fashion For A King CD2 (FTD)°
Can't Help Falling In Love       Fashion For A King CD2 (FTD)°

December 15 1975 (Monday - Closing Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

December 15 1975 Closing Show
Review by Len Leech - Elvis News Service Weekly, Issue 243-44 (February 1976)

Elvis closed out another Las Vegas engagement with a sold out crowd, which in it self was not unusual. But the fact that there were more people in the Hilton Showroom than all the other Vegas showrooms combined on December 15 was a singular credit to the drawing power of Elvis. December is traditionally the slowest time of the year in Vegas, and most hotel showrooms are usually dark most of the month.

At the end of the '2001' theme, Elvis' intro. began as he came out in a white jumpsuit with silver and light blue trim, white belt, and light blue kick-pleat. He started off with the usual first two songs, 'C.C. Rider' and 'I Got A Woman'. He did the extended version of the 'Amen' part, repeating the verse four times and raising the key twice, while encouraging the audience to join in. After J.D.'s bass slide, Elvis commented, "That was adequate. No, really, J.D's the lowest bass singer in the world, and he can do better than that, if he's had a rest the night before, and fruit juice. So listen to him this time". After repeating the ending again, Elvis took off the guitar, and teased Charlie a bit before finally throwing it backwards to him. "Thank you, very much. Good evening ladies and gentlemen. Welcome to the show. You know who you are, and aahh, I think you know who I am. Tom Jones, you're right. So, you know, just have a good time. We're gonna do a lot of songs, old ones, new ones, and aahh, go from one end of the stage to the other, and swing a bit in the balcony." Putting his hands together in mock prayer and looking heavenward, he said, "Forgive me there for lying, Lord."

Then came 'Love Me', Elvis giving out scarves ringside and receiving assorted gifts. After the song was over, Elvis went back to the edge of the stage, pointing out an Elvis look-a-like fan, that was seated near the stage. He looked something like Elvis and was also dressed to the part. The fan gave ELVIS a belt, and Elvis held it up and commented, "Did you make this yourself? You did? Put a spotlight on this guy for a minute. I've been hearing about you, son. Out in the lobby signing autographs and all that jazz. That's a compliment, it really is a very nice compliment. That's a sharp outfit. Glasses just like mine and everything." Holding up the belt, he said, "This is the Kempo karate patch, which is appropriate because my karate teacher is in the audience, tonight, Ed Parker. I'll be back over there in about thirty-two minutes. This next song that I'd like to do is an old song we've been doing a lot lately, it's called 'Tryin' To Get To You' all ....... You.." A powerful version of 'Tryin' To Get To You' was immediately followed by the lovely 'And I Love You So'. "I'd like to do a medley of some of our records." 'All Shook Up', 'Teddy Bear', and 'Don't Be Cruel' was accompanied by Elvis giving out more scarves and receiving items from the girls at ringside, including an extremely long dog chain which was thrown centre stage to his feet when he sang the line in 'Teddy Bear', "put a chain around my neck, and lead me anywhere". He finished the song holding the chain across the stage between him and the fan at ring-side. He then went directly into 'Hound Dog'. In the middle of the song, another fan carried a huge five foot high white Snoopy dog down the aisle and onto the stage. After the song was over Elvis spotted Snoopy at the side of the stage, and walked over to it, remarking "He's a big son-of-a-gun, you know?" And he says, you know, "I just wanna be in show-business, is all". "What's he do when you pull on his chain? Shake hands?" Reading a card from the family with the dog, he said, "This is a little present from us to you. To Lisa, Merry Christmas. Thank you." Putting his arm around the dog's neck, he said "C'mon, son," and carried the dog off to centre stage. The man who gave him the dog wanted a scarf for his little four year old daughter, at which point Elvis said to Charlie, "Lay one on me." Elvis took the scarf and walked back to put the scarf on the little girl, when she let out a bloodcurdling scream. The family was not from this country and the little girl could not speak or understand a word of English, but she screamed in a universal language, and continued to do so for a few minutes longer. Finally, Charlie dragged the dog off into the wings, with much difficulty as the dog was as big as he was.

After finishing the next song, 'I'm Leavin', Elvis said, "I'd like to do this song for Ed Parker and his Wife, Leilant, ..... Mountain." Elvis gave a very strong, emotional rendition of 'You Gave Me A Mountain' and came back quickly before the tremendous applause had died down with 'Polk Salad Annie', striking his karate pose down on his knees and ending the song with a high karate kick. Then came the introduction, Elvis letting James, Ronnie, Jerry and Glen do solos. "This next song is a song that we did about three years' ago, it's called 'Just Pretend', and it's for Linda". A beautiful treatment of 'Just Pretend' was quickly followed by the magnificent 'How Great Thou Art'. Elvis was in superb voice, going up and down the scale with tremendous power and bringing the audience to its feet for a standing ovation, forcing him to repeat the ending once again. The haunting, 'Softly As I Leave You' was next, with Elvis reciting the words in counterpoint to Sherrill's singing. This was followed quickly by the show-stopping 'America', Elvis reciting the second verse while the other voices hummed in the background, and then all joining in on the chorus to the end, once again to great response. 'Burning Love' started and Elvis sang the first two lines before he held up his hand and interrupted the song, saying, "Hold it, hold it, wait a minute, I got three frogs in my throat. I'll tell you what, fellas, do 'Sweet Spirit', let me go backstage, get the frog out of my throat and I'll be right back, okay?" Elvis walked off into the wings while The Stamps stayed in their usual spots on the stools behind the Sweets and sang 'Sweet, Sweet Spirit', Elvis came back on stage and said to The Stamps, "That's beautiful, I can hear that downstairs, you know. I needed that." At this point, a girl called up from near centre stage asking Elvis if the rumour was true that this was to be his last appearance in Las Vegas. "My last appearance in Las Vegas? Honey, don't believe everything you hear".

'Little Sister' was next, quickly followed by a wild, powerful version of 'One Night'. Then Elvis started 'Until It's Time For You To Go', walking towards the audience for the normal scarves and kisses. He reached down and took a large picture frame from one of the fans. He seemed to be amused at it and continued to sing the song while carrying the large frame in his hand. He propped it up on one of the monitor speakers for a moment so the audience could see that it was a close-up photograph of Elvis with his right hand to his temple and his eyes appeared to be closed. At the end of the song he pointed to the fan who gave him the picture, and held it up, saying, "The little girl who gave me this picture over there said to read, aahh, the thing on the bottom, so.... She's got: 'Excedrin headache number seventeen', and then down below it she has in parenthesis, 'Did she or didn't she remember to take the pill'." The audience, and especially the band got a kick out of it, whereupon Elvis turned around to the band and said "Just aspirin, would I lie to you? That's cute, honey." Then, in answer to some screams from centre stage, he leaned over to kiss a fan when a large medallion around his neck came up and hit him in the mouth. Holding the medallion in his hand he said, "The hotel, they gave me this thing tonight. It's got my name, you know, in diamonds and everything, but I knew it was gonna hit me in the head. I knew it, yeah, it's a conspiracy, to cut my throat. You noticed they waited until closing night, before they did it".

'The First Time Ever I Saw Your Face' was next, quickly followed by 'Mystery Train'/'Tiger Man'. "My favourite song that I recorded, ladies and gentlemen, 'It's Now or Never'. We can't do it in Hebrew, I haven't learned that part yet. But we're going to do the first part in Eyetalian, E-Y-E-T-A-L-I-A-N. Sherrill wrote this thing out in Italian". Standing over by The Stamps, he made a few false starts to the song before singing the first verse in beautiful Italian lyrics, and then came in with the English lyrics for the second verse, drawing a huge round of applause after he finished with his usual tremendous last notes on this song. "I'd like to say a couple of words about, aahh, how good it is to be back working again." This line drew a great round of applause, and Elvis responded by saying, "We'll be working quite a bit next year. We may come to your hometowns, aahh wherever you are. I'd like to thank my sound man, Mr. Bill Porter, who handled all the sound up here, and aahh, Felton Jarvis, he's also my sound man. He's my record producer, I'd like you to meet my father, Daddy.... ... stand up. And aaahhh, to my band and everybody on stage here, I'd like to tell you that, in all sincerity, you've done a fantastic job, and you picked up right where we left off. And it's really been a fantastic engagement, one of the best we've ever had. If we don't see you, have a Merry Christmas and a Happy New Year and may God bless you. Oh, and New Year's eve we'll be in Pontiac, Michigan,.... Take it home." 'Can't Help Falling In Love' closed out the show and the engagement, with Elvis giving out a few last scarves before the curtain came down, then posing on the edge of the stage, shaking hands and waving to the crowd before running off to the wings.


Pontiac, December 31 1975
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Jerry Scheff
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; Sherrill Nielsen

December 31 1975 (Wednesday)
Silverdome, Pontiac, Michigan

       

Review

December 31 1975 - Pontiac, Michigan
Review by Christopher Brown - Elvis News Service Weekly, Issue 238-39 (January 15 1976)

Elvis' act was preceded by four groups and Jackie Kahane, who acted as MC. The first two groups, who were hired especially for this show, were, in my opinion, useless and offensive to the Superstar, Elvis Presley. These two Groups singing country country and rock were on for a little more than an hour. A fifteen minute intermission followed, then J.D. Sumner and the Stamps appeared - they are a great asset to the show and were well received (they sang such songs as, 'You'll Never Walk Alone', 'Just a Closer Walk with Thee', 'When The Saints Go Marching In', and a few others.) This was followed by The Sweet Inspirations doing their usual set, which is still enjoyable.

Then at 10.58, the Joe Guercio Orchestra struck up the '2001' Theme, and finally, two and-a-half hours after the show began, Elvis entered through a specially prepared tunnel to a stage in the middle of an enclosed football field. Coming up on the left side to the largest audience Elvis has ever played to (over 65,000 - the Arena has a capacity of about 90,000, but no upper balcony seats were available for sale), he made his way up the specially prepared platform he would sing on, for the next one-and-a-half hours. (The musicians and singers were on the main stage floor, with Elvis elevated two or three feet higher so everyone could see him. The stage was twenty feet high, and the closest seat to the stage was a least thirty feet away.) After travelling from Toronto to Pontiac, Michigan and arriving around 3 p.m. in the afternoon, I bought tickets from the box office for eleven rows from the stage on the floor. Elvis' stage clothes were nothing sensational, simple white jumpsuits with glitter; but he is looking much trimmer.

The show opened with the usual three songs, 'C.C. Rider', 'I Got A Woman' ('Amen'), and 'Love me'. J.D. was asked to do the plane dive again for the end of 'Amen', and after trying to reach some girls, Elvis busted the seat out his pants, which he handled very professionally - he has had much practice! Following 'Love Me', Elvis said he was gonna do one of his early records. The classic 'Tryin' To Get To You' came next. This was done real well, but he did not get "into" it, which, with Elvis, makes the difference between great and fantastic. The absolutely beautiful, 'And I Love You So' was next. The recorded version on the Today LP was far superior, but this was very nice to hear in person. Then quickly, the oldies followed, but with more care and sincerity shown: 'All Shook Up', Medley: 'Teddy Bear'/'Don't be Cruel', 'Heartbreak Hotel', and 'One Night'. 'One Night' was absolute dynamite, every bit as good and probably better, than that in the film That's The Way It Is.

Highlight of the evening: a very mean and vicious version of a song we thought Elvis was sick of doing, 'Polk Salad Annie'. The musicians played hard and loud - and I do mean loud.. At one point it was almost deafening. Elvis swayed back and forth, facing each segment of the audience as much as possible. At the end, when he begins repeating "Sock a little, sock a little, sock a little ...," he began to dance and shake and vibrate. Moving quicker, and faster, Elvis points to the band to hit it harder. He then goes down into a leg stretch and then attempts to go the other (like in 'Suspicious Minds' in That's The Way It Is), but misses and has to straighten up before going onto the other let. He then straightens up, puts the microphone down on the floor and Elvis goes into a karate stance, and it is frightening to watch. Elvis looks so vicious and mean, he then goes through some slow moves in karate and finishes the song - the entire ending lasted almost one hundred seconds. At the end Elvis walks around trying to catch his breath, and then says he would like to have one of the top gospel quartets in the nation sing 'Sweet Sweet Spirit' while he goes and changes jumpsuits.

When Elvis returned, he proceeded to do some lengthy introductions, which included David Briggs on electric piano and clavinet, ''is that something like a hairnet?" Elvis asked. He did not introduce Charlie Hodge! Elvis, because of the size of the audience, was very very nervous which caused some minor mistakes. He mentioned this several times during the show, and also that this was the best New Year's Eve he had ever had, and seem to really mean "You really are a fantastic audience when he said it several times during the show.

With sheet music in hand, he sang 'My Way'. But twice in the song, he had to pause, restart some parts; and then end it magnificently. Wow! Up he went on the scale, ''I did itttt mmmmmyyyyyy wwaayyy." A throwaway 'Love Me Tender' followed, with no kissing because of the height of the stage - but he did manage to throw several scarves away during the show.

Midnight was approaching. A sign flashed on saying "2 minutes to 1976". Elvis paused, and asked that when midnight came if all the audience would sing 'Auld Lang Syne' along with him. Finally, the count down, '30.... 29...... 28 ........ 10 ...... (Ronnie would beat his drums at each count) 9....8...... 7..............5.......4........3........ ........1 Happy New Year!!! The audience went wild, and then Elvis and everyone began to sing, "Should auld acquaintances be forgot ......" Really nice.

Elvis then started off 1976 with 'How Great Thou Art'. Just before he began, he said that this was one of the most requested songs that he performs. After finishing it, he said that he could do better and tried, but he never really did do any better.

"Because this was my biggest selling record, I'd like to sing 'It's Now or Never'. This was Highlight 2 of the evening. Elvis' voice is something else, and he had lots of fun (?) with this. Terrific!!!

Highlight 3: The soul stirring, emotion packed 'America'. Everyone stood up, including us Canadians who cannot help but feel some respect for the U.S. The speaking part honestly made me shiver through and through, and when Elvis finished singing the end, he was up in the rafters where 'An American Trilogy' usually ends up.

"I'd like to thank all the people who made this show possible, but I haven't got the time." This statement was well received. Elvis then thanked everyone on the stage for coming tonight, wished them all a Happy New Year, especially the sound engineers, Felton Jarvis, Bill Porter and "the guy from Australia", Bruce. He then introduced Charlie Hodge and wished him a specially Happy New Year, using the excuse, "The reason I forgot to introduce you Charlie is that, you're easy to forget: No, no. I'm only kidding." Lots of screaming and yelling. Elvis then says that, "We're not leaving yet. What'd ya wanna hear?" He did a really good 'Hound Dog'. Then began, "Can't you see that I love you please don't break my heart in two cause .... Nah, I don't wanna do that. Thank you very much Ladies and Gentlemen, and until we see you again we bid you an affectionate farewell. may God bless you." 'Can't Help Falling In Love' followed, then Al said "Ladies and Gentlemen, Elvis has left the building. Thank you and good morning!"

And then, the effort to leave. 65,000 people want out. Wow!

 

December 31 1975 - Pontiac, Michigan
Review by J. Rock - Elvis News Service Weekly, Issue 238-39 (January 15 1976)

When I arrived in Detroit the 31st of December 1975 I took a taxicab heading for the Pontiac Stadium. It was about 3 o'clock in the afternoon. The Parking Lot was very well guarded by policemen and tractors were trying to clean-up the parking area of snow and I asked the guard if I could go inside to the box office and see the inside of the Stadium - they told me it was O.K. I got off with a seat ticket on the floor, eleventh row from the stage, on the right side of it. Only three rows behind Aland Die Bigelow of the Elvis Generation. The stage itself was about forty feet away from the front row seats and twenty feet high (Round Stage). Speakers were placed around the stage and a smaller stage was right on the middle of the huge one. Where Elvis performed a tunnel was placed on one side where Elvis walked through to the stage.

At 7.o'clock the door opened and at 8.30 p.m. sharp the show began with Jackie Kahane, then 4 young guys made a number of Hillbilly songs. Then four other guys made a number of songs as bad as the first ones. Then J.D. Sumner and The Stamp Quartet did a fantastic show, including songs like 'When The Saints Go Marching In' and 'You'll Never Walk Alone' and some more. At this time the show started to be a little bit better.

The The Sweet Inspirations did their act as good as On Tour, with Elvis last Summer 1975. Intermission : Same Photo Book that was released at the end of the Summer 1975 Cities Tours. Two Buttons in colour with a photo of Elvis - one was the same as this Summer. The other one (brand new) a fact shot of Elvis smiling, wearing a white jumpsuit with black eagle. Autographed "Sincerely Elvis" And scarf and flag etc., nothing new though.

At 11.00 p.m. The King appeared on the stage, coming from the tunnel under the stage and started singing 'C.C. Rider'. He was wearing a brand new jumpsuit in white, with silver studs and a beautiful red guitar strapped around his neck. "Thank you very much" and Elvis teased the crowd at the beginning of 'I Got A Woman'. Well, well, well, well, well, that's it. Thank you very much. And went through 'I Got A Woman'. At about half of the song he splits his pants. After the 'Amen' ending with J.D. Sumner he told him: "That's not fair J.D. but, you know, you've been the lowest bass singer, I think you could do it better, hum ......0.K. watch him this time. It's actually me you know, he has done it on purpose". 'Amen' was re-done one more time, powerfully. "Thank you very much, good evening Ladies and Gentlemen, as you can see, I've ripped my pants, you believe that - 60,000 people, and they'll all see what I got under my pants ... ....." "I'd like to tell you .. what are you laughing at ..... it could have happened to you, you know that, don't you. I'd like to tell you that it's a pleasure to be here and"... ... screams, applause...... "could you hear me ..... if I appeared nervous, it's because I am. You know this is the largest audience we have ever played to..... and I have to go rip my pants ... I need a suit man. You know, 'Love Me' .... thank you very much Ladies and Gentlemen - you're a fantastic audience. I'm telling you that, really. I need help I guess ..... This next song is a song that is on my old records and we've done it a lot lately. Ah! it's called 'Tryin' To Get To You All' Ah." to you. 'And I Love You So', 'All Shook Up', 'Teddy Bear', 'Don't Be Cruel', 'Heartbreak Hotel', 'One Night', 'You Gave Me A Mountain', 'Polk Salad Annie'. "Thank you very much Ladies and Gentlemen, I got news for you Ladies and Gentlemen, this is the best year I have ever had ..... Ah! just let me walk around for a second to get my breath back ..... ah! I gotta go and change suits - it won't take more than a minute. So I'd like the Stamps to sing 'Sweet Sweet Spirit'." Then Elvis ca me back with a new jumpsuit on similar to the first one but having black designs on front and down each side of his legs.

"'I'd like to introduce to you the members of my group before we go any father - ah! further. The gentlemen who just did 'Sweet Sweet Spirit' are the top gospel Quartet of the Nation, ladies and gentlemen, J.D. Sumner and the Stamp Quartet. The young ladies up here, they've been with me for about six years. I think they are fantastic, The Sweet Inspirations. The fellow down the end, over here, he sings in harmony with me - his name is Sherrill Nielsen" (one of the disbanded Voice). "The little girl who is right behind here way down there - she is from Los Angeles, her name is Kathy Westmoreland. On the rhythm guitar from Springfield Mo, is John Wilkinson. On lead guitar from Los Angeles" (mistake of Elvis 'cause James is from Shreveport, La) "is James Burton". (Elvis yelled quite a few times "What'd I Say" during the guitar playing of James) "On the drums from Dallas Texas, is hard working Ronnie Tutt. On fender bass, from Vancouver, Canada is Jerry Scheff. On the piano from Lubbock Texas is Glen Hardin. And on the electric piano, and Ah! how do you call the thing ...... clavinet? from Nashville is David Briggs" After his short number, Elvis asked him, "Is that it, thank you David Briggs". "Ladies and Gentlemen from Las Vegas, my Conductor, Mister Joe Guercio, you can't see him from over there, the fantastic Joe Guercio Orchestra".

"Thank you very much Ladies and Gentlemen. Ah! this next song we have a lot of requests for. We did it on the T.V. Special, Aloha from Hawaii. It was not really me, it was my double, you know. 'My Way'. I don't know all the words, so I gotta read it." Right in the middle of the song Elvis stopped singing because there was something wrong with him and the musicians. "Thank you Ladies and Gentlemen, O.K. ...... Screams ..... Ah! This next song was my first Movie song and I would like to do a little bit for you 'Love Me Tender'. Thank you Ladies/Gentlemen. Ah! in a few minutes it will be the New Year and all of us up here, sincerely hope you have a Happy New Year and if you would, I would like to ask you to sing along with me when the time comes 'Auld Lang Syne'". Crowd 16-15-14-13-12-11-10-9-8-7-6-5-4-3-2-1 Everyone stand up and sing. Through the middle of the song you could hear the voice of The Kind HAPPY NEW YEAR. Balloons of every colour were floating in the air at midnight. "Ah! This next song is our Gospel Song we had a lot of requests for, which features The Stamps Quartet it's called 'How Great Thou Art'." At this point of the show, many people start to leave.

End of the song was done twice "will do that part of the song again, because we can do it better". "Thank you very much Ladies and Gentlemen, you're a fantastic audience ..... Ah! Ladies and Gentlemen I'd like to do this next song because it was the biggest thing ..... ah! selling record that I have. 'It's Now Or Never'. 'America'. ...... "There's a few people that I'd like to ..... to... ah! to thank for making this show possible but I ain't got time for that. I'd like to thank all of you Ladies and Gentlemen for coming out because ..... all kidding aside ....... ah! I was very nervous and you know, when I came out here you made it a real pleasure, for that we thank you very much. And this is the largest live audience we've ever performed for. And I had to tear my suit for the whole thing. And I'd like to thank all the performers on stage, they've done a fantastic job, the musicians, voices, the Orchestra and Charlie Hodge, Ladies and Gentlemen, I left him out ....... Charlie, stand up, hum, you know, I forgot to introduce Charlie Hodge earlier because he is easy to forget, you know, I mean... No ..... Charlie has been with me for a long time, you know and ... ... ah! thank you very much, that's about it, that's all I can say. I'd like to thank my sound engineer Felton Jarvis, Mister Bill Porter, Bruce. I'd like to thank the people that built the stage ..... what are you doing .... I'm not all though yet, you know. My little daughter is here somewhere, Lisa ..... my Father is here and ...." (a girl I haven't caught her name). "You're a fantastic audience. What do you wanna hear." And he sang 'Hound Dog'. After this the first line of 'Wooden Heart', "I can't do that. Ah! I would like to thank you very much Ladies and Gentlemen and 'till we see you again, may God bless you" ........ 'Can't Help Falling In Love'.

Live 1974
Essential Lists Index
Live 1976