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Live 1973

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)

Honolulu, January 12 - January 14 1973
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
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps

January 12 1973 (Friday - 7.45pm)
Honolulu International Center, Honolulu, Hawaii
Also Sprach Zarathustra
 
CPA5
4701 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
C. C. Rider  
CPA5
4702 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Burning Love  
CPA5
4703 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Something  
CPA5
4704 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
You Gave Me A Mountain  
CPA5
4705 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Steamroller Blues  
CPA5
4706 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)~Greatest Hits
Volume 1°° (multi-track - channels reversed)~The Sound Of Your Cry°°
(multi-track - channels reversed)
Steamroller Blues (re-recording)       If I Can Dream°°
My Way  
CPA5
4707 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Love Me  
CPA5
4708 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
It's Over  
CPA5
4709 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Blue Suede Shoes  
CPA5
4710 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
I'm So Lonesome I Could Cry  
CPA5
4711 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Hound Dog  
CPA5
4712 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
What Now My Love  
CPA5
4713 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Fever  
CPA5
4714 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Welcome To My World  
CPA5
4715 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Suspicious Minds  
CPA5
4716 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Introductions  
CPA5
4717 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
I'll Remember You  
CPA5
4718 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
An American Trilogy  
CPA5
4719 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Platinum 4°° (multi-track)~Aloha From Hawaii 2 (FTD)°°
(multi-track)
A Big Hunk O' Love  
CPA5
4720 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
A Big Hunk O' Love (re-recording)       The Wonder Of You°°
Can't Help Falling In Love  
CPA5
4721 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)
Exit Theme  
CPA5
4722 Aloha From Hawaii (Legacy 2)°° (multi-track)~The Alternate Aloha°°
(multi-track)~Aloha From Hawaii 2 (FTD)°° (multi-track)

Notes

The re-recording of 'Steamroller Blues' can found on the 2015 album If I Can Dream, which contained Elvis' original vocals but with new backings by The Royal Philharmonic Orchestra, and which actually went to number one in the UK album charts.

The re-recording of 'A Big Hunk O' Love' can found on the 2016 album The Wonder Of You, which contained Elvis' original vocals but with new backings by The Royal Philharmonic Orchestra, and which actually went to number one in the UK album charts.


Tape Logs
 
Recording Information
The Alternate Aloha - January 12 1973
The Alternate Aloha - January 12 1973
 


January 14 1973 (Sunday - 12.30am)
Honolulu International Center, Honolulu, Hawaii
Also Sprach Zarathustra
 
CPA5
4723 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
C. C. Rider  
CPA5
4724 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
Burning Love  
CPA5
4725 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)~Live Greatest Hits°° (multi-track)
Something  
CPA5
4726 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
You Gave Me A Mountain  
CPA5
4727 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- diff. mixes)~Elvis Aron Presley 2°° (multi-track - channels reversed)
+Always On My Mind°° (multi-track - remix - PPA1 2780)
You Gave Me A Mountain (re-recording)       The Wonder Of You (Deluxe Edition)°° (composite of February 16 1972
DS & January 14 1973 vocal performances)
Steamroller Blues  
CPA5
4728 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Elvis 75 - Good Rockin' Tonight 4 (Legacy)°°~Aloha From
Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)+(BMG 1998)°° (multi-track)
+Aloha From Hawaii 1 (FTD)°° (multi-track - different mixes)+Elvis Fool
(FTD)°° (multi-track - single mix)~Comp. Single Collection 8°° (multi-tr'k)
+The Mono Masters CD5 (Venus)°
My Way  
CPA5
4729 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)+The Definitive Love Album°° (edited)
Love Me  
CPA5
4730 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
Johnny B. Goode  
CPA5
4731 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
It's Over  
CPA5
4732 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
Blue Suede Shoes  
CPA5
4733 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
I'm So Lonesome I Could Cry  
CPA5
4734 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Elvis Country (2006)°° (multi-track)~Aloha From Hawaii
(24 Bit)°°~(Legacy 1)°° (multi-track)+(BMG 1998)°° (multi-track)
+Aloha From Hawaii 1 (FTD)°° (multi-track - different mixes)~Welcome
To My World°° (multi-track - channels reversed)~70s Box 5°° (multi-tr'k)
+The Definitive Country Album°° (multi-track - 3rd verse edited out)
I Can't Stop Loving You  
CPA5
4735 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
Hound Dog  
CPA5
4736 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
What Now My Love  
CPA5
4737 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
What Now My Love (re-recording)       If I Can Dream (Vinyl box-set)°°~Elvis Forever (USPS Special Product)°°
Fever  
CPA5
4738 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
Welcome To My World  
CPA5
4739 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- diff. mixes)~Welcome To My World°° (multi-track - channels reversed)
~Elvis Aron Presley 2°° (multi-track)
Suspicious Minds  
CPA5
4740 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- diff. mixes)~Elvis Aron Presley 2°° (multi-track - channels reversed)
~70s Box 5°° (multi-track)+This Is Elvis°° (edited & channels reversed
- LPA5 5818)
Introductions  
CPA5
4741 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
I'll Remember You  
CPA5
4742 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)~Elvis Aron Presley 2°° (multi-track)
Long Tall Sally / Whole Lotta Shakin' Goin' On
CPA5
4743 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)
An American Trilogy  
CPA5
4744 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)~The Great Performances°° (multi-track)~Live Greatest
Hits°° (multi-track)~The Definitive Gospel Album°° (no intro - multi-track)
An American Trilogy (re-recording)   If I Can Dream°° (composite of February 15 1972 MS, February 16 1972
MS & January 14 1973 vocal performances)
A Big Hunk O' Love  
CPA5
4745 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)~Live Greatest Hits°° (multi-track)~This Is Elvis (FTD)°° (multi-track)
Can't Help Falling In Love /  
CPA5
4746 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)~Live Greatest Hits°° (multi-track)~This Is Elvis (FTD)°°
(multi-track)
Exit Theme  
CPA5
4747 Complete Elvis Presley Masters 24 (Sony)°° (multi-track)~Complete
Aloha From Hawaii Concert (Franklin Mint Comp Masters Collection 5)°°
(multi-track)+Aloha From Hawaii (24 Bit)°°~(Legacy 1)°° (multi-track)
+(BMG 1998)°° (multi-track)+Aloha From Hawaii 1 (FTD)°° (multi-track
- different mixes)

Notes

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

The re-recording of 'What Now My Love' was first released on the US Postal Service special products release Elvis Forever, and can also be found as an additional track on the 2015 special vinyl UK box-set release of If I Can Dream. The standard CD release of If I Can Dream did not contain this track.

The re-recording of 'An American Trilogy', which is a composite of three different vocal performances, can found on the 2015 album If I Can Dream.

Tape Logs
 
Recording Information
Aloha From Hawaii - January 14 1973
Aloha From Hawaii - January 14 1973
 


Music Sheets
Music Sheet
Steamroller Blues
Steamroller Blues
Music Sheet
I'm So Lonesome I Could Cry
I'm So Lonesome I Could Cry
Music Sheet
What Now My Love
What Now My Love

 
Music Sheet
Welcome To My World
Welcome To My World (Thanks to Christopher Brown)
 


Las Vegas, January 26 - February 23 1973
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
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps

January 26 1973 (Friday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 27 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 27 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
I Got A Woman / Amen
      From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Until It’s Time For You To Go       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
You Don’t Have To Say You Love Me       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Steamroller Blues       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
You Gave Me A Mountain       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Fever       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Love Me       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Blue Suede Shoes       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Love Me Tender       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Johnny B. Goode       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Hound Dog       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
What Now My Love       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Suspicious Minds       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Introductions by Elvis       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
I’ll Remember You       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
I Can’t Stop Loving You       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
An American Trilogy       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Burning Love       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)
Can’t Help Falling In Love       From Vegas To Tahoe CD1 (FTD)° (sound booth recording)

January 28 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 28 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 29 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

January 29 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 30 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 30 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

January 31 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

January 31 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 1 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 1 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 2 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 2 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
I Got A Woman / Amen       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Until It's Time For You To Go       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Sweet Caroline       I'll Remember You (FTD)°~A Hilton Double Shot 2°~Don't Think Twice°
(wrongly dated January 29 Dinner Show)
Steamroller Blues       A Hilton Double Shot CD2°~Don't Think Twice°~A Legendary Performer
Volume 6° (wrongly dated January 29 Dinner Show)
You Gave Me A Mountain       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Fever       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Love Me       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Blue Suede Shoes       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Love Me Tender       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Johnny B. Goode       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Hound Dog (Blues)       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
What Now My Love       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Suspicious Minds       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Introductions       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
I Can't Stop Loving You       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
An American Trilogy       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Can't Help Falling In Love       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)
Closing Vamp       A Hilton Double Shot CD2°~Don't Think Twice° (wrongly dated Jan. 29
Dinner Show)

February 3 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
~A Hilton Double Shot CD2° (wrongly dated February 2 Midnight Show)
~Don't Think Twice° (wrongly dated January 29 DS)
C. C. Rider       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
I Got A Woman / Amen       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Until It's Time For You To Go       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
You Don't Have To Say You Love Me       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Steamroller Blues       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
You Gave Me A Mountain       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Fever       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Love Me       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Blue Suede Shoes       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Love Me Tender       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Johnny B. Goode       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Hound Dog       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
What Now My Love       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Suspicious Minds       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Introductions       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
I'll Remember You       I'll Remember You (FTD)°~Vegas Rhythm°~It's A Matter Of Time°
(wrongly dated February 5)
I Can't Stop Loving You       Vegas Rhythm°~It's A Matter Of Time°~Thank You Very Much° (wrongly
dated February 5)
An American Trilogy       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)
Can't Help Falling In Love / Closing Vamp       Vegas Rhythm°~It's A Matter Of Time° (wrongly dated February 5)

February 3 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
C. C. Rider
      I'll Remember You (FTD)°
I Got A Woman / Amen       I'll Remember You (FTD)°
Until It's Time For You To Go       I'll Remember You (FTD)°
You Don't Have To Say You Love Me       I'll Remember You (FTD)°
Steamroller Blues       I'll Remember You (FTD)°
You Gave Me A Mountain       I'll Remember You (FTD)°
Fever       I'll Remember You (FTD)°
Love Me       I'll Remember You (FTD)°
Blue Suede Shoes       I'll Remember You (FTD)°
Love Me Tender       I'll Remember You (FTD)°
Johnny B. Goode       I'll Remember You (FTD)°
Hound Dog       I'll Remember You (FTD)°
What Now My Love       I'll Remember You (FTD)°
Suspicious Minds       I'll Remember You (FTD)°
Introductions       I'll Remember You (FTD)°
I Can't Stop Loving You       I'll Remember You (FTD)°
An American Trilogy       I'll Remember You (FTD)°
Can't Help Falling In Love / Closing Vamp       I'll Remember You (FTD)°

February 4 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       
(Instrumental parts only)        

February 4 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       
(Instrumental parts only)        

February 5 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 5 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 6 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 6 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 7 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 7 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 8 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 8 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 9 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 9 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 10 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
You Gave Me A Mountain
      Echoes Of Aloha° (incomplete)
Fever       Aloha, Jerry!°
Love Me       Echoes Of Aloha°
Blue Suede Shoes       Echoes Of Aloha°
Heartbreak Hotel       Aloha, Jerry!°
Johnny B. Goode       Aloha, Jerry!°
Hound Dog       Aloha, Jerry!°
What Now My Love       Aloha, Jerry!°
Suspicious Minds       Aloha, Jerry!°
Introductions       Aloha, Jerry!°
Introduction of Jack Lord       Aloha, Jerry!°
I'll Remember You       Aloha, Jerry!°
I Can’t Stop Loving You       Echoes Of Aloha°
An American Trilogy       Echoes Of Aloha° (contains gap)
Can’t Help Falling In Love       Echoes Of Aloha°
Closing Vamp       Echoes Of Aloha°

Review

February 10 1973 Dinner Show
Review by Rex Martin - Elvis News Service Weekly, Issue 94 (February 1973)

The February 10th 1973 dinner show saw me with a good seat in the balcony, settling in for the first of many shows. Elvis walks on, after the twelve minute Sweet Inspirations act (Basically the same as last year, the opening couple of numbers are changed) and then we dragged our way through Jackie Kahane, who has all new settings, for the same-old-jokes!..

'2001' groups intro, with the curtains parting, and at last he's walking across the stage again. Great white jumpsuit, with a semicircle design effect front and back on the shoulders, in red / gold / blue and turquoise studs of different sizes, with tabs of them down the front, either side of the neckline, and also at the sides of the suit, to the pleats, which are inverted in yellow.

Elvis looks very trim, he's lost a lotta weight since last September, and the outfits look great on him. But his face is pale (this show) although he still has that wonderful smile and grin, he's still having a lotta fun on stage. Takes the guitar from Charlie and stabs him in the chest with it, grinning as he puts it on, and into 'C.C. Rider' -- "Thank you, well... well wel ell welll well.. ah, haven't done anything yet", and into 'I Got A Woman': The backing is softer behind Elvis, lots of clapping from the Sweet Inspirations. Ronnie sounds great on the drums, and Elvis goes into the 'Amen' ending with the group, nice harmonising ending, with JD Sumner coming in with a very powerful deep deep end "aaaaahhhhhh!!" The audience applaud so long, Elvis stands there saying "it wasn't all that good really" then completes the end of 'I Got A Woman'.

Next, into 'Love Me Tender': Still kissing the girls, and he's in great voice for 'You Don't Have To Say You Love Me': - "Thank you" to the applause, and Elvis is into 'Steamroller Blues'. The group have really developed the sound since Hawaii, it's perfect every time and Elvis has got a really sexy voice for some of the parts, fantastic feeling to it.

For this season they have made a slight change to the stage. In the centre is a long extension ramp, which comes out into the audience, the full length of one of the tables, almost to the first section of booths. On the ramp are three sections of coloured paneling, and the tables back up against the extension for the whole length. 'You Gave Me A Mountain' is as dramatic as last year, with the lighting and arm swings from Elvis on the final section. 'Fever' is now even better, as Elvis uses the stage extension, moving down the ramp, out into the audience, Elvis is still throwing his legs around in the great movements for this song. He backs off at the close of the number, sliding his feet back, as the spotlight gets smaller and smaller, disappearing completely as the song ends, the stage in complete darkness.

"I'd like to do some Turkish folk songs ah!!.." and into 'Love Me'. Plays both sides of the stage, giving scarves and collecting kisses. 'Blue Suede Shoes' is as fast as ever, and for 'Heartbreak Hotel' Elvis stretches out the start with the boom booms. Elvis goes to stand next to James Burton, for the fast and furious instrumental opening to 'Johnny B. Goode'. "I was on the Ed Sullivan show in 1956 and they filmed me from the waist up, Ed Sullivan looked at me and said hmmm! no he didn't say that, much worse. But anyway, my voice was much higher and i have to stand this way, or i'll strip my gears, this is my message song for the evening, you ain't.." (screams) "you but you don't know what i'm going to do yet 'cause i don't even know myself baby" (sings Elvis) .. "but you have a pretty good idea don't you!" .. (laughs) "...ain't nothing but a hound dog" and into the slow bluesy version, leading up to the faster one we all know. (applause). Then right into 'What Now My Love': another beautiful version.. I still love that beat in the backing.. still very dramatic when seen in Vegas with the dark then brighter lighting, with that powerful finish.

"Thank you, very much, thank you" and 'Suspicious Minds' starts.. this still has the Karate part, with Elvis going down on one leg and outstretching the other, but doesn't stretch out the other this show, or many of the others. Has another soft part to trade kisses and scarfs at the front tables, either side of the stage. This show he went into the full karate after the close of the song, really wild. "I'd like to introduce you to the members of my group ladies and gentlemen. First of all Mr JD Sumner and The Stamps quartet: The young ladies that opened our show tonight the Sweet Inspirations: The little girl with the beautiful high voice is Kathy Westmoreland: On lead guitar is James Burton.: On rhythm guitar is John Wilkinson: On the drums is Ronnie Tutt" (receiving the best applause of them all:): "On fender bass is Jerry Scheff; On the piano is Glen Hardin: The guy who gives me my water and scarfs and so forth - his name is Charlie Hodge: Our conductor is Mr Joe Guercio: The fantastic Joe Guercio orchestra: Ah! i'd like to introduce you to someone in the audience ladies and gentlemen, ah! recently we were over in Honolulu we did a benefit, for a cancer drive, and ah! met a gentlemen I admire very much - he took us into his home, one of the nicest men I've ever met and also one of the greatest actors that ever lived, you know him from Hawaii 5-0 - Mr Jack Lord" (applause as house lights come on full and Jack Lord stands in Elvis' booth, with his wife and Linda Thompson, although they are not introduced:) "You better sit down jack, you'll get more applause than me!" (applause) "Ah i'd like to dedicate this song to jack his wife and Mrs Parker its a song we did over there ..!"

'I'll Remember You' is very moving, and Elvis seemed to put that little something extra into this version?.. "Well I can't stop loving you" - Very very powerful start to a very powerful rendition of this song by Elvis, the ending is something else, Elvis plays around with it, "in dreams of yesterday yesterrrrrrrr - yeesstterrrrrrrr-dayyyyy yesterday".. Wow! And every show after this he seemed to manage to get something extra out of that ending.. 'An American Trilogy': Changed the words to "I wish I was in Disneyland". Otherwise a good straight version, The Stamps and the flute player are much more stronger on the soft parts, and thus add something extra to Elvis' part in this great number. "Thank you, thank you very much", (long applause) - "If we have done anything to make you happy then we have done our job, ladies and gentlemen, thank you very much".

"Theres a song from Blue Hawaii I'd like to do for you" (the applause was still continuing as he said this) 'Can't Help Falling In Love'. The curtain falls and Elvis comes out from under it onto the extension from the stage, turning with his cape out in every direction before ducking back. The Midnight Show was as packed as the 8pm one the only change was that Elvis did 'How Great Thou Art' in place of 'I'll Remember You', saying he was featuring The Stamps on this Gospel number. He also introduced Jack Lord for the second time, and this time started up a soft version of the Hawaii 5-0 theme (from the group).


February 10 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 11 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 11 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 12 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 12 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 13 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Introduction / Also Sprach Zarathustra
      Echoes Of Aloha° (sound booth recording)
C. C. Rider       Echoes Of Aloha° (sound booth recording)
I Got A Woman / Amen       Echoes Of Aloha° (sound booth recording)
Love Me Tender       Echoes Of Aloha° (sound booth recording)
You Don't Have To Say You Love Me       Echoes Of Aloha° (sound booth recording)
Steamroller Blues       Echoes Of Aloha° (sound booth recording)
You Gave Me A Mountain       Echoes Of Aloha° (sound booth recording)
Fever       Echoes Of Aloha° (sound booth recording)
Carry Me Back To Old Virginia (1 line)        
_/ Love Me       Echoes Of Aloha° (sound booth recording)
Blue Suede Shoes       Echoes Of Aloha° (sound booth recording)
Heartbreak Hotel       Echoes Of Aloha° (sound booth recording)
Johnny B. Goode       Echoes Of Aloha° (sound booth recording)
Hound Dog       Echoes Of Aloha° (sound booth recording)
What Now My Love       Echoes Of Aloha° (sound booth recording)
Suspicious Minds       Echoes Of Aloha° (sound booth recording)
Introductions       Echoes Of Aloha° (sound booth recording)
Introduction of Celebrities       Echoes Of Aloha° (sound booth recording)
I Can't Stop Loving You       Echoes Of Aloha° (sound booth recording)
An American Trilogy       Echoes Of Aloha° (sound booth recording)
Can't Help Falling In Love       Echoes Of Aloha° (sound booth recording)
Closing Vamp       Echoes Of Aloha° (sound booth recording)

February 13 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 14 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 14 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 15 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

February 15 1973 Dinner Show
Review by Rex Martin - Elvis News Service Weekly, Issue 95/96/97 (March 9 1973)

Elvis sick in Las Vegas!!! 15th February 1973 Dinner Show (the Midnight Show was cancelled)

I don't think an illness has ever affected Elvis on stage as it did this week. The shows Sunday and Monday (11th and 12th February) were very good, although the late show on Monday Elvis seemed to be better than at the Dinner Show. Maybe it was something to do with the fact Elvis gets up just before his Dinner Show, so for him to do that show is like singing at breakfast!! And the Midnight Show he has been up that few hours longer, so his voice seems stronger (I should of course point out that his voice is strong at both shows when he is completely well).

Tuesday (13th February) was unusual, I watched the show from a table close to the stage with Rosalinda Cosentino (from North West London). Rosalinda arrived the day after I did in Vegas. We had eaten dinner and 8pm came and went and the show had not started (this is rare as the shows usually start dead on time). Five minutes later, a voice on the PA system came on to say that "Due to and illness Elvis had been advised by his doctors not to perform that night. But that Elvis had decided he would perform, even though it was against doctors orders for us tonight. The show would start thirty minutes late and would be the only show that evening." (the Midnight Show was cancelled) So we watched Elvis this night, put on a really good show, considering. The following night it was an 8pm show only also, and I think many of us felt a little sad that we had come to this show, when Elvis really should have been in bed resting. It must have been very frustrating for Elvis on those Tuesday and Wednesday shows, as he would want to so badly put some special ending with his voice in a song or to close it, and just couldn't get it right to satisfy himself. I was very surprised at the number of notes he managed to sing. In fact the high notes were often perfect, and it wasn't until you heard him sing something softly or talk that you realised how hoarse he really was.

Well Thursday arrived and we were beginning to wonder if he would cancel out until the weekend, -- we happened to see Vernon and he said Elvis was much better, and then Mr Diskin mentioned it would probably be two shows tonight, so we thought things really must have improved. Below is a complete review of Elvis' show on Thursday 15th February 1973 at 8pm.

The show started on time, The Sweet Inspirations and Jackie Kahane went through their acts. At around 8.45 the '2001' theme began. The drummer lost one of the beats!? The group started up the opening theme and Elvis walked on, looking great as usual, in a white jumpsuit, in a fantastic circle design of multi-coloured studs front and back.

'C.C. Rider': (I'm not going to review the songs, just the different things that happened compared to the February 10 Dinner Show - review above). For this show i was in the balcony (just behind the sound booth) "Humm hummm" and into 'I Got A Woman': with the 'Amen' ending and end of song. "Thank you. My first movie was Love Me Tender, I'd like to sing that one for you."... Next "When i said..." the music starts and Elvis says "Whoa, whoa"! (Elvis' voice was very hoarse on that opening). "I haven't sung it yet!.. if i can? When I said I needed you" and into 'You Don't Have To Say You Love Me': The voice seemed fine on the rest of this song and the previous numbers, towards the end he suddenly became very hoarse and lost all the power in his voice.

'Steamroller Blues' was sung in the most husky'ish way I've ever heard it. In the sound booth Bill Porter was busy sliding microphone dials up to a higher pitch, to feature the piano - James' guitar and The Sweet Inspirations, in fact the general background sound, was louder than usual on this number. "I've just came from the doctors office, and my voice will come back in two or three days so just bear with me" (the audience applauded). 'You Gave Me A Mountain' is perfect on the opening from Elvis, and Elvis almost cried out the rest of the song, yelling to The Sweet Inspirations and Stamps to "hit it" on the beaty part. After this song, Elvis said "Well thats four songs and it hasn't come back yet", as 'Fever' starts. For this song Elvis got great reaction from the audience, with screams to the leg movements, and at one part of the song said "Fever, where'd my voice go.." then moved more exaggeratedly and said "thats the least i can do" at the close of the number "Thank you ... I'd like to call on The Stamps to do a number for just a second ladies and gentlemen, and let me leave the stage.. and have them do a song.. ah.. what are you gonna do fellas? 'Walk That Lonesome Road'. OK! Excuse me for a second."

The Stamps crossed over in front of Charlie and JD sang the lead. Charlie also left the stage while the song was on, and a lot of the group were coming back and forth while the Stamps sang. If you remember my review of this number last September, the Stamps do a high voice part, just before JD goes into his really long drawn out deep voice and Elvis at that point used to throw water over them. Well they really were not expecting anything like that this show, and Jerry Scheff suddenly lifted up a small jar of water, and they got it.... The end of the song was Charlie Hodge's big moment on stage, he was really great. "JD Sumner ladies and gentlemen, the lowest bass singer in the world.. in more ways than one" (dig at the lowest part ha!) "Ah we just did a film the first part of last year, I hoped some of you saw it, called Elvis On Tour" (applause) "And ah! the quartet sang a song without any music in that film, and it shows you why they are one of the best groups in the nation, The Stamps Quartet, I'd love for them to come out here and do a song called 'Sweet Sweet Spirit'". Charlie gives the mic' back to one of The Stamps and they cross back over by the piano for this number (no backing). (Applause) Then Charlie again, "The Stamps quartet ladies and gentlemen, you guys come on back, you ain't thou', the boss ain't hear and you tall got ta work man! come on back, we are gonna feature.. ah! you didn't know you were at a gospel convention did you? Donny will go to the piano on this, .. we'll feature Bill Baize their tenor, on a song called 'When Its My Time'" (which is to the same tune at the start as 'Silver Bells', but a much slower tempo).."Bill Baize take a bow" quips Charlie "Lord have mercy, how do you ever get your voice to go that high.? . Sweets?? this is volunteer night!" (applause) "The Sweet Inspirations, can you sot do anything for me?" Then Charlie went into one of his imitations really cute "No i can't do nothing like that 'cause when do people just look at me and stare and everything (much laughter and applause) "I do little crazy things like that sometimes and people just look at me and stare" (then changes to another voice) "Like these different people that i do, uncle Mathew down at the long branch this morning said I can do it if i have to, just get out there and get it on. Lord have mercy" (then back to his normal voice).... "Well I'll tell you what... this is.. to put it mildly.. a hell of a spot! man I'll tell you, when the boss leaves theres not much for us to do." Someone asks Charlie where they are on tour next!? "Lord I don't know, we haven't finished this one yet, i don't want to think about it. Lets see, I'll tell you what we can do, we can bring out The Stamps, and we are going to have them do a song that Elvis received a grammy for, in the recording field, thats like receiving an Oscar - I'd dearly wish he was up here but I'd love for you to hear the Stamps come out and sing it. It's the title of one of his religious albums How Great Thou Art, Donnie Sumner is going to sing the lead on it." After this song Charlie was back, and said "You are not going to get a raise fellas, its just part of the show.. ah each one of the guys is getting featured this time, this time its Ed Enoch, this big blond headed guy.. of course beside me everybody is big". This time a song from one of their recent albums called 'I Should Have Been Crucified'. (applause)

And then suddenly, screams of joy and more applause, as Elvis walks out. From Elvis, "I'm sorry ladies and gentlemen, but I've had a touch of the flu, and ah, my voice just went, so I'll try to do the best I can". (applause) Walking back to Charlie as the music for 'Can't Help Falling In Love': started, the cape is pinned on - the voice is still very hoarse, Elvis gives scarfs and one fan talks right into the mic' as she collects a kiss, Elvis says "You'll catch the flu kid". End of the song with the curtain coming down, and the group start beating out the ending theme... as Elvis says "Put the curtain back up I'm not through yet." (applause and the group stop playing) "Let me see now, if I can think of something very easy to sing.. ah! 'Jailhouse Rock', thats not too easy honey, bring the curtain up. Ah!" (everyone is yelling songs) "Hey fellas thanks for helping out, really" (to The Stamps, more applause). "Its the first time thats ever happened and I hope to God it's the last. But we are going to do a show, we are going to do something, ah! 'Please Release Me'? 'Sweet Caroline'? I'll try anything man hot damn, I'm game for anything, don't just look at me help me" (to the group) laughs. "Lets see what shall we do fellas,.. " A girl in the balcony yells in a silent part "Just stand there Elvis"! And a big grin spread over Elvis' face, the audience went wild with applause. Then suddenly Glen Hardin started playing and the rest of the group join in for 'Faded Love'. Great backing, the orchestra come in perfect on the chorus, and Elvis sounds pretty good considering.

"If you think that won't scare you to death folks phew.!" 'I'm So Lonesome Could Cry': Really great to hear this one, some girl yells out to Elvis and Elvis quips back "What happened to your voice kid?". "Thanks fellas, thank you". Then 'Polk Salad Annie' starts, "Boy when you are in trouble you'll do anything!" says Elvis. This version was one of the best I've ever seen, it was the only time Elvis sang it in Vegas this season, and the movements were really wild!! All the group put everything into the backing, including the Sweet Inspirations at the end. The ending was all go, go, go, with the instruments jamming together (nice applause and cheers at the close).

Back to Elvis "The cape's coming off? I hope it does". (He had been wearing the cape since 'Faded Love') 'An American Trilogy' starts "I thought the cape was coming off? .. take it off .. it's a strip show, you know that?" Poor Charlie thought it had been coming off and to put it on properly, not realising Elvis wanted it taken off. Ha! "Oh i wish i was, in the doctors office (laughs)" sings Elvis and then into 'Trilogy' properly.

After looking for easy songs to sing, he goes and sings this one, I'd hate to think what a strain he put on his vocal chords at the end of this song, it makes me faint to think about it. (fantastic applause at the end, but more of the crowd could have stood up..) Then 'Can't Help Falling In Love' again! and this time the curtain came down.


February 15 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
(CANCELLED)
       

February 16 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 16 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 17 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded from sound booth
       

February 17 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded from sound booth
       

February 18 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 18 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded from sound booth
       

Tape Logs
 
sound booth recording
February 18 1973 - Midnight Show
February 18 1973 Midnight Show - Sound Booth
 


February 19 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 19 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 20 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 20 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 21 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded from sound booth
       

February 21 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
C. C. Rider
      From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
I Got A Woman / Amen
      From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Love Me Tender       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
You Don’t Have To Say You Love Me       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Steamroller Blues       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
You Gave Me A Mountain       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Fever       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Love Me       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Blue Suede Shoes       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
I’m Leavin’       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Hound Dog       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
What Now My Love       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Suspicious Minds       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Introductions by Elvis       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
I’ll Remember You       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
I Can’t Stop Loving You       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
An American Trilogy       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)
Can’t Help Falling In Love       From Vegas To Tahoe CD2 (FTD)°° (sound booth recording - two mic's)

February 22 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 22 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded from sound booth
       

Tape Logs
 
sound booth recording
February 22 1973 - Midnight Show
February 22 1973 Midnight Show - Sound Booth
 


February 23 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

February 23 1973 (Friday - Closing Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Introduction / Also Sprach Zarathustra
      Aloha, Jerry!° (sound booth recording)
C. C. Rider       Aloha, Jerry!° (sound booth recording)
I Got A Woman / Amen       Aloha, Jerry!° (sound booth recording)
Love Me Tender       Aloha, Jerry!° (sound booth recording)
You Don't Have To Say You Love Me       Aloha, Jerry!° (sound booth recording)
Steamroller Blues       Aloha, Jerry!° (sound booth recording)
You Gave Me A Mountain       Aloha, Jerry!° (sound booth recording)
Fever       Aloha, Jerry!° (sound booth recording)
Love Me       Aloha, Jerry!° (sound booth recording)
Blue Suede Shoes       Aloha, Jerry!° (sound booth recording)
Hound Dog       Aloha, Jerry!° (sound booth recording)
What Now My Love       Aloha, Jerry!° (sound booth recording)
Suspicious Minds       Aloha, Jerry!° (sound booth recording)
Introductions       Aloha, Jerry!° (sound booth recording)
Introduction of Celebrities       Aloha, Jerry!° (sound booth recording)
I'll Remember You       Aloha, Jerry!° (sound booth recording)
I Can't Stop Loving You       Aloha, Jerry!° (sound booth recording)
An American Trilogy       Aloha, Jerry!° (sound booth recording)
Can't Help Falling In Love       Aloha, Jerry!° (sound booth recording)
Closing Vamp       Aloha, Jerry!° (sound booth recording)

Tape Logs
 
sound booth recording
February 23 1973 - Closing Show
February 23 1973 - Closing Show - Sound Booth
 


Review

February 23 1973 Closing Show
Review by Len Leech - Elvis News Service Weekly, Issue 98 (March 1973)

This was the fortieth Vegas-Elvis show I've seen and probably the best. The show was so overbooked that the line outside the Showroom Internationale was still immense after the place had been filled to capacity. The audience was tense and eager for Elvis to appear and you could almost feel the electricity in the air, signifying the close of his eighth smash month in Vegas. The bone chilling strains of the '2001' theme were heard, the curtain opened, and out sauntered Elvis in the fantastic red, white, blue, and gold eagle jumpsuit! (as the one he wore for the Hawaii TV Special. It has to be the most breathtaking beautiful stage wardrobe that anybody has ever worn, including Elvis.

Taking the guitar from Charlie, Elvis walked to centre stage, pulled the mic' stand back at a tilt, and tore into 'C.C. Rider'. Hearing his voice back in brilliant shape, you'd never know he could hardly talk a week ago, full of fun and laughing, he balanced the mic' on his chin while he kept on singing and playing guitar. In the quiet part at the end he thrust his hips out and shook his head to the side - on cue with Ronnie's drum accents. A huge round of applause, "You're a beautiful audience, I can feel it already, heavyweights". "Welll" (singing), breaks up at somebody on stage "Shut up, man", into 'I Got A Woman', powerful version, the first verse sung in a low octave, 'Amen' ending cut with Elvis saying to JD "Take it down" JD dropping the last note as only he can, Elvis yelling in an excited voice, "Great man, wow, do it again boy, do it again". JD repeating the note slide down and up, then down again by himself. "Well man, that's heavy, he's hitting a Double Low C, Aahhh ladies and gentlemen, really Aahh, for anybody that knows about music, he's hitting a Double Low C, that's two keys off the piano keyboard, that's the lowest chord". Then into the bluesy Elvis ending. More applause and screams.

"Good evening, thank you very much. My first movie was Love Me Tender and i'd like to sing a little of that for you". The music stops almost immediately at a sign from Elvis, and with that impish grin on his face, "I'm not going to, I just said i'd like to". Back into the song and Elvis walks slowly out the ramp and starts handing out the white scarves, to screams and yells from around the stage. Then back to Charlie for more water, arm outstretched to Glen Hardin for the start of the next song. Glen hitting the opening chord five times to Elvis' hand movements, "It's easy to turn him on man", and into 'You Don't Have To Say You Love Me', standing over by Kathy for her part, and pulling her away from the mic', breaking everybody up. Taking centre stage again, with a couple of sideward, joking glances, and into a fast version of 'Steamroller Blues', standing by James for the guitar solo, "Play that thing man", great swinging arm movements for the last two powerful verses.

A lot of applause, then 'You Gave Me A Mountain'. Best performance of this song Elvis has ever done, hand and body movements much more exaggerated than normal, ripping and crying the lyrics from the bottom of his soul. Tremendous, sustained applause, then the bass run into 'Fever'. Elvis walks to the centre of the ramp and the screams and shrieks start up with each body movement, one girl yells "Here Elvis," Elvis yells back in a low voice, "Be right there baby, Ooah, Im lying like a hound dog", glancing around toward the stage backdrop, with the different coloured lights looking like flames, "It's on fire back there" hitching up his belt to more screams, "Anybody can do that, adjust your belt, that's all... With this crowd I don't have to work hard, woouo, great man". Then towards the end of the song the exaggerated leg sliding movements, Elvis hitting his legs to quiet them down, dropping to his knees, "This floor's hard", then shuffling backwards as the spotlight dims at the end.

More applause,"I'd like to do a medley of Polish folk songs for you", laughter, "There are some people who thought they were, when I first started, let's see,... this record came out when I was ten years old, little sideburns, weird little kid back then with guitar, mother and papa kept me in the house, wouldn't let anybody see me, ... he's weird, watch him naaa, I'm only kidding". "Treat me..." (singing) somebody yells something from the audience... "shut up out there", into 'Love Me'. Applause then quickly into 'Blue Suede Shoes', joking with the lyrics, "lay off of my white suede shoes.." Elvis breaks into laughter. "Thank you", people yelling out requests for 'Hound Dog', "I'm getting ready to get it on son, just hang loose. This is a song I did on the Ed Sullivan show in 1956, that was the thing that caused Mr. Sullivan to retire later, naaa, anyway, he looked at me, said son-of-a-bitch". Laughter, "He didn't say that, I just made it up, he didn't do it, ... he said something else, first word was mother". The whole place broke up. "Would I lie to you, anyway, this is my song, and i have to stand like this because my voice was much younger and higher then and if i stand straight up I'll strip my gears. People don't know where you sing from", more laughter, "I'm serious, really, really, it comes from the bottom up Jack,... especially them big ones. what am I doing, ooohh", starts right into 'Hound Dog'.

"Thank you, you're a good audience take it on". Into 'What Now My Love', starting off normally with the first verse, though much more emotion than normal. Then suddenly i thought his voice had gone again, when he started talking and acting the lyrics instead of singing them. This was the first time he had ever tried this and the dramatic effect was overpowering, with his head shaking from side to side and looking up to the ceiling while intertwining his fingers around the mic'. I wish the world could have seen him do it like this on the Aloha From Hawaii, because it was the most unforgettable song he has ever done. Then he went back to singing for the big ending and the applause was deafening afterwards. "Thank you, thank you, thank you, lets do that last part again.".. Into the ending once more, with great approval from the audience.

"Take it on",... into 'Suspicious Minds'. Great rendition, in the quiet part toward the end he walked down the ramp, took his belt off and threw it toward a centre booth. I don't know who caught it but Elvis pointed to Ed Parker, his karate instructor, and said, "He gets it", and the belt was passed to Parker. Then back towards the band and nodding at Ronnie, who was going wild on the drums, "Tutt, you're nuts," . "He's almost as crazy as I am". A short karate sequence ended the song.

"Thank you .. I'd like to introduce you to the members of my group, first of all, Mr JD Sumner and the Stamps quartet. I've told this story before and i'm going to tell it again. When i was sixteen years old, aahhh, i was sitting listening to him sing, bass, with a group called the Blackwood Brothers in Memphis, Tennessee. I never dreamed that he would be singing with me on stage. It's a pleasure JD. .. Stamps. he is, all kidding aside, the lowest bass singer in the world. There are two bass singers in that group if we do a song in the key of C, one bass singer is on Low C, JD is on Double Low C. This little girl", holding Kathy's hand, "is on Double High C. Charlie ... he does something, I don't know..." Laughter, "Anyway, The Sweet Inspirations.." and into the rest of the intros. "There's a lot of people in the audience that I would like to say hello to, so many it scares me to death". Laughter. "Anyway, i'm glad they're here. I made a movie recently called Elvis On Tour, it won a Golden Globe award for the best documentary. The director of that film, who put it all together, is in the audience tonight. Mr Pierre Addidge" Applause. "I'd like to say, that up in the balcony, is a man, one man, that handles all the sound in this room, his name is Bill Porter. The guy that i gave my belt to is a good friend of mine, my karate instructor Ed Parker. A few others, i'm not through yet" (this has to be the largest group of introductions that Elvis ever gave, he had two separate pieces of paper in his hand with names on them). "One of the astronauts is here, Buzz Aldrin, Buzz", much applause and whistles as Aldrin stood up. "Mama Cass, you know, Mama Cass, .. stand up, I'm trying to find you". More applause when the audience spots her. "Okay, sit down Mama Cass.. One of the greatest actors of all time, Mr Dane Clark. A gentlemen i've known for a long time, one of the nicest men I've ever met, and one of the finest actors, Mr Ernest Borgnine".. Borgnine was sitting one seat back from the stage, right on the ramp, and Elvis reached down and shook his hand after the intro. "A good friend of mine, Mr George Hamilton, George". Much applause and screams, "That's enough George, sit down", more laughter. "The girl that opens here tomorrow night", the applause starting right away, "let me finish, first of all, we did a movie together called Viva Las Vegas, since then she has developed one of the greatest stage acts you've ever seen. Pleabe say hello to Ann-Margret". A lot of clapping and yells. "And I've got a note here, that Colonel Parker is outside selling Ann-Margret's pictures", a lot of laughter and applause.

"Recently we did a show in Hawaii, and a song that Don Ho sang, we sang it out there, and td like to sing it for you, i hope you like our version". ... Into a beautiful 'I'll Remember You', with Elvis caressing the lyrics and humming the tune between verses. "There's. one thing i can't do..." 'I Can't Stop Loving You' Excellent soulful rendition with a wild, drawn out ending, Elvis reaching for notes that nobody else can hit. After this song, Elvis walked over to Jerry Scheff. "My bass player, Jerry Scheff, has been with me for four years, and i'm sorry ton say he's leaving us and going back to Canada. It's been great, Jerry, and i hate to see you go". A lot of applause, and then the first chord of 'An American Trilogy' .Brilliant version with Elvis doing those great reaching and grabbing arm movements as the horns come in. Much emotion on his face as he sings the closing bars.

The applause was tremendous and continuous, and all Elvis could do was stand the re and shake his head from side to side, saying "Thank you" over and over again.

Charlie attached the cape to the collar and Elvis says, "There's a song we did in Blue Hawaii, I'd like to sing it for you." 'Can't Help Falling In Love' started as Elvis walked along ringside and down the ramp, the fans groping and reaching for a last touch from the King. In the middle of the song Charlie came out to put another scarf around Elvis' neck, and Elvis motioned to him to take off the cape. With Charlie holding one end and Elvis the other, they held it to the spotlight stretched taut, the magnificent eagle shining and flashing with red and gold highlights. Then taking it from Charlie, he threw it out to Ed Parker, to the disappointment of many screaming girls at the end of the ramp, hit the last note of the song, and posed on the ramp as the curtain came down and then back up again, both arms straight out from his side with the Elvis victory sign. Reaching down occasionally to shake hands and kiss a few more girls.

And then, instead of running off the stage as had been the practice during the past week, he just quietly walked off through Red, Sonny, and the rest of the security as everybody in the place was on their feet, including the balcony, giving him a well deserved standing ovation. As the curtain came down for the last time the band started playing 'Auld Lang Syne', signifying the end of a tremendous show and an exhausting month for Elvis......


On Tour, April 22 - April 30 1973
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Emory Gordy
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps

April 22 1973 (Sunday - Afternoon Show)
Veterans Memorial Coliseum, Phoenix, Arizona
Recorded on Soundboard
       

April 23 1973 (Monday)
Anaheim Convention Center, Anaheim, California

       

April 24 1973 (Tuesday)
Anaheim Convention Center, Anaheim, California

       

April 25 1973 (Wednesday - Afternoon Show)
Selland Arena, Fresno, California

       

April 25 1973 (Wednesday - Evening Show)
Selland Arena, Fresno, California
Recorded on Soundboard (Could be Aft. Show)
     

April 26 1973 (Thursday)
International Sports Arena, San Diego, California
Recorded on Soundboard
       

April 27 1973 (Friday)
Memorial Coliseum, Portland, Oregon

       

Review

April 27 1973 - Portland, Oregon
Review by Dave Bouska - Strictly Elvis, Issue 64 (August 1973)

My wife Denise and I were in attendance at the Portland and Seattle shows. I'll first review Portland, then add differences in the Seattle show.

Upon hearing the news that Elvis would be visiting our grand city of Portland once again, I started going in all directions... but finally settled down and ordered tickets. All seats were sold out weeks in advance.

First to greet us and the other 13,000 fans who attended was a gentleman clad in a blue suit who gave us some details of the current tour and explained the rules of the concert such as no running down the aisles and only taking pictures from your seat. Binoculars were very much in evidence. The show was delayed fifteen minutes because of the large traffic jam outside of the Coliseum. This would give all the fans a chance to get in and see the complete show. Also being sold were many different types of Elvis "super souvenirs" as the announcer called them.

After Jackie Kahane and The Sweet Inspirations we were greeted with the news of a fifteen minute intermission. So we waited impatiently focusing cameras, discussing Elvis and identifying band members setting up for Elvis' portion of the show. It was the usual crew with the exception of Emory Gordy, who had taken Jerry Scheff's place on bass.

The lights begin to dim and as the arena grew dark, the eerie sounds of the '2001' theme began to build. It made one anticipate someone or something bigger than life about to appear. Suddenly out of nowhere a huge white spotlight hits the rear of the stage and the drums begin that familiar .crashing beat as Elvis Presley appears from behind the curtain at the rear of the stage. He walked from one end of the stage to the other with the grace of a panther, picked up his guitar, and stepped up to the microphone and began to mesmerise our minds and ears with a magnificent version of 'C.C. Rider'.

As the song ended with a sensational drum roll from Ronnie Tutt, Elvis broke into 'I Got A Woman', a blues-rock song. His voice never sounded better.

It was with this song that I began to notice what was happening. Elvis was beginning to wiggle and shake as he hadn't in years on stage. He really seemed to be "getting into" his music and each move brought screams, whistles, tears, and laughter from a group of 13,000 who were already "All Shook Up" after only the second song. 'Love Me Tender' followed, then 'Heartbreak Hotel'. During this song, Elvis began laughing and could not stop. He laughed so hard he nearly rolled on the floor. But the audience loved it and laughed right along with Elvis. 'Love Me' and 'Blue Suede Shoes' followed with Elvis turning on the power of old. Then came 'You Gave Me A Mountain' with Elvis in super strong voice. A superb 'Steamroller Blues' followed. This version was much better than the recorded version, if you can imagine that. A driving walking, pulsating blues with drums and bass so heavy it would have burdened even the shoulders of Atlas. Towards the end of the song, Elvis really tore into it. .. like an animal attacking its prey... slashing and snarling and almost viciously taking the song apart piece by piece. A masterpiece of a performance.

'Fever' was next with Elvis shaking his legs to the drums and giving a mean, sexy vocal, then an upbeat version of 'I Can't Stop Loving You', which was very similar to the Madison Square Garden version. Of course he threw in 'Hound Dog'. 'What Now My Love' was done with a beautiful bolero beat with Elvis giving his all and screams were heard all over as beads of sweat began rolling down his face so heavily he continually had to wipe them away. It is songs like this that make one wonder if Elvis has any limit to the strength of his voice. Sheer power. Following this was the beautiful 'I'll Remember You', then 'I'm Leavin'.

Next came three showstoppers in a row: (1) had to be 'Suspicious Minds' with Elvis shaking his body unmercifully all over the stage and red, blue, and yellow and green lights flashing. What a show he put on with this one. Showstopper number (2) was 'An American Trilogy' with the arrangement that will leave you feeling like you've been to a patriotic revival. Showstopper number (3) was the medley of 'Long Tall Sally' and 'Whole Lotta Shakin' Goin' On'. Elvis did a version of 'Little Sister' and the Beatles 'Get Back' to end it up. 'Little Sister' sounded almost identical to the record and the updated 'A Big Hunk O' Love' incorporated the style of the 1950s. Also included were 'Teddy Bear' and 'You Don't Have To Say You Love Me'.

As the show was coming to an end, Elvis remarked that he nor his music had any special message to mess up our heads with. He said, "'If we've entertained you tonight, then we've done our job." This was received warmly by the crowd and they seemed to appreciate this statement from Elvis.

As Charlie Hodge pinned his cape to his shoulder, Elvis wound up with 'Can't Help Falling In Love'. Elvis ran off the stage not to return. Everyone was left with the feeling of bewilderment at what they had seen and were stunned that such a talent existed. It was though a tornado had blown through the town... you saw it, but couldn't believe it. The fantastic Mr. Presley had completely blown our minds.


April 28 1973 (Saturday - Afternoon Show)
Coliseum, Spokane, Washington

       

April 28 1973 (Saturday - Evening Show)
Coliseum, Spokane, Washington

       

Review

April 28 1973 (Evening Show) - Spokane, Washington
Review by Kay Parley - Strictly Elvis, Issue 63 (July 1973)

I have just seen Elvis for the first time, thanks to Strictly Elvis magazine. It took me years to find out how to get a tour schedule, and as soon as Strictly Elvis gave us the April booking dates in the northwest, I rushed off an order for a ticket. I live only 860 miles from Spokane, practically right next door. Very few people in this part of western Canada have actually seen Elvis in person, and my ticket caused ripples of excitement everywhere I went. On Saturday, April 28th, I was there.

Was it worth the 860-mile journey? I'm not sure. I was expecting something with the verve and excitement of "On Tour," and the Spokane concert fell far short of that. Was I just in a bad mood, or was Elvis coasting a little that night? He moved less than I had hoped. He did not ask them to turn up the houselights so he could interact with us face-to-face for a few minutes, as he sometimes does. The nailhead design on his jumpsuit was not the best he owns. His humour, though by far his dominant feature, was somewhat repetitive. When he left the stage he went soberly, almost as if he was glad to go. There was no farewell smile, no farewell wave. I was not the only one who felt flat. We were disappointed by the amount of crass hucksterism that went on before the show and during intermission, and we were disappointed that Elvis did not appear at all until intermission was over.

In spite of all that, there were moments during the concert when he whisked us away into space with him, when the music and the motion and emotion became one, and there was free communication flowing all through the throng of 8,000. He put everything he has into 'You Gave Me A Mountain', as he always does, and surely not a heart stayed in place when he sang 'Love Me Tender'. 'An American Trilogy' brought forth the usual emotion-packed response, and 'Fever' brought the house down. Elvis went back sixteen years when he sang that number, flirting with and teasing the girls in the front row, bringing his most ticklish sense of humour into play. There is no doubt that he was at his very best when he did a medley of his old numbers. There were whistles and cheers for 'Long Tall Sally' and 'Johnny B. Goode', but the best surprise was 'Teddy Bear'. There were so many original fans there-- people who had made a sentimental journey back to 1957, and the last time Elvis sang in Spokane, and it was as if 'Teddy Bear' was a mutual sharing of beautiful memories. It was the emotional climax of the show -- the moment when he really seemed to care about the audience as people. Technically, the program should have climaxed at 'Suspicious Minds', and continued to build from there to the finale, but it didn't, because he was off on 'Suspicious Minds' that night.

But I have no right to speak critically of the music. I am not a musician, and my seat in the third row was right under the speakers, where I didn't get the proper mix. I can speak only from personal reaction. I am much better qualified to speak about the visual effects of the show, for I am a painter, and Elvis was, as I had anticipated, a visual treat. He was looking much better than he did in Elvis On Tour. His face and body are beautiful, his posing magnificent, his movements superb. But he is far too pale and, in Spokane, he lacked vitality. He wore white, parted down the seams with red nail-heads. The girls were in gold, and the boys in lime green. It became a flower garden. The girls were marigolds, bordering the path, and Elvis was an enormous white peony splashed with crimson. The boys were the small green leaves that ring the flower, forming the protective calyx. The orchestra, in purple boleros, were the asters. It was all symbolic--the organic, symbiotic relationship between Elvis and those who have been part of his music for so long. It was restless colour, but living. The wind never stopped blowing across the garden that night. The coloured lights, had they been better handled, could have done more for the effect. When the show was over I found that my mind had retained a most unusual illusion--Elvis was twice the size of anyone else on stage, White is dominant, of course, and the person who stands out in front always appears to be taller. Besides, Elvis is a big man. But it was more than that. It was that image of the peony, blooming all over the garden, catching so much attention that very little else met the eye. It's true, even on a poor night, he's "supershowman".

Marigolds, asters, peonies--they're all flowers to which I'm allergic, and the imagery makes me want to sneeze. So I'll turn to the most important thing of all: Elvis was in great voice that night in Spokane. People are saying that he has a better voice than he had years ago. It isn't true. His voice is less unique, less full of wonderment, less interesting. But it is richer, deeper, and more melodious, and we like what we like.

 

April 28 1973 (Evening Show) - Spokane, Washington
Review by Kay Parley - Elvis Monthly, Issue 164 (September 1973)

I travelled 860 miles to Spokane, Washington, for the second-last night of the Elvis tour, and I have to confess that my first impressions were poor. Aside from a circus midway, I felt I had never stepped into an atmosphere more shoddy. Barkers were proclaiming their wares from every corner: "Step right up folks! Right this way! Get your full-colour illustrated program of Elvis! Get your life-size Elvis portraits !" I expected to hear, "And now on the inside..."

But on the inside it was worse. There were 8,000 people in the coliseum, and in the general hubbub while red-coated ushers searched for our seats, salesmen set up shop at the front of the stage, and urged us to come forward and purchase "flashbacks." These were mundane black and white prints of Elvis on aluminium, and a huckster added to the display by directing a flashlight at the gaudy metallic posters and making them glint. "Shimmering super silver, radiant rosy red, and gem-like green, folks!" the barker called.

My seat was in the third row, and I learned that several of the fans around me were embarrassed by the lack of taste. I was thinking, "No wonder it was Harry Belafonte who sang at Carnegie Hall!" Had I not been so determined to see Elvis, I'm sure I would have left.

I haven't seen so many guards since the war ended. I realise they are necessary, but by the time the many ushers were distributed at each side of the stage and El's private bodyguards were stationed right under the speakers, the long row of Spokane city police in uniform with their guns on their hips seemed extraneous. I felt it created a tension, a lack of trust in the audience which wasn't conducive to the most receptive spirit. We grew more disgruntled because we had to wait until intermission was over before we saw Elvis, although, admittedly, The Sweet Inspirations were in voice. During intermission, the "circus barkers" leapt once more to the stage and began to push their "shimmering super silver flashbacks" again. "I can't believe this!" said the woman on my left. "It can't be happening!" It's a good thing we all know the Colonel's background!

At last the activity began to look promising. The orchestra came in wearing purple boleros; then The Stamps, The Sweet Inspirations and Kathy Westmoreland took their places, all in deep yellow. The rhythm boys appeared in jumpsuits of leaf green. "Ah! It's a garden theme !" said the girl on my right.

That it was going to be a theme at all was a relief, at that point! Up to that moment there had been no sense of form, no art — to be perfectly blunt, no "class."

My expectations had been so channelled that I expected Elvis to be flat as a carnival poster, as "cheap" as the metallic pictures. And then they played '2001', and every pulse quickened.

Elvis looked tired and pale. There was a rumour that he had had a 'flu bug and couldn't shake it. That was about the only negative thing I saw. Everything else was beautiful. He was wearing a white jumpsuit glistening with red nail-heads, and his cape had a red satin lining. His movements were fluid and his voice rich and deep. He entertained us for over an hour, and I doubt if one pair of eyes left that white figure as it moved about the stage. He put his all into many of the songs — 'You Gave Me A Mountain' and 'An American Trilogy' especially. The "oldies" met thunderous applause. Elvis flirted and teased when he sang 'Fever', and seemed to enjoy the number as much as the audience.

If anyone asked me to describe Elvis in one word, I would say "humour." His eyes sparkle, and you can never be sure what words he will put to his songs. He appears to be burbling with good humour throughout the performance. I had expected that his appeal would be in his impact that wild, transcendent bravado that no other singer has ever matched but it wasn't. His appeal is warm and quiet, and we could feel a friendly receptivity even across all those formidable guards. Chiefly, for me, his appeal is in his sense of humour.

In reading Elvis Monthly, No. 160, I found Alan Dawson's article, "Some Hard Facts," to be a refreshing change from the calculated non-critical attitude used by some contributors. The last sentence reads, "Elvis is great, but with better management he could have been far greater." Recalling the concert, I can hardly help but agree with Alan Dawson. I got some bad vibes during the show, having to do with an intuitive feeling that somebody is trying to wring the last drops out of something. I can't say that with certainty, because I didn't see him on stage in 1956, but I felt very strongly that Elvis is ready for new challenges and he is trapped in an old image. I guess I expected a concert by a star of El's calibre to have a different sort of atmosphere. Still, though one cannot respect the circus barkers, one can respect the daring young man on the flying trapeze, and in the circus that was the RCA Victor tour Elvis is still floating through the air with the greatest of ease. Of music and motion, he creates a high art. ("On Tour" reminded a friend of mine of "Oriental ballet."). His orchestra was the best his troupe as well. Someone is being short-sighted. When you've got a diamond, it is folly to mount it in brass.


April 29 1973 (Sunday - Afternoon Show)
Center Arena, Seattle, Washington

       

Review

April 29 1973 (Afternoon Show) - Seattle, Washington
Review by Dave Bouska - Strictly Elvis, Issue 64 (August 1973)

Denise and I attended the matinee performance in Seattle and found some differences from the Portland show. First, Elvis was dressed in a blue jumpsuit this time with sparkling jewels shining from the suit. He had huge diamond rings on both hands and was a bejewelled king as he strutted his stuff for the Seattle audiences. He included 'How Great Thou Art' in this show which featured The Stamps in a brief solo spot. At one point, while singing 'Teddy Bear', a girl rushed to the stage and handed him a giant teddy bear and he carried it around the stage for the rest of the song. Also, 'Johnny B. Goode' was added to this show and had everyone rocking in their chairs as Elvis and the whole crew were really "together" on this big rocker. Rocking chairs, get it? Think about it.

The arena was smaller than in Portland with about 7,500 attending each show and, as reported earlier, both were sold out weeks in advance.

Each time Elvis visits a city he tries to play in a different arena if possible because this adds to the excitement. It creates new memories for Elvis and his fans.
To sum this tour up, we once again see a huge success with Elvis emerging with the crown of a king and his star shining brighter than ever. I would like to continue writing but my poor pen is running out of ink so this is all for this time.


April 29 1973 (Sunday - Evening Show)
Center Arena, Seattle, Washington

       

April 30 1973 (Monday)
Denver Coliseum, Denver, Colorado
Recorded on Soundboard
       

Lake Tahoe, May 4 - May 20 1973
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Emory Gordy
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Al Tronti Orchestra
Comedian: Jackie Kahane
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps

Review

May 4-20 1973 - Lake Tahoe
Review by Graham Knowles - Elvis Monthly, Issue 429 (September 1995)

In 1973, Elvis signed up once again for a May season in Tahoe. Elvis' second season there nearly ended in disaster before it even began though. On April 8th, Elvis had agreed to appear in the State Karate Championships, both as demonstrator and judge. But Elvis' contract with Sahara Tahoe (quite likely signed in late '72?), stipulated that he make no kind of public appearance within a 300-mile radius of Tahoe a month prior to his engagement. So honouring this agreement, Elvis fumed whilst watching it in the stands of San Francisco's Civic Auditorium.

But, on May 4th, Elvis opened as agreed and put on a good show.

This second season was in keeping with the first due to the fact that humour abound, mixed with unusual song selections, and Elvis from what was becoming a show format. Jumpsuits this season included the Blue Cluster (the one recently auctioned), Stoned Eagle (similar to the Aloha jumpsuit) and the actual Aloha jumpsuit. A surprise jumpsuit though was the white one with Black Phoenix (as per Pittsburgh show '76). To me this really was a revelation as my original perception of this jumpsuit appearance was 1975!

I find no difficulty in grasping the 1973 appearance of this jumpsuit due to the fact that the Ace Of Spades jumpsuit AND the SUNDIAL jumpsuit both worn by Elvis during the 1974 engagements. In actual fact, the last time I visited the Trophy Room at Graceland (1994), photo's from Tahoe 1974 were displayed at the bottom of the Sundial suit. Needless to say, the tour guide had no idea of what I was talking about when I asked a long shot question, "Were there two Sundial jumpsuits?" Anyone, too, who has the "Pictorial Essay (formerly 'Candid Elvis') soft-back, will find photos of Elvis at Tahoe in '74 wearing the Sundial jumpsuit. These cannot be mistaken for 77 shots due to, firstly, Elvis' weight, secondly, length of sideburns, and lastly, the Tahoe background, (similar to Vegas with big 'screen' for spotlight colour changes).

Anyhow, back to the '73 engagement. At one stage, and I really don't know how they managed it, the showroom was over-booked by some two-hundred people! The scenes that followed hit the newspapers as fans went on rampage talking all souvenirs from the walls etc. Fighting broke out and at least one 'official statistic showed ONE fan spent the night in hospital(t). The Sahara had to mount one of its most vigorous apology campaigns, finally getting every single one (still able to walk...) into one or more of Elvis shows. Not making it any easier, unwittingly and possibly quite unknowingly. Elvis, due to a bad throat and congestion, cancelled both May 17th shows. However, the pre-planned 'Mother's Day' special show went ahead. Large cards of a sort, 2ft x 1.1/2 foot approximately in size, donned the hallways, announcing 'Elvis Special Mother's Day Concert.' The show took place at 3 am, in memory of Elvis' mother, and Elvis donated his cheque to the Barton Memorial Hospital Auxiliary. (On opening night souvenirs were given free to the same charity, the proceeds kept). In total they required $25,000 to finish a wing to the building - Elvis' Mother's Day show, passed this figure in total donations. Details, in any form, of the actual show are not known to me, the only snippet I can offer is Elvis was handing out two-tone scarves instead of the one colour versions.

The typical song selection (with varying order and substitution) for this season was thus; May 10th Dinner show: 'C.C.Rider', 'I Got A Woman', 'Amen', 'Love Me Tender', 'Steamroller Blues' (Elvis was doing this song much more dramatically by shaking his body and dipping like 'Fever' whilst singing the line "I'm a Napalm bomb, guaranteed to blow your mind") - 'Help Me Make It Through The Night', 'You Gave Me A Mountain', 'Love Me', 'Blue Suede Shoes', 'Long Tall Sally', 'Whole Lotta Shakin' Goin' On', 'Mama Don't Dance', 'Shake, Rattle and Roll' (The medley was done quick-fire fashion with various mixture of above songs throughout the season), 'I'm Leavin' (introduced as his daughter's favourite song), 'Hound Dog', 'Fever', 'What Now My Love', 'Suspicious Minds', Intro's, 'I'll Remember You', 'I Can't Stop Loving You', 'Bridge Over Troubled Water' (with two endings. Elvis did this more than once throughout his engagement), 'A Big Hunk O' Love', 'Can't Help Falling In Love'.

Each show was fairly lengthy, outrunning most of the later Vegas ones. Also during this May 10th Dinner show, Elvis' cape fell off twice!

The following Midnight show and two 11th May shows Elvis didn't wear a cape, instead holding out his arms in finale and dropping to one knee, Elvis carried on as usual as the exit vamp played.

13th May 3.00am show saw Elvis a little fatigued. Towards the latter part of the show he was struggling with his voice. Starting 'I'll Remember You' in the wrong key (too high), Elvis' voice squeaked, which he laughed at. The seriousness of the song was forgotten as the restart in the right key) continued, Elvis sang "Long after this, though the morning is through." Elvis laughed at the ending, too.

Selecting the wrong key again caused a problem a short time later as 'Release Me' was attempted (right after 'It's Over' without a pause!). Elvis stopped after a couple of lines saying, "Let's do 'Faded Love'" This started O.K. and as we all know is done in a very love key, but Elvis still struggled a bit, asking the band to slow down. Some six shows later, Elvis' voice gave up altogether as the Tahoe altitude stretched his vocal chords to allow for natural breathing. It would be virtually a year to the day before his return.


May 4 1973 (Friday - Opening Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 5 1973 (Saturday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 5 1973 (Saturday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 6 1973 (Sunday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 6 1973 (Sunday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 7 1973 (Monday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 7 1973 (Monday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 8 1973 (Tuesday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 8 1973 (Tuesday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 9 1973 (Wednesday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 9 1973 (Wednesday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 10 1973 (Thursday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

Review

May 10-11 1973 - Lake Tahoe
Review by Ian Fraser-Thompson - Elvis News Service Weekly, Issue 109 (June 22 1973)

In Lake Tahoe, Elvis was wearing an embroidered cloque effect blue jumpsuit for one show. Also he is still wearing the eagle and phoenix jumpsuits in white. He still had on the dog tag (style) necklace with the forget-me-not flowers on it. But not the new rams head one he was given by the Vegas Hilton.

As in Vegas Elvis mostly took off his belt very early in the show (4th or 5th song) Elvis is still handing out the scarves as much as ever, mostly because the crowds are so wild, for the same reason Elvis was not walking up to the balcony from the stage in Tahoe as much this time, as he did in aug '70.

Elvis' new bass guitarist is Emory Gordy, who replaces Jerry Scheff, and stands closest to Charlie Hodge. - James Burton was responsible for finding a replacement for Elvis -- Emory had to practise all the songs Elvis is currently performing or likely to perform, from tapes and conversations with Jerry before he left for Canada -- At present Elvis just introduces Emory as his new guitarist, and has not been joking with him as he sometimes does with other members of the group (until he has settled in anyway.)

The show starts with '2001', then 'C.C. Rider', 'I Got A Woman' (with the 'Amen' ending). The HIGHLIGHT of this season at the Sahara was 'Steamroller Blues' as it now has much more action to the words than ever before. Elvis throws his legs out, rolls them and down, rolling round movements, and then shaking the whole of his body, ducking down as he sings "I'm a napalm bomb guaranteed to blow your mind" and blowing the audiences minds with the fury of it all, as the swinging movements continued.

In one show Elvis said "This is my daughters favourite song" to 'I'm Leavin'. Elvis has also put together a new and different rock n' roll medley, which had some variations each show, but starting with 'Long Tall Sally', 'Whole Lotta Shaking Goin' On' (sometimes later), 'Your Mama Don't Dance' and "your daddy* don't rock and roll" (which has a joke part with the group), the final part of 'Shake, Rattle And Roll' plus 'Flip Flop And Fly' (a Jerry Lee Lewis number) which Elvis sang up to two to three verses of, and into the "dance to the Jailhouse Rock". All very fast moving and performed in a refreshing new way.

*Sometimes Elvis would sing "your papa don't dance and your mama don't rock and roll" + other variations, bringing in other people, to see if he could confuse Charlie Hodge and The Sweet Inspirations, who are singing harmony with him and echoing his words, - Poor Charlie had other things to contend with as Elvis is still poking him in the chest with guitar or microphone and throwing water at him. Shucks..

Also included 'What Now My Love', 'Help Me Make It Through The Night' and Elvis has back in 'Bridge Over Troubled Water', which he has added a new wow wow woww ending to, some shows he'd also repeat the ending again from "sail on silver girl". One show after 'Bridge' Elvis quipped "we messed up a lot of things tonight but that one we did right." For a change, Elvis had some two-tone scarves as well as the one colour ones, to hand out. On the 10th May Dinner Show, the cape fell off twice, and after that Elvis didn't wear it on the Midnight or shows on the 11th. Instead ended the show with arms out (no cape:) At this time (10th/11th May) Elvis was in great humour and perfect voice.


May 10 1973 (Thursday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 11 1973 (Friday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

Review

May 11 1973 Dinner show
Review by Tony Dobb - Elvis Monthly, Issue 320 (September 1986)

On May the 4th 1973, Elvis began what was to be a month's season at Lake Tahoe, Nevada. The season was cancelled after 26 shows on the 16th due to Elvis being sick, but you wouldn't think so from the performance Elvis gave on May the 11th the dinner show. Elvis' band were also in fine form, especially drummer Ronnie Tutt.

After the '2001' theme, Elvis arrives on stage to the customary 'C.C. Rider'. During this and the next number, 'I Got A Woman', Ronnie Tutt's drumming is really powerful, driving the songs along. After saying good evening, it's into 'Love Me Tender' with Elvis no doubt handing out scarves and kisses as the audience get a little excited. A short version of 'Love Me Tender' and then it's straight into 'Steamroller Blues'. For my money, Elvis never topped the version done in the Aloha From Hawaii rehearsed show which was included on the Sound Of Your Cry album. He always seemed to rush it in subsequent shows. James Burton provides some mean guitar licks during this version.

Without speaking, the next number ensues. It's a nice rendition of 'Help Me Make It Through The Night', never released live by RCA. It comes across well here. 'You Gave Me A Mountain' is sung next with no between-song chatter from Elvis. A version very similar to the Aloha From Hawaii one, with Ronnie's drumming once again to the fore. After this, Elvis sings a very deep note and asks "was that me?" Then it's 'Love Me' followed immediately by 'Blue Suede Shoes'. More powerful drumming by Ronnie Tutt. He and Elvis must have lost about a stone each in every show! The next item is a Rock medley containing the following songs 'Long Tall Sally' / 'Whole Lotta Shakin' Goin' On' / 'Mama Don't Dance' / 'Shake, Rattle And Roll' and 'Whole Lotta Shakin' Goin' On' again. I think this was the only time that he sang 'Shake, Rattle And Roll' live in the '70s, albeit only the chorus. 'Mama Don't Dance' is longer than that on the live Memphis '74 album. The drums on this are so loud, you can barely hear some of the other instruments. Elvis then introduces the relatively new at the time 'I'm Leavin'. A great version sung straight. No mess up's. 'Hound Dog' follows, beginning slowly then into the faster tempo, done similarly to the Madison Square Garden LP version. It's noticeable that Elvis isn't speaking much during this show, but does crack a funny or two during the bassy into the next song 'Fever'. During this number, the audience yells and calls out quite a bit probably due to Elvis' movements and a few funny asides.

Without hesitation, it's into a polished version of 'What Now My Love' then it's the live favourite 'Suspicious Minds'. During this particular version Elvis jokingly yells "shut up to a girl in the crowd who is hollering out. As a way of Elvis to recuperate his breath, the band are introduced to the audience. There are no solos. These weren't introduced to the act until around two years later. Ronnie Tutt gets great applause deservedly. Bassist on this show was Emory Gordy who has his name ridiculed by Elvis. "We did a TV show recently ladies and gentlemen" (applause). "with 'I'll Remember You'". The audience remain hushed throughout this song as Elvis does a fault-free version. "You know what I can't do?" asks Elvis, "I can't stop loving you" he then sings obviously in fine vocal form and in total command of the Lake Tahoe audience.

He can't resist fooling at the beginning of the next number and mimics a girl in the audience with a high voice shouting "over here". Glen Hardin, the pianist, starts the song again, this being 'Bridge Over Troubled Water'. Great applause comes from the crowd for this song which inspires Elvis to do the latter part again, the reprise getting a good response also.

Then, it's right into a change of mood for 'A Big Hunk O'Love' the orchestra a bit overpowering on this version. "Thank you, from Blue Hawaii, ladies and gentlemen" says Elvis then the familiar closer. 'Can't Help Falling In Love' follows with, no doubt, disappointment sweeping over the audience. Then the end of a fifty-five or so minute concert, another great performance from Elvis and his band. Although he did not have a lot to say throughout, Elvis was in a good mood and in fine form for this show.


May 11 1973 (Friday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 12 1973 (Saturday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 12 1973 (Saturday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Also Sprach Zarathustra       From Vegas To Tahoe CD3 (FTD)°
C. C. Rider       From Vegas To Tahoe CD3 (FTD)°
I Got A Woman / Amen       From Vegas To Tahoe CD3 (FTD)°
Help Me Make It Through The Night       From Vegas To Tahoe CD3 (FTD)°
Steamroller Blues       From Vegas To Tahoe CD3 (FTD)°
You Gave Me A Mountain       From Vegas To Tahoe CD3 (FTD)°
Love Me       From Vegas To Tahoe CD3 (FTD)°
Blue Suede Shoes       From Vegas To Tahoe CD3 (FTD)°
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Shake, Rattle
_And Roll
      From Vegas To Tahoe CD3 (FTD)°
I'm Leavin'       From Vegas To Tahoe CD3 (FTD)°~Takin' Tahoe Tonight (FTD)°
Hound Dog       From Vegas To Tahoe CD3 (FTD)°
What Now My Love       From Vegas To Tahoe CD3 (FTD)°
Suspicious Minds       From Vegas To Tahoe CD3 (FTD)°
Introductions       From Vegas To Tahoe CD3 (FTD)°
I'll Remember You       From Vegas To Tahoe CD3 (FTD)°
I Can't Stop Loving You       From Vegas To Tahoe CD3 (FTD)°
Bridge Over Troubled Water       From Vegas To Tahoe CD3 (FTD)°
A Big Hunk O' Love       From Vegas To Tahoe CD3 (FTD)°~Takin' Tahoe Tonight (FTD)°
Can't Help Falling In Love       From Vegas To Tahoe CD3 (FTD)°
Closing Vamp       From Vegas To Tahoe CD3 (FTD)°

May 13 1973 (Sunday - 3.00am Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
Also Sprach Zarathustra       Takin' Tahoe Tonight (FTD)°
C. C. Rider       Takin' Tahoe Tonight (FTD)°
I Got A Woman / Amen       Takin' Tahoe Tonight (FTD)°
Help Me Make It Through The Night       Takin' Tahoe Tonight (FTD)°
Steamroller Blues       Takin' Tahoe Tonight (FTD)°
You Gave Me A Mountain       Takin' Tahoe Tonight (FTD)°
Love Me       Takin' Tahoe Tonight (FTD)°
Blue Suede Shoes       Takin' Tahoe Tonight (FTD)°
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Shake, Rattle
_And Roll
      Takin' Tahoe Tonight (FTD)°
My Way       Takin' Tahoe Tonight (FTD)°
Hound Dog       Takin' Tahoe Tonight (FTD)°
What Now My Love       Takin' Tahoe Tonight (FTD)°
Suspicious Minds       Takin' Tahoe Tonight (FTD)°
Introductions       Takin' Tahoe Tonight (FTD)°
I'll Remember You       Takin' Tahoe Tonight (FTD)°
I Can't Stop Loving You       Takin' Tahoe Tonight (FTD)°
Bridge Over Troubled Water       Takin' Tahoe Tonight (FTD)°
Funny How Time Slips Away       Takin' Tahoe Tonight (FTD)°
It's Over       Takin' Tahoe Tonight (FTD)°
Release Me       Takin' Tahoe Tonight (FTD)°
Faded Love       Takin' Tahoe Tonight (FTD)°
Can't Help Falling In Love / Closing Vamp       Takin' Tahoe Tonight (FTD)°

May 13 1973 (Sunday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 13 1973 (Sunday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 14 1973 (Monday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 14 1973 (Monday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 15 1973 (Tuesday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 15 1973 (Tuesday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 16 1973 (Wednesday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 16 1973 (Wednesday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
         

May 17 1973 (Thursday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 17 1973 (Thursday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 18 1973 (Friday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 18 1973 (Friday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 19 1973 (Saturday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 19 1973 (Saturday - Midnight Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 20 1973 (Sunday - Dinner Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

May 20 1973 (Sunday - Closing Show)
High Sierra Room, Sahara Tahoe, Lake Tahoe, Nevada
(CANCELLED)        

On Tour, June 20 - July 3 1973
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
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps

June 20 1973 (Wednesday)
Mobile Municipal Auditorium, Mobile, Alabama
Recorded on Soundboard
       

June 21 1973 (Thursday)
Omni, Atlanta, Georgia
Recorded on Soundboard
       

June 22 1973 (Friday)
Nassau County Veterans Memorial Coliseum,
Uniondale, New York

       

June 23 1973 (Saturday - Afternoon Show)
Nassau County Veterans Memorial Coliseum,
Uniondale, New York

       

June 23 1973 (Saturday - Evening Show)
Nassau County Veterans Memorial Coliseum,
Uniondale, New York

       

June 24 1973 (Sunday - Afternoon Show)
Nassau County Veterans Memorial Coliseum,
Uniondale, New York

       

Review

June 22-24 1973 - Uniondale, New York
Review by Len Leech - Elvis News Service Weekly, Issue 111 (July 14 1973)

My wife Rose Marie and I had a real Elvis week trying to keep with the latest tour. We saw all four shows at the Nassau Coliseum in Long Island, New York. Elvis was in great form, and his voice was stronger and more powerful than I'd ever heard it before, including Las Vegas. He seems to be completely over the sickness that affected his February Vegas stint and forced him to cancel shows in Tahoe, as he had more colour in his face and had gained a few pounds, probably under doctor's orders. The shows were all basically the same, however the Sunday matinee stood head and shoulders over the rest, in my opinion. This particular capacity crowd gave Elvis a tremendous response after every song, and because of it Elvis substituted 'How Great Thou Art' for 'Bridge Over Troubled Water', this being the first time he had ever presented it in New York. His voice in this sent chills up and down the spine and he must have sensed how perfect it was, because he repeated the last part at the urging of the audience. A highlight of all four show the new, extended rock n' roll medley, with the crowd always responding by clapping along with the beat while Elvis did some great shaking and twirling leg movements.

We also had an opportunity to see Elvis enter the coliseum twice and exit once. There was only one possible way he could come in, that being a long, sharp angled ramp that dipped down from ground level into the basement of the coliseum. The colonel used three limousines, I'm sure not out of necessity but rather as decoys to fake out the fans. The first one always arrived a minute or two before Elvis, and drove into the entrance and down the ramp so fast and furious that most of the fans waiting there figured Elvis had just passed them and started to leave. The windows of the limo were so darkly tinted it was almost impossible to make out anybody in the back seat at that speed. We decided to hang around a few more minutes as I wasn't entirely convinced that the blur that had just passed us was Elvis. Suddenly two more limousines entered the curving street in front of the coliseum, slowed down to make the turn into the parking area, and headed toward us. Elvis was in the first of the two, sitting in the back seat, right side, by the window, Joe Esposito on the left side, with what looked like Linda Thomson between them, and Charlie Hodge in the front passenger seat. Surprisingly, Elvis' car wasn't going quite as fast as the first one had, however we still only had a short look at Elvis' waving to the fans still gathered there, wearing a gorgeous pair of silver racing type sunglasses, and dressed in his stage clothes. After seeing that, we decided to forfeit the last two songs of the show that night and left our seats early to go out by the ramp again. There is now absolutely no question in my mind that when Big Al says Elvis has left the building, he is definitely gone. Once we made it to the ramp, a crackle of excitement was in the air as we could hear 'Can't Help Falling In Love' coming out through walkie-talkies held by policemen guarding the entrance, while conversing with another cop inside by the stage, the dialogue between them going on rapidly--- "He's started the last song. Get ready!" -- "He's holding out the cape and leaving the stage", and then "He's in the car and on the way out." The steel overhead door at the base of the ramp rolled up and Elvis' limousine roared up the ramp with the headlights on high beam, the back of the jumping up into the, air as it hit the apex between the ramp and street level, and theme was Elvis in the same seat as earlier, glancing out at us as he sped through the lot onto the street, squealing brakes as they made the turn, with police blocking any cars trying to follow in the same direction, including regular traffic.

 

June 22-24 1973 - Uniondale, New York
Review by Patricia Cervone - Elvis News Service Weekly, Issue 113 (July 27 1973)

Did you ever see a dream walking? Well, I did. the dream came true to life on stage at the Nassau Veterans Memorial Coliseum located on Long Island in New York.

The dream lasted for four fabulous shows (June 22 - June 24) He strolls out to thunderous applause and the sky lights up as if the fourth of July has come to New York early. he opens with 'C.C. Rider', but no one can hear him as the applause doesn't stop until about the middle of the song. That perfectly-formed head jerks to the now famous drum rolls by Ronnie Tutt. Next, 'I Got A Woman' sung breathy and sexy-like, then a full circle turn to the unsexy, heavenly 'Amen' with JD really getting down low on this one. On and on as the climax builds and the woman seated next to me seems to sum things up when she screams, "Wow! this guy is dynamite!" Then boom! the King explodes into a newly-raised rock n roll medley which will stand as a rock classic and can only be sung by this pioneer of rock. Onward with 'Long Tall Sally', 'Your Mama Don't Dance', 'Whole Lot O' Shakin' Goin' On', 'Flip Flop And Fly' (this one goes way back to early rock-blues) and the beat goes on and on. Thriving. Pulsating, stomping. Oh, to be alive and well at this very moment! And in the third row! Knock 'em dead with 'Blue Suede Shoes' and the King dances to its beat, swivelling. Swaying. He yells, "hit it, hit it!", as the band romps on. The entire band watches him intently, anticipating his every move. They know when to help him out and when to leave him alone, Hush! he speaks! "Ladies and gentlemen, I'd like to sing a little bit of 'Love Me Tender'". Wild - applause. He sings the opening line and the song abruptly ends. He strolls over to stage centre and says; "Well, said only a little bit" then he finishes the song after throwing out two scarves, the coliseum is going wild!

All the standard Vegas songs are included and then some. He alternates his songs for each well-paced show, he sings 'Suspicious Minds' and the audience is thinking: We hope that suit does tear off, baby! Even the men in the audience are clapping and yelling! Here he is, Elvis Presley, King of the whole, wide world. The super sexy 'Fever' is included and although it doesn't compare to the 'Fever' in Las Vegas it is plenty hot enough for Long Island. The medical society here could have made a fortune because everyone's temperature is rising! Watch that leg he stands crouched down in the middle of the stage as if on a horse and he slaps his thighs yelling. "Yeah, baby!, go, baby"! Then he flashes that sneaky half-smile with the little boy eyes and seems to say: "I didn't mean to get you all that excited, but i'm glad i did!" He does 'An American Trilogy' a little faster and does in place marching as the song calls for it. He seems to enjoy 'Trilogy' more now because it seems to be dragging less. Softly on to 'Ill Remember You' and everyone in that audience is feeling that way about the King. He sings his heart and soul out in 'What Now My Love' and i wondered how any sane woman would voluntarily leave his side for one minute. He included 'Bridge Over Troubled Water' in two shows and I would have preferred him to omit it. It belongs to That's The Way It Is. Let's leave it there.

His Saturday night show was as close to a Vegas show I have ever seen him do outside of Vegas. Thought in a minute the King would introduce celebrities in the audience as he sometimes does in the Hilton show room. On Sunday, as appropriately as ever, he lovingly sang 'How Great Thou Art' complete with a repeat ending and two standing ovations, makes you want to run out and make a novena! (*). Elvis graciously thanked the New York fans for waiting inline for days in the pouring rain to get tickets to see the shows. Elvis: You are very welcome! Come back this winter and we will wait in a blizzard to get tickets, if necessary!

During the Saturday afternoon show, he spots a huge sized bra that was thrown up at him. He knows it is there but he waits until everyone in the audience has seen it everyone is screaming so he picks it up and holds it across his chest and says "well, baby, it's not my size" then he walks over to one of the Inspirations and tells her, "well, honey, guess it's not your size either!" Everyone on stage is breaking up with laughter and the audience is having a great time. Suddenly a pair of men's underwear is thrown on stage. He picks them up slowly. He is laughing hysterically. He giggles, "we've got a lot of naked people out there, man!" and holding up the underwear he snaps, "and there is a weirdo out there too!" The audience is laughing and clapping and Elvis seems to think to himself, "man, these New Yorkers are weird!" It seems to be all fun and games, good, clean fun and games. Elvis is sexy, no doubt, but he is good, clean sexy with a definite attitude of don't touch me! as evident by the tremendous amount of security around him and the stage. How involved can you get sexually if you can't touch? It's all in your mind, baby and as Elvis proudly boasts in 'Steamroller Blues',"i'm a napalm bomb, guaranteed to blow your mind !

He really goofs on 'Heartbreak Hotel' and he almost blows his cover when he playfully states, "you'll never be lonely at the Holiday Inn" (a nearby motel), then realising his goof, he repeats, "you'll never be lonely at the Hilton Inn" (another nearby motel) That's it Elvis, always keep 'em guessing! A pleasant surprise Saturday was the inclusion of 'Don't Be Cruel' which was sang a bit too fast but who cares. Elvis starts 'I Can't Stop Loving You' with a sincere statement of "do you know what i can't do for you?" And he always seems to include this song in every show so I think the King regards it as a personal tribute to his fans. After 'A Big Hunk O' Love' I always get weepy because i know that with the next song 'Can't Help Falling In Love' the King will vanish in an exit of split-second timing and wild, loving applause. At this point, the words and music are just the pretty wrappings on a package called Elvis. The audience yearns to tear open that package and just when we think we might, the announcer bellows, "Elvis has left the building" and the package remains closed once more. Only a very few people really know what Elvis is like underneath all those trimmings and i myself would like to know, someday. But I love looking at pretty packages. And no matter what RCA tries to sell you, there is no way that any record can capture the magnetism and excitement of a live Elvis Presley performance. And regardless of what trimmings he chooses to decorate himself with, Elvis is surely a "gift" given to us all to be loved and cherished. A dream walking!?!

(* A novena for those of you unfamiliar with the word is a devotion consisting of special services on nine successive days in the Roman Catholic church)

 

June 22-24 1973 - Uniondale, New York
Review by Patricia Ann Cervone - Elvis Monthly, Issue 166 (November 1973)

WELL, I DID. The dream came true to life on stage at the Nassau Veterans' Memorial Coliseum located on Long Island in New York. The dream lasted for four fabulous shows. He strolls out to thunderous applause and the sky lights up as if the Fourth of July has come to New York today. He opens with 'CC Rider' but no one can hear him as the applause doesn't stop until about the middle of the song. That perfectly-formed head jerks to the now-famous drum rolls by Ronnie Tutt. Next, 'I Got A Woman' sung breathy and sexy-like, then a full circle turn to the unsexy, heavenly 'Amen' with J.D. really getting down low on this one. On and on as the climax builds and the woman seated next to me seems to sum things up when she screams, "WOW! This guy is dynamite !" Then BOOM! the King explodes into a newly-revised Rock 'n' Roll medley which will stand as a Rock classic and can only be sung by this pioneer of Rock. Onward with 'Long Tall Sally'/'Your Mama Don't Dance'/'Whole Lot Of Shakin' Goin' On'/'Flip, Flop And Fly' (this one goes way back to early Rock/Blues) and the beat goes on and on. Thriving. Pulsating. Stomping. Oh, to be alive and well at this very moment! And in the third row ! Knock 'em dead with 'Blue Suede Shoes' and the King dances to its beat. Swivelling. Swaying. He yells,"Hit it! Hit it!" as the band romps on. The entire band watches him intently, anticipating his every move. They know when to help him out and when to leave him alone. Hush! He speaks! "Ladies and gentlemen, I'd like to sing a little bit of 'Love Me Tender'." Wild applause. He sings the opening line and the song abruptly ends. He strolls over to stage centre and says: "Well, I said only a little bit !" Then he finishes the song after throwing out two scarves. The Coliseum is going wild !

All the standard Vegas songs are included and then some. He alternates his songs for each well-paced show. He sings 'Suspicious Minds' and the audience is thinking; We hope that suit DOES tear off, baby! Even the MEN in the audience are clapping and yelling. Here he is, Elvis Presley, King of the Whole, Wide World. The super-sexy 'Fever' is included and although it doesn't compare to the 'Fever' in Las Vegas it is plenty hot enough for Long Island. The medical society here could have made a fortune because EVERYONE'S temperature is rising ! WATCH THAT LEG !! He stands crouched down in the middle of the stage as if on a horse and he slaps his thighs yelling, "Yeah, baby! Go, baby !" Then he flashes that sneaky half-smile with the little boy eyes and seems to say: "I didn't mean to get you all that excited, but I'm glad I did !" He does 'An American Trilogy' a little faster and does in place marching as the song calls for it. He seems to enjoy 'Trilogy' more now because it seems to be dragging less. Softly on to 'I'll Remember You' and everyone in that audience is feeling that way about our King. He sings his heart and soul out in 'What Now My Love' and I wondered how any sane woman would voluntarily leave his side for one minute. He included 'Bridge Over Troubled Water' in two shows and I would have preferred him to omit it. It belongs to That's The Way It Is. Let's leave it there.

His Saturday night show was as close to a Vegas show as I have ever seen him do outside of Vegas. I thought in a minute The King would introduce celebrities in the audience as he sometimes does in the Hilton showroom. On Sunday, as appropriately as ever, he lovingly sang 'How Great Thou Art' complete with a repeat ending and TWO standing ovations. Elvis graciously thanked the New York fans for waiting in line for days in the pouring rain to get tickets to see the shows. ELVIS, YOU ARE VERY WELCOME! Come back this winter and we will wait in a blizzard to get tickets, if necessary!

During the Saturday afternoon show, he spots a huge-sized bra that was thrown up at him. He knows it is there but he waits until everyone in the audience has seen it. Everyone is screaming, so he picks it up and holds it across his chest and says, "Well, baby, it's not my size!" Then he walks over to one of The Inspirations and tells her, "Well, honey, guess it's not your size either!" Everyone on stage is breaking up with laughter and the audience is having a great time. Suddenly a pair of men's underwear is thrown on stage. He picks them up slowly. He is laughing hysterically. He giggles, "We've got a lot of naked people out there, man!" and holding up the underwear he snaps, "And there is a weirdo out there too !" The audience is laughing and clapping and Elvis seems to think to himself, "Man, these New Yorkers are weird!" It seems to be all fun and games. Good, clean fun and games. Elvis is sexy, no doubt, but he is good, clean sexy with a definite attitude of "Don't Touch Me!" as is evident by the tremendous amount of security around him and the stage. How involved can you get sexually if you can't touch ? It's all in your mind, baby! And as Elvis proudly boasts in 'Steamroller Blues', "I'm a napalm bomb, GUARANTEED to blow your mind!"

He really goofs on 'Heartbreak Hotel' and he almost blows his cover when he playfully states, "You'll never be lonely at The Holiday Inn" (a nearby motel), then realising his goof, he repeats, "You'll never be lonely at The Hilton Inn" (another nearby motel). That's it Elvis, always keep them guessing! A pleasant surprise Saturday was the inclusion of 'Don't Be Cruel' which was sung a bit too fast, but who cares? Elvis starts 'I Can't Stop Loving You' with a sincere statement of "Do you know what I can't do for you?" And he always seems to include this song in every show so I think the King regards it as a personal tribute to his fans. After 'A Big Hunk O' Love', I always get weepy because I know that with the next song 'Can't Help Falling In Love' With You" the King will vanish in an exit of split-second timing and wild, loving applause. At this point, the words and music are just the pretty wrappings on a package called Elvis. The audience yearns to tear open that package and just when we think we might, the announcer bellows, "Elvis has left the building" and the package remains closed once more.

Only a very few people really know what Elvis is like underneath all those trimmings and I myself would like to know, someday. But I love looking at pretty packages. And no matter what RCA tries to sell you, there is no way that any record can capture the magnetism and excitement of a live Elvis Presley performance. And regardless of what tri he chooses to decorate himself with, Elvis is surely a “gift" given to us all to be loved and cherished.

A Special Note of Thanks: A million thanks to the most fantastic officials, staff and security officers at the Nassau Coliseum. What a difference from those who were hired to maintain order at Madison Square Garden last year. Elvis fans will always be indebted to you for your gentleness and sympathetic ways. Thank you for being so understanding. A very special thank you to Ken Weprin for his sincere efforts in attempting to come to terms with my fanatical devotion to the King. I'll convert you yet, Ken!


June 25 1973 (Monday)
Civic Center Arena, Pittsburgh, Pennsylvania

       

June 26 1973 (Tuesday)
Civic Center Arena, Pittsburgh, Pennsylvania

       

June 27 1973 (Wednesday)
Cincinnati Gardens, Cincinnati, Ohio

       

Review

June 27 1973 - Cincinnati, Ohio
Review by Len Leech - Elvis News Service Weekly, Issue 111 (July 14 1973)

After the excitement of New York, we had two days to get ready for a 640 mile drive one way to Cincinnati for the Elvis concert June 27th. We had been lucky enough to get third row, centre stage seats and a feeling of anticipation gripped us as the '2001' theme was played. Elvis came out to another barrage of flashbulbs wearing the Aloha Special red, white, and blue jumpsuit, and looked tremendous. He started off with 'C.C. Rider', quickly followed by 'I Got A Woman' and J.D. going way down for the end. Elvis and the band have a new trick at the end of this song, -- after hitting the last note of the 'Amen' ending Elvis quickly takes off the guitar and throws it at Charlie, and the band plays the same note again as an accent to Charlie catching it by the neck, the whole bit taking three seconds in an impressive piece of showmanship. "Good evening ladies and gentlemen, I'd like to say it's a real pleasure being back here in Cincinnati," into 'Help Me Make It Through The Night'. Then a fantastic 'Steamroller Blues', with Elvis with his back to the audience at the first note, sliding around and slinking to centre stage in an almost crouching position as the drums come in. This new choreography of Elvis' for this song is superior to almost anything I've ever seen him do in Vegas, also completely eclipsing the Aloha version. The last two verses Elvis poured his soul into, and the audience response justified it. Following this came another excellent treatment of 'You Gave Me A Mountain', --- "I'd like to do a medley of some of my records for you", into 'Love Me', with the first of the scarves being handed out to a near riot in front of the stage. One girl literally made a flying leap toward the stage from her front row seat, and was caught in mid-air by one of the guards in front of Elvis on the floor. Then 'Blue Suede Shoes', Elvis really getting into the ending, shaking his legs much more than Vegas, then quickly into a tremendous rock n' roll medley started off with 'Long Tall Sally', then 'Whole Lot Of Shakin' Goin' On', with parts of 'Your Mama Don't Dance', 'Shake, Rattle And Roll', and 'Jailhouse Rock' thrown in.

Then a beautiful version of one of his most underrated singles, 'I'm Leavin', Elvis playing an imaginary guitar to the final bass run as the lights dim to darkness at the close. "Ladies and Gentlemen, I'd like to do a gospel song that features The Stamps Quartet", into an inspired version of 'How Great Thou Art'. This song has to be heard live to fully appreciate the power and beauty of Elvis' magnificent voice, especially as strong and compelling as it is now. Then a short, throwaway rendition of 'Hound Dog', followed by the great body and leg movements in 'Fever', the whole coliseum clapping in unison with the beat. Into 'Something', catching the band by surprise, especially the new bass player, Emory Gordy, as he hit a couple of off notes, it obviously being the first time Elvis had sung this song on stage since Jerry Scheff left the group. Then came 'What Now My Love', with Elvis making the normally fabulous ending even better by going up another octave than usual for the final pulsating note, quickly followed by 'Suspicious Minds', with a longer karate bit at the end than any of the New York shows. Toward the end of the introductions someone threw a pair of white lace panties on stage, and Elvis picked them up and tossed them at Joe Guercio as he introduced him, while the crowd board with laughter. "Recently we did a TV show from Hawaii called Aloha, and there's a song I'd like to sing for ya", as the piano intro for 'I'll Remember You' began, and Elvis putting a lot of emotion into the song, holding his facial expressions to the lyric. "You know what I can't do" ----- 'I Can't Stop Loving You', Elvis hitting some unheard of new notes on a great, elaborated ending. winding up at a fantastically high pitch for the final note.

'An American Trilogy' followed, with Elvis doing those stunning circular arm actions to bring the horns in on cue. The best response of the night came after this song, and once again he had the crowd completely in the palm of his hand. Glen Hardin quickly jumped the gun on the start of 'A Big Hunk O' Love', catching Elvis with his mouth full of water for the first line. "I'd like to turn the house lights up, ladies and gentlemen, --- hope you enjoyed our show", to a great outburst of applause and cheers, "A song from Blue Hawaii", Charlie putting on the brilliant eagle cape, catching the lights and flashbulbs from every direction and reflecting it back, then Elvis going to centre stage for 'Can't Help Falling In Love'. By now even the non-fans know this is the final song, and the whole centre section where we were sitting erupted as girl after girl threw themselves at the guards in an attempt to get to Elvis. There is no doubt that the female response at these concerts is more and more approaching the same kind of hysteria that greeted Elvis in 1950s, if this latest tour is any indication. Elvis made his cape-outstretched stance at the close of the song to the centre and sides of the stage, and then, as quickly as he had come on, he exited through the makeshift curtain at the left rear side of the stage.

In closing, I'd like to add a few things. The five shows I was privileged enough to see on this latest tour were all fantastic. Elvis has never in his career been in better voice, and he's moving much more than anytime since 1969. I know there are many complaints about him doing the same songs basically as the core of his act, but to me, as long as he can keep on adding improvements and embellishments in his vocal range and stage presentation, his popularity can only keep on increasing.

The two new posters the souvenir vendors were selling on this latest tour were disappointments. Both are from Aloha, however they are rather blurry and seem to have been touched up before printing. I had really expected something special after seeing some of the gorgeous colour photos on the covers of American TV magazines. Almost all of them would have been preferable in poster size than the two pics they chose to enlarge


June 28 1973 (Thursday)
Kiel Auditorium, St. Louis, Missouri
Recorded on Soundboard
       

June 29 1973 (Friday)
Omni, Atlanta, Georgia

       

June 30 1973 (Saturday - Afternoon Show)
Omni, Atlanta, Georgia

       

June 30 1973 (Saturday - Evening Show)
Omni, Atlanta, Georgia

       

July 1 1973 (Sunday - Afternoon Show)
Municipal Auditorium, Nashville, Tennessee

       

July 1 1973 (Sunday - Evening Show)
Municipal Auditorium, Nashville, Tennessee

       

July 2 1973 (Monday)
Myriad Convention Center Arena, Oklahoma City, Oklahoma

       

July 3 1973 (Tuesday)
Omni, Atlanta, Georgia

       

Review

July 3 1973 - Atlanta, Georgia
Review by Charles Wendling - Strictly Elvis, Issue 66 (October 1973)

Elvis opened the show with 'C.C. Rider'. Not moving much during this number, he starts to tease the audience with a series of neck snaps in time to Tutt's bass drum near the end of the song. From here it's 'I Got A Woman', with a touch of 'Amen' inserted near the end. During 'Amen', Elvis does kind of a drunken swan dive and recovery to J.D. Sumner's vocal gymnastics. Elvis apparently gets a kick out of this bit as he did it twice at all shows, except the Saturday matinee. The guitar is returned with the end of 'I Got A Woman'.

At this point it is usual for Elvis to say a few words of greeting, which generally consists of "Good evening," "Hope you enjoy the show..." etc. Three visits to Atlanta, an award from the city, and the phenomenal fan response had taken their toll on Elvis, for he was really up for this show. Instead of the usual greeting he just stood there for several seconds. Finally a look crossed his face, like that of a precocious kid showing off, and he said, "Well..." (pause) "here I am." The fans roared. He went on to say that the Omni seemed like a second home because he'd spent so much time in it lately. Thanking the fans for his reception, you could see he was really happy about it all.

Back to the music. 'Help Me Make It Through The Night' featured Elvis changing a lyric to "And it's a rainy night in Georgia" In front of an audience full of Georgians you can imagine how that went over. When he made a command of the line, "Come and lay here by my side," you can bet every female in the place was ready to follow orders.

His current hit, 'Steamroller Blues' was next. This was much improved over the TV Special. Elvis does a lot of cat-like stalking around the stage.

Reaction from the audience is quite noisy during this one.

From the audience reaction to 'You Gave Me A Mountain', you would think that it was Elvis' hit, not a song written by Marty Robbins for Frankie Laine. It is definitely the mark of a great performer when he takes material already strongly identified with someone else and makes it his own. Elvis has definitely made 'Mountain' his own. Always getting involved with the song, Elvis surpassed himself this time. Instead of singing the last verse, he recited it. Elvis gave a moving reading and it very effectively set off the booming climax. This was the only time on the tour that Elvis used recitation. He was really into his performance.

The next segment of the show was "good old rock 'n' roll." First, 'Love Me' was faithfully reproduced, then 'Blue Suede Shoes'. Next came a long medley consisting of 'Long Tall Sally', 'Whole Lotta Shakin' Goin' On', 'Your Mama Don't Dance', 'Flip, Flop And Fly', 'Jailhouse Rock', and a reprise of 'Shakin'. Believe me, Elvis is still the king of rock and roll.

Following the oldie segment, Elvis did 'My Way' his way. Then a super rendition of 'How Great Thou Art' got Elvis his first standing ovation of the evening. He builds this song to a fantastic finish. At each performance, Elvis received a standing ovation for this song and pleased the fans by encoring the final verse.

How many artists can sing an emotional ballad like 'My Way', follow with a gospel song, and then offer an audience 'Hound Dog'? Now that you've answered that, how many can do it successfully? Elvis did the song in two tempos, like at Madison Square Garden.

Both Elvis and the fans had lots of fun with 'Fever'. Lots of leg and body shaking from Elvis and lots of screaming from the audience.

'Something' was dedicated to "Linda" at all four shows. In case you don't know, Linda is Linda Thompson.

Anyone who has seen Elvis perform over the past few years knows he sings the old hits, but doesn't move like he did when they were current. Usually, Elvis contents himself with walking the stage while performing them. Not tonight! Elvis did move some with the oldies earlier in the program, but at this point he threw 'All Shook Up' into the show and Elvis shook like it was almost 1957 again. Another oldie next -- surprise -- 'Memphis, Tennessee'. This was special as I've rarely, if ever, heard of Elvis doing this song on tour. Both these songs, as well as 'My Way' and later 'Release Me' were not done at any other Atlanta concerts I saw. A good indication of when Elvis is really "on" is when he starts adding extra material.

'What Now My Love' featured Elvis speaking all the verses and singing only the choruses. Again, this was the only show that featured recitation. It was great.

At this concert, 'Suspicious Minds' had the fire of old. At other performances I detected a slight tendency to just run through the song. If there is any boredom on Elvis' part, this is where it shows up. To a fan who hasn't seen Elvis before, it isn't noticeable... but I've seen him, so I know what he is capable of. The karate fight at the end of this song has always been a big feature. Now, it is down to a couple of moves, or, as at the matinee, practically non-existant. But for this one show it was all there and just fantastic.

Here Elvis takes time to catch his breath and introduces all the people on stage with him. They all do an excellent job of complimenting Elvis musically. There is a new member of Elvis' entourage, Emory Gordy. Gordy, who used to be in Neil Diamond's band and has replaced Jerry Schiff on bass, is introduced as the only person on stage with a wierder name than Elvis'. At this show, Elvis also introduced his father and daughter, who were present.

Elvis' prefacing remarks to 'I'll Remember You' are somewhat disjointed. Most of the real fans know Aloha From Hawaii via Satellite was a charity concert for the Kuiokalani Lee Cancer Fund. Lee was the composer of 'I'll Remember You'. Elvis' intention was to get this point across, but he never succeeded in four shows. What he said essentially went something like this: "The reason we did Aloha via Satellite was...a-a song in the show. ..a-well we'd like to do a-a song from the show." It's a minor point, but to anyone who didn't know why Aloha was done sure didn't find out. Elvis' performance of the song was, as always, beautiful. He ad-libbed during the break before going into the last verse..."Let the Col. know and he'll bring me back."

Next Elvis asked, "You know what I can't do?" And answered 'I Can't Stop Loving You'. Another country ballad, 'Release Me', followed. These songs have been done to death, but Elvis always manages to light a spark in them. As the show progressed, Elvis did an increasing amount of singing along with the background singers.

'An American Trilogy' garnered Elvis his second standing ovation at each show. The standing ovation at this show was by command, however. Anyone who has attended an Elvis concert knows security borders on paranoia sometimes. One rule is everyone must stay in their seat. If you get up, chances are a security officer will quickly rush up and politely (?) ask you to be seated. That's why I was amazed when, as he started to sing the last verse, Elvis waived his arms in a sweeping motion for everyone to rise. The security people must have gone bananas.

'A Big Hunk O' Love' was faithful to the original to a surprising degree. Elvis then asked for the house lights so he could look at us. After he'd had his look the lights went down and up came the strains of 'Can't Help Falling In Love'. The end of a great performance seemed almost numbing. There one minute and gone the next.

Elvis wore white jump suits at all the shows, At the Saturday matinee (June 30 Afternoon Show) Elvis spotted a small boy in the front row with a white jump suit, cape and cardboard guitar. From where I was, it didn't look as if he could have been more than three years old. Elvis had the spotlight put on him. At the end of the show, Elvis' cape and belt found their way to the boy and his mother. It was a really nice thing to do.

The other three concerts had songs particular to them that weren't heard in the abundance of his shows. Friday night (June 29), a medley of 'Teddy Bear' and 'Don't Be Cruel' followed the oldies medley. At the Saturday matinee (June 30 Afternoon Show), the oldies medley was shortened to 'Long Tall Sally', 'Your Mama Don't Dance', and 'Whole Lotta Shakin' Goin' On'. Saturday night (June 30 Evening Show), 'Love Me Tender' was inserted between 'Help Me Make It Through The Night' and 'Steamroller Blues'.

At all three of the shows, 'I'm Leavin' replaced 'My Way'. This song, like 'Memphis, Tennessee' came as a surprise. Its inclusion must have meant it was a personal favourite of Elvis'.

The fact that Elvis and the Colonel agreed to make three trips to Atlanta on one tour must mean they were very pleased with the fan reaction. Current rumours are that Elvis may book Atlanta on the fall tour. Elvis said, "Let The Colonel know and he'll bring me back". Colonel Parker, consider yourself as told.


Las Vegas, August 6 - September 3 1973
Musicians
Lead Guitar: James Burton
Rhythm Guitar: John Wilkinson
Bass: Emory Gordy
Piano: Glen D. Hardin
Drums: Ronnie Tutt
Acoustic Guitar: Charlie Hodge
Orchestra: Joe Guercio & The Joe Guercio Orchestra
Comedian: Jackie Kahane
High Voice Singer: Kathy Westmoreland
Backup Vocals: The Sweet Inspirations; JD Sumner & The Stamps

August 6 1973 (Monday - Opening Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 6-10 1973
Review by Pauline Jones - Elvis News Service Weekly, Issue 116 (August 20 1973)

Aileen Smith, Ann Shiels and myself saw Elvis last week in Las Vegas. We saw eight shows. Every show from opening night until the dinner show on Friday 10th August. He wore white jumpsuits at all shows. For opening night (August 6th - Monday) only, he wore the eagle designed white jumpsuit. The other suits had different designs. All the suits were beautiful, he never wore a cape coming onstage, only when he sang 'Can't Help Falling In Love'. His hair was swept back at the sides with a bit falling forward in the centre as in some of the photos from the Hawaii show. His hair usually stayed in place but at one show his hair got pulled forward when a girl pulled a scarf off over his head and a piece at the right side stood out for the rest of the show and it looked lovely.

I'm really no good at describing anything but i wish i could describe better how he looked. Anyway I'll tell you how the shows went..... The shows opened as usual with The Sweet Inspirations followed by Jackie Kahane who I grew to like as the week progressed. The Sweet Inspirations now include a tribute to Billie Halliday in their act, in between choruses of 'Lady Sings The Blues', they sing some of her songs and on a white disc above their heads they showed slides of Billie Halliday.

Opening night:- The '2001' theme was jazzed up almost beyond recognition. Every other night it was played straight. The curtains rose and after a minute Elvis walked on from the back of the stage. He walked up and down acknowledging the applause, took the black guitar from Charlie and went straight into 'C.C. Rider'. 'Trouble' followed - a better version than any I'd heard before, especially the way he now includes some high notes. (It's strange but when we were travelling to Vegas we discussed songs Elvis might sing and we thought it would be great if he included 'Trouble' - and we were right.) He then tossed his guitar to Charlie. For those who have never seen this before, Elvis stands about ten feet from Charlie and throws the guitar, almost not looking in Charlie's direction. at one show, following a gasp from the audience Elvis said he also worried about the guitar falling (I wish i could remember his exact words). The third song Elvis sang on opening was one he introduced as his new single. He didn't give the title and he fumbled some of the words which he was trying to read through a glass window on the ramp under his feet. Later he lifted up the window and held up the big card with the words of a song on it. He said it was a good idea but the light should have been turned on. Later we read the card and the name of his new single is 'Raised On Rock' and it seems biographical (We only heard this opening show, but it is a good song.) While singing 'Love Me' Elvis distributed scarves, handshakes and kisses. This was a big moment for us as he walked down towards where we were sitting at the far left edge of the stage, a woman in front of the stage got up and held onto him and kissed him, so he came no closer to us - as he had to return to the centre stage to finish the song. The effect he had on me, being so close was indescribable. I was shaking and choking and I wanted to cry for joy but I couldn't even do that. He is truly handsome when you see him so close and such a marvellous build. He was halfway through 'Steamroller Blues' before I was near normal again. 'What Now My Love' is spellbinding and it was on this song that I first realised the true power of Elvis' voice, I didn't notice then but later I saw him hold the microphone about six inches from his mouth and I felt ear plugs would be an asset if you didn't want your eardrums shattered. I would really love to hear him singing without a microphone because I'd say he could fill quite a space with his voice.

He then sang 'Blue Suede Shoes', a slower, more bluesy version of 'Memphis, Tennessee' and did a medley of 'Long Tall Sally' (Changing the words to "saw Charlie Hodge with bald headed sally"! Other nights he used JD - Glen D. and Joe Guercio), 'Whole Lotta Shakin' Goin' On', 'Your Mama Don't Dance', 'Flip, Flop And Fly', 'Jailhouse Rock', 'Whole Lotta Shakin' Goin' On'. He started 'Love Me Tender' and commented "I didn't mean to wake you James" to James Burton who came in late. Elvis walked to the front of the ramp and down the right side of the stage giving away scarves and kisses. He sang 'Hound Dog' and then 'Fever'. During 'Fever' they use lights to look like flames on the back of the stage and Elvis always comments saying "The whole place is burning up and we're all here laughing" or "The building is on fire" or something. He says to Charlie Hodge "What was that chick's name - Captain Smith and Pocahontas has a very sad affair, when her daddy tried to kiss - kill him" (laughs) "she said daddy oh don't you dare" - "he was a wierdo" (Wednesday Midnight Show 8th August only) One night he said about Pocahontas "Hate that name". The next song was 'My Boy' which was previously recorded by Richard Harris and which Elvis said he will record. One night he said "This is a new song for us, the words are good, listen to the words"

Though Elvis doesn't mention it the music is also exquisite and allows him to display his voice to the full, both its gentleness and power suspicious minds followed, as he went down into a half kneel he said "oh this floor is slippery" he performed the song much as he did in That's The Way It Is. I was disappointed when he didn't do the karate sequence but I suppose he decided he would leave it out after the men attacked him in February. When 'An American Trilogy' began the disc was let down and Elvis turning and seeing it but obviously not expecting it said "Good god, the moon is falling. wish they'd tell me these things". They showed slides of Abraham Lincoln, the declaration of independence, the American Eagle and other things, but I was busy watching Elvis. That was the only night the "moon" was used. When The Stamps sang "Oh i wish i was in dixie" Elvis said "wish you were too" but did the rest straight. Elvis sang 'Bridge Over Troubled Water' next, followed by 'How Great Thou Art' which was the highlight of the show for me. At one stage he came in so strongly that I literally jumped. ('My Boy' was my second favourite) Elvis then sang 'A Big Hunk O' Love' and 'Help Me Make It Through The Night' (the later at one show only though). Charlie then put on the cloak and we said "oh_no" as we heard the introduction of 'Cant Help Falling In Love'. At the end Elvis walked through the curtains and stayed out on the ramp for what seemed like ages though it was only thirty seconds. It was great to see him with all the house lights up, as the stage can be rather dark during the shows.

At the Dinner Show on Tuesday 7th August, Elvis stayed on the ramp after the curtains came down fully and so they took them up again. Elvis just stood there hands on hips smiling. I think his pals were getting very worried but Elvis went back to the stage when the curtain was up fully and just sat there on a chair in front of the piano. Then he got up went to the left side backstage. The curtains stayed up and the screams kept up where we were we could see Elvis still and he waved and everyone waved back. He started to walk back across the stage but the curtains were down before he reached the centre. The show was short that night, about forty-five minutes and the audience was very good but I think he had to finish then. After that the Sweet Inspiration's act was shortened.

At the Thursday Midnight Show Elvis' belt opened when he bent over to start 'Hound Dog' (which he sings like in Madison Square Garden) so he put the mic' in his mouth and fastened the belt but kept everyone screaming by trying to talk with the mic' in his mouth and weird sounds came over the loudspeakers. At different shows he included some of the following songs and left out some he sang opening night - 'I Can't Stop Loving You' (every other show, usually introduced by "You know what i can't do...") 'I Got A Woman' (during the 'Amen' chorus Elvis would get JD to take it down and JD Sumner would keep going down and down, very low then come back up like an air plane revving up and Elvis, still with the guitar on because it was always second song, would contort his body and roll his eyes in an exciting way then stand up again. The audience applauded JD then Elvis finished with "I've gotta woman way over town, she's good to me.") 'My Way', 'Release Me', 'Make The World Go Away', medleys of 'Teddy Bear'/'Don't Be Cruel' and 'Mystery Train'/'Tiger Man'.

On opening night Elvis wasn't really himself. Even from the minute he walked on he knew the audience wasn't really with him and they were pretty quiet but when he walked on the second night you knew this was going to be a really good show - and it was and the audience was with him. Each show there after is better than the one before. At Tuesday (7th) Dinner Show he said to the audience that there was a lot of talk about him being sick "I had a cold for two days and they made out it was bronchitis or pneumonia or cancer i'm still getting 'Get Well' cards - but I've been riding horses for two months" - At the Midnight Show same night (Tuesday) he made an announcement "I have been studying the art of Karate for about fifteen years, about a month ago I was awarded the degree black belt" The audience applauded "I just thought i'd tell you that there are ten degrees of black belt and when you reach tenth degree you're finished. You've had it. But i'm only seventh degree so I'm still active." That's Elvis - always joking. Ed Parker is now ninth degree. By the way I met him in Long Beach and he is a very nice man. He's Hawaiian which you wouldn't know till you hear him talk.

There's a lot more i could tell you all - We talked to Joe Esposito who said Elvis was meeting no one while his family was there. We saw Linda Thompson and met most of Elvis' backing group, some of the bodyguards, his father and stepbrothers and liked all except Linda (but maybe that's female jealousy). Elvis was recording in Memphis till July 24th and he took Lisa with him every night (as well as Linda). We also saw Lisa being driven around in a gold cart in the evenings. She's a dote and seems a real child, though she was always kept a distance from us. Elvis doesn't come to the gates at Graceland any more nor stop to talk to fans when going out. East Tupelo/Mississippi is a lovely place. I enjoyed my holiday very much.

*Some extra thoughts from Pauline on Vegas.. On Opening Night while singing 'Fever' Elvis sang "I light up when you call my name" then squeaked "Elvis". He also sang 'I Can't Stop Loving You' on Opening Night before 'An American Trilogy'...


August 7 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 7 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 8 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 8 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 9 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 9 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 10 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 10 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 11 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 11 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard (?)
       
C. C. Rider       Midnight Special° (sound booth recording)
I Got A Woman / Amen       Midnight Special° (sound booth recording)
Love Me       Midnight Special° (sound booth recording)
Steamroller Blues       Midnight Special° (sound booth recording)
You Gave Me A Mountain       Midnight Special° (sound booth recording)
Trouble       Midnight Special° (sound booth recording)
Blue Suede Shoes       Midnight Special° (sound booth recording)
Long Tall Sally / Mama Don't Dance / Flip,
_Flop And Fly / Jailhouse Rock / Whole Lotta
_Shakin' Goin' On / Hound Dog
      Midnight Special° (sound booth recording)
Love Me Tender       Midnight Special° (sound booth recording)
Fever       Midnight Special° (sound booth recording)
Bridge Over Troubled Water       Midnight Special° (sound booth recording)

August 12 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 12 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 13 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 13 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 14 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 14 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 15 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 15 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 16 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 16 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 17 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 17 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 18 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 18 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

August 19 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

August 19 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Midnight Special°° (sound booth recording - two microphones)
C. C. Rider       Midnight Special°° (sound booth recording - two microphones)
I Got A Woman / Amen       Midnight Special°° (sound booth recording - two microphones)
Love Me       Midnight Special°° (sound booth recording - two microphones)
You Gave Me A Mountain       Midnight Special°° (sound booth recording - two microphones)
Love Me Tender       Midnight Special°° (sound booth recording - two microphones)
Blue Suede Shoes       Midnight Special°° (sound booth recording - two microphones)
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Whole Lotta Shakin' Goin' On
      Midnight Special°° (sound booth recording - two microphones)
Fever       Midnight Special°° (sound booth recording - two microphones)
What Now My Love       Midnight Special°° (sound booth recording - two microphones)
Suspicious Minds       Midnight Special°° (sound booth recording - two microphones)
Introductions       Midnight Special°° (sound booth recording - two microphones)
Help Me Make It Through The Night       Midnight Special°° (sound booth recording - two microphones)
An American Trilogy       Midnight Special°° (sound booth recording - two microphones)
A Big Hunk O' Love       Midnight Special°° (sound booth recording - two microphones)
How Great Thou Art       Midnight Special°° (sound booth recording - two microphones)
Can't Help Falling In Love / Closing Vamp       Midnight Special°° (sound booth recording - two microphones)

August 20 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 20 1973 Dinner Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

Basically Elvis' shows have a fixed pattern in that he starts with a couple of rock numbers, includes a rock'n'roll sequence, some "kissing" songs for the girls, and finishes with 'Can't Help Falling In Love', but that does not mean to say that any two shows are the same. A lot of people who have read the list of songs asks if each show is the same as Elvis does some numbers for practically the whole season, but with Elvis this just can't be. It depends on the audience and it depends on how Elvis feels that show. We've had two completely different moods from Elvis on the same night. You never can tell what he's gonna do. So in order to keep this article from running on endlessly I'll give you a list of all the songs for each show and then pick out the important and amusing points.

'C.C. Rider', 'I Got A Woman', 'Love Me', 'Steamroller Blues', 'You Gave Me A Mountain', 'Blue Suede Shoes'/'Long Tall Sally'/'Whole Lotta Shakin' Goin' On'/'Mama Don't Dance'/'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Lov', 'Suspicious Minds', Intro Of Band, 'My Boy', 'I Can't Stop Loving You', 'An American Trilogy', 'Mystery Train'/'Tiger Man', 'Can't Help Falling In Love'.
((White suit, green inserts, green and white scarfs))

During one song Elvis looks up (at the funky angels?) and says, "Don't just look down on us, help us please!". When Elvis introduces 'My Boy' he says, "I'm going to sing a song for you, it's not my song, it's by Richard Harris, it's got good words - 'My Boy'". When introducing 'Love Me Tender', "I'd like to sing 'Love Me Tender' - I'd like to, I didn't say I was going to".

This show he spent a great deal of time over to the right, much to our disappointment, because we were sat to the left, but Wendy managed to get a scarf even so, Was 'Tiger Man' really Elvis' second record? - he keeps saying so.

At one point Elvis went onto the ramp and a girl said something to him, to which Elvis replied, "I'm here to sing honey, I can't stand here talking all night". We took this as a joke but obviously not everyone has Elvis' sense of humour and we did overhear someone telling a woman who hadn't been at the show that Elvis had been off-hand when he said this.

An in-joke between Elvis and the group seems to be over JD. During 'Long Tall Sally' at most of the shows Elvis substitutes, "I' saw JD with 'Long Tall Sally', caught ya"! Before the show started we had placed a small Union Jack in the candle holder and fixed this at the end of our table next to the stage. When Elvis came out and stood in front of us at the beginning of the show, he looked down, smiled and nodded. An acknowledgement? We certainly think so.


August 20 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
C. C. Rider       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
I Got A Woman / Amen       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Love Me       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Steamroller Blues       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
You Gave Me A Mountain       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Trouble       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Blue Suede Shoes       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Jailhouse Rock / Hound Dog
      Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Love Me Tender       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Fever       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
What Now My Love       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Suspicious Minds       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Introductions       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
My Boy       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Release Me       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
An American Trilogy       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Mystery Train / Tiger Man       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Help Me Make It Through The Night       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
How Great Thou Art       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Can't Help Falling In Love       Las Vegas Hilton 1973 CD1 (FTD)°°~A Profile The King On Stage
Volume 1 CD1°° (sound booth recording - two microphones)
Closing Vamp       Las Vegas Hilton 1973 CD1 (FTD)°° (faded)+A Profile The King On
Stage Volume 1 CD1°° (sound booth recording - two microphones)

Review

August 20 1973 Midnight Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C. Rider'', 'I Got A Woman', 'Love Me', 'Steamroller Blues', 'You Have Me A Mountain', 'Trouble', 'Blue Suede Shoes'/'Long Tall Sally'/'Whole Lotta Shakin' Goin' On''/'Mama Don't Dance'/'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Love', 'Suspicious Minds', 'My Boy', 'Release Me', 'An American Trilogy', 'Mystery Train'/'Tiger Man', 'Help Me Make It Through The Night', 'How Great Thou Art', 'Can't Help Falling In Love'.
((White suit, blue inserts, blue and white scarfs))

Bob Hope was in the audience this show and Elvis sang, "I saw Bob Hope with Long Tall Sally". Also we noticed during 'Fever' there was a screen at the back of the stage and names were projected onto this which gave a very good atmosphere.

At the end of 'I Got A Woman' Elvis always does the 'Amen' ending, this gives JD a chance to show off his very deep voice, once Elvis decided that JD hadn't done this as well as usual and asked him to do it again.

As Bob Hope was in the audience Elvis introduced him to the audience and paid tribute to him by singing 'How Great Thou Art', dedicated to him.


August 21 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 21 1973 Dinner Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C. Rider', 'I Got A Woman', 'Love Me', 'Steamroller Blues', 'You Gave Me A Mountain', 'Blu Suede Shoes'/'Long Tall Sally' (JD)/'Whole Lotta Shakin Goin' On'/'Mama Don't Dance'/'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Love', 'Suspicious Minds', Intro Of Band, 'My Boy', 'Release Me', 'An American Trilogy', 'Release Me', 'Mystery Train'/'Tiger Man', 'Help Me Make It Through The Night', 'Can't Help Falling In Love'.
((Black suit, red inserts, red and white scarfs))

Again Elvis said he would like to sing 'Love Me Tender', he would like to but wasn't going to. Of course it was obvious to those of the who had seen a previous show that Elvis was teasing, because he knew the girls were waiting to be kissed during this number.

After introducing the band Elvis was handed a piece of paper which was to tell him Rod Steiger was in the audience, Elvis said he would like to tell everyone that Rod Sterly was here, then he read the note again and said it was spelt wrong and of course he meant Rod Steiger, he blamed his error on the fact that he'd just got up, and after singing 'My Boy' he apologised to Rod Steiger and said of course he was his favourite actor, which most Elvis fans will know.


August 21 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 21 1973 Midnight Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C. Rider', 'I Got A Woman', 'Love Me', 'You Have Me A Mountain', 'Blue Suede Shoes'/'Long Tall Sally' (JD)/'Whole Lotta Shakin' Goin' On'/'Mama Don't Dance'/'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Love', 'Suspicious Minds', Intro Of Band, 'My Boy', 'Release Me', 'An American Trilogy', 'A Big Hunk O'love', 'Help Me Make It Through The Night', 'Can't Help Falling In Love'.
((White suit, blue inserts, blue and white scarfs.))

This show Elvis pointed at Charlie when he sang "Your mama dan't dance and your papa don't rock 'n' roll". (Elvis handed a lolly? during 'Love me tender')


August 22 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 22 1973 Dinner Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C Rider', 'I Got A Woman', 'Love Me', 'You Gave Me A Mountain', 'Blue Suede Shoes'/'Long Tall Sally' (JD)/'Whole Lotta Shakin Goin' On'/'Mama Don't Dance', 'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Love', 'Suspicious Minds', 'My Boy', 'Release Me', 'An American Trilogy', 'Teddy Bear'/'Don't Be Cruel', 'Can't Help Falling In Love'.
((Wite suit, red inserts, red and white scarfs))

During 'Blue Suede Shoes', Elvis substituted "black suede shoes". Each show we saw Elvis was fooling round more.

During 'My Boy' he must have sang the wrong words because Elvis stopped singing, he either said something about "stop the god damned song" or that he was singing the wrong god-damned words!. He stopped, started the song again and then at the end he said, "I'll let you into a secret, I goofed it up, not them, but I'm not taking the blame". When he stopped during the song, he looked annoyed, not with the group, but himself, however by the end of the song, he'd got over it, and was fooding around again.


Review

August 22 - September 3 1973
Review by Christine Colclough - Elvis News Service Weekly, Issue 120-21 (September 1973)

I saw all twenty-seven shows between August 22nd and September 3rd. Elvis was in a very good humour for almost every show and compared to the twelve shows I saw between August 17th and 22nd last year, he seemed much happier and to be enjoying the shows much more.

He looks fantastic. In weight he's between Aloha and Elvis On Tour and he has a tan. His hair is long enough for pieces about three inches long to come over his collar, and he begins the show with it combed back and his ears showing. Later his hair seems to part naturally in the middle and his ears get covered up.

Somehow, close to, he looks different; he looks extraordinary; his skin is a smooth even colour and he reminds me of a beautiful ripe peach, although it sounds a silly description. I used not to believe it when people wrote that no picture ever did Elvis justice, but it's true. He's the most beautiful man I've ever seen.

He wore seven different jumpsuits, but no capes this time. Two suits were black, one with red inserts and stones, and one with green, the design formed by dense curling patterns of gold studs. In the green and black he said, "Pancho Vila's here", thinking he looked like a Mexican Bandit it seems. The rest were white jumpsuits. One had dark blue and silver stones and studs in star shapes, a big star on his back; another had turquoise and gold stones in a flower pattern with curving gold stems; and another had brown stones and gold studs with tiger skin inserts! The sixth had stones that reflected blue and green like the leaves of the gold stud stems, and green inserts; and the one he wore for the closing show. It had multicolour reflecting stones and geometric gold stud patterns and bright red inserts. All the suits were worn with the appropriate coloured scarf, but he would have white ones too. He kept saying to Charlie, "I don't like white scarves. I want a blue, (green, red) one," making him swap them, or he would accept the white scarf but give Charlie a silent disgusted look.

The Midnight Show, September 1st he came out wearing a very thick, twisted gold chain, secured in front by a little shield with his initials on, about six inches above the two tasselled ends of the chain. He wore this every show until the end, in spite of being told, he said, that it was too heavy to wear on stage, and in spite of deciding to take it off half way through one show. He said it was a "favour" from the hotel for doing the 3am show on September 2nd. He wore this, a scarf, a TCB and a silver coloured ankh, or life symbol, each show from then on.

The first show I saw, I thought Elvis looked rather reserved and pre-occupied, and he muddled the words and tune of 'My Boy' and had to start it again. He said at the end that it was him and not the band that was wrong. However, every show after that was great and he had many standing ovations, not only from the whole of the audience at the end of nearly every show, but particularly for 'Bridge Over Troubled Water' and 'How Great Thou Art'. He would repeat the endings of these in response to the applause and really enjoyed these two songs. He would stamp his feet up and down, rocking from foot to foot and look delighted with the audience and himself and say, "I like that", and everyone on stage would beam at his obvious enjoyment of it all.

He was full of fun for the most part of the two weeks. Often there would be a continuous stream of verbal and visual jokes which he only checked on the serious songs by making a special effort and then not always with complete success. He would give numerous meaningful signs and looks at Charlie and the people in the wings, including Red, Sonny and Lamar and particularly enjoyed changing the words of the songs. He sang, "Cats were born to give you fever, be it alley-cats or siamese", and this verse which was spontaneous judging by the groups reaction - "Myrna Smith and J.D. Sumner, Had a very mad affair, When their wives and husbands caught them, Saw nothing but teeth and hair."

On 'Long Tall Sally' he would always include the names of people in the group: "I saw Charlie Hodge and J.D. Sumner".

He sang odd fragments of a number of songs, including 'Lady of Spain', 'Hail Mary' ('Miracle Of The Rosary'), 'What A Friend We Have In Jesus' in an effort to get serious before doing 'My Boy', and a bit of 'Jailhouse Rock' which he gave up after a line or two. He also sang 'Adios A madres, bye bye Poppa too' in the middle of 'Love Me Tender' in the last show, lying on his back, with Charlie covering his face in white scarves.

The Sweet Inspirations were always calling out for 'Old Shep' when Elvis sang requests towards the end of some shows (although he always chose 'Heartbreak Hotel', 'What Now My Love' or 'Teddy Bear'), and he would answer, "'Old Shep'? I don't want to do 'Old Shep'", in a tone of disgust.

Every show he was given gifts of all kinds. He got more soft toys than anything, one of which he threw to Lisa. One show he was given a little dress in pink and an orange shawl and he said, "I don't think it's my size" and "Is it for my little daughter?" and the next night Lisa wore them both. He was also given roses and pictures of himself, and once he said of the toy and flower he was holding in his left hand, "I don't know if it's a rabbit or a rose".

He was given a hideous pair of spectacles with bloodshot blue eyes in the frames, blinking open and closed as he moved. He liked these and wore them for a little while, holding his head up so he could be seen properly, but they were horrible things.

One girl gave him a red garter which he wore round his head and across his nose, and then as a band round his forehead, which suited him, and he also picked up a huge pair of pink silk bloomers with messages written on them, which he accused Charlie of leaving around carelessly.

Elvis also enjoyed playing with the water and gatorade. J.D. got the water down his back quite often as Elvis came on stage, and then there would be some hasty mopping up in the wings. ''What are you doing, J.D.?" Elvis said. Poor Charlie got a glass full straight in the face from a distance of about a foot, which surprised everyone because Elvis was talking quite seriously, and even looking a bit cross at the time, and you'd have thought he was far from any prank like that. Unpredictable is certainly the word for him.

Another time he came out holding a Mountain Valley Water bottle having thrown half at J.D., and Charlie got the rest sloshed over the front of his pants, but took it very well, I thought.

He threw a lot of water at Glen too, and one show said Glen had brought all his gear and music to him the night before and said he quit because Elvis was going to throw no more water over him. So that show Elvis threw the gatorade as well as the water.

He had a number of other favourite tricks. He liked to make two goofy teeth out of his guitar pick and pose for a second for us to see them in Fever, or he would show them to the Inspirations who react ed by collapsing in laughter, or sorrowfully shaking their heads at him, or by imitating his circling motion with his forefinger by his head, indicating that he's crazy.

In 'Suspicious Minds' Elvis often screwed up one eye and poked the microphone at it repeating "Would I, would I, (still see suspicious........)" seeming to mean "Wood eye, wood eye." He once screwed up one eye like this and opened the other wide acting out "once I could see", and then circled his fingers around in the air for "once I could feel". His face when he played around like this is indescribable. I've never seen these expressions of his in films or pictures. He has a very mobile and delightful face, and an endless supply of most endearing expressions.

Lisa was there for nine consecutive shows, and Elvis introduced her every time. He would say, "My little daughter's here. She's about five years old," and she stood up and turned round with her head on one side and let the audience look at her. Elvis would stand with his head on one side too and beam at her and say, "It's way past your bed-time, you know that, kid", or "Don't try to upstage Daddy," or "She's a bigger ham than I am," and once, "She's ...... she's a winner."

Twice people shouted from the balcony that they couldn't see her and he'd tell her to stand up again. She looked a very small figure, with her long, very fair hair and fair skin made even lighter by the powerful spotlight.

She got a lot of applause, and so did Elvis' Dad whenever he was introduced. He would stand up from the booth or from his seat at the end of the stage with the bodyguards, and smile broadly and wave his arms above his head. Elvis grinned at him and usually said, "Now you know why I'm crazy", and once "No, I love him."

The last show, he introduced Linda, who was sitting between the stage and the ramp. He introduced her as "a friend of mine" and held her arm in the air as he does for Kathy Westmoreland. She came to every show and always looked very happy, and very beautiful too.

The first big surprise dreamed up by Elvis came with the 3am show of September 2nd. He apparently felt like doing a wild show and entered to the shrieks of the astonished audience, riding on poor Lamar's back. Lamar set him on his feet and Elvis attempted to do 'C.C. Rider' and 'I Got A Woman', but found it difficult because he was laughing so much. His laugh of course makes the audience laugh too. He has a very infectious sense of humour. I was told he was given and wears a bracelet like the gold one with "Elvis" written on it in diamonds, only this one doesn't say "Elvis", it says "Crazy". Now you know why.

But the best examples of his wild sense of humour were in the last show. When held entered on Lamar's back at the 3am show he'd said when he'd recovered a little, "How do you follow an entrance like that?" Being Elvis, he thought of a way. For the very last show Elvis rode Lamar and a monkey rode Elvis, a brown monkey with its long arms around his neck and its feet dug into his shoulders. He sang the whole of 'C.C. Rider' and 'I Got A Woman' wearing the toy monkey, ignoring it sometimes until you began to wonder if he'd forgotten it, and if so what the effect would be when he got to 'An American Trilogy' and 'How Great Thou Art', and then he suddenly turned his head to give it a severe look and say "What are you doing?" I don't think I can convey how funny that was just in words. You'd have to have seen the look on his face.

When J.D. got to his sliding bass note at the end of 'I Got A Woman', Elvis held the microphone back to the monkey as if it was him singing and bent right down and screwed up his eyes as he always did for JD's little solo, making sure the microphone was close to the monkey's mouth at all times. He said, I think intending a pun, "It's not a monkey, it's an ape". He sang, "He knows a monkey's place is right there in the home" and "He's there to love me, all day and night, no grumbles or fusses, just treats me right."

When Charlie unstuck the monkey's hands from Elvis' collar, Elvis said to it, "You all right?" sounding quite tender and sincere, and earlier when jerking to Ronnie Pitt's drumming in 'C.C. Rider' he said over his shoulder, "Hang on, kid."

He really enjoyed playing with the monkey. He cradled it in his arms and looked into its eyes and sang to it, fought it off his leg, and said, "Good evening, ladies and gentlemen and animal lovers. I brought one of my relatives with me", and "I'm in trouble if he wants to go to the bathroom."

The next episode was his rendition of 'What Now My Love' performed wallowing on a bed, pushed from the wings by Sonny. The headboard was towards me and I couldn't see exactly what was going on, except that he seemed to by lying first on one side and then on the other very restlessly. and beating up the pillow in some anguish with squeaks of "Where's she gone? Where's she gone?" Surprise is an understatement for what some of the audience unfamiliar with Elvis' nature must have felt!

Next the orchestra played 'Suspicious Minds' and Elvis sang 'Bridge Over Troubled water' both sticking doggedly to their song in spite of the efforts of the other. Elvis turned back and sang "I'm on your side" very loudly and emphatically in mock annoyance as if they'd failed to notice what song he was doing. He was really funny - he really has the authentic touch of a natural comedian, Then he stopped and they all did 'Bridge Over Troubled Water' together, until Elvis forgot the words, and everyone else on stage filled in for him singing in unison in bar-room style while Elvis stood and said, "Listen to them amateurs. No, that's not right", and finally "Very nice", but at this point I think he wanted the limelight back again! He didn't look all that pleased.

Then a girl gave him a Summer Festival boater, which he put on and took off, unsure of it, and then put it on again and gave us a bit of a soft shoe shuffle before returning it to the girl and deciding, "It's not really me."

He was given a six inch high blue mouse which he tucked inside the front of his suit where it sat looking out as he sang 'I Can't Stop Loving You'. He always did a fantastic ending on this, bending right down to the floor, and really singing hard. His voice was incredible.

In 'Suspicious Minds' he did three knees bends, introduced The Stamps as The Stumps, and then improvised an extraordinary 'Hound Dog' ending in improvised sounds rather than words, performed bent over, knees bent and somehow moving over the stage. The band picked this up and "jammed" the ending, and Elvis said they hadn't rehearsed it at all, they "just did it." 'Adios A Madres' in the middle of 'Love Me Tender' was in this show too.

He was given a cape with "I still love Elvis" on it in sequins and he wore this over his right shoulder for a while, so that the message showed and he and Charlie held up a banner from the front row saying, "We've come from Holland and we're going to see Elvis".

Then in complete and amazing contrast, Elvis suddenly went dead serious and dedicated 'Tiger Man' to the "Hierarchy" of the hotel who were going to fire one of the employees as soon as Elvis left - "And I don't want them to." He sang it really viciously and said "I think the hotel's bigger'n that."

He then had Charlie bring over his blue chair and he suddenly collapsed onto it and put his head back looking exhausted. The audience laughed, not suspecting what was to follow. He sat up and said he wanted to tell a little story - about a man in Florida who was dying of cancer. A spoken version of 'Softly As I Leave You' followed with the Orchestra playing the tune almost imperceptibly, and Elvis put his hand before his eyes and spoke the words, and told the story so emotionally that I think he frightened the audience. There was absolute silence from them and just Elvis' husky voice. The effect was extraordinary although the whole thing couldn't have lasted more than a minute. Nobody else could produce such astonishing contrasts in a show or control the emotions of the audience so completely. He held them absolutely riveted, almost awed.

The applause for 'How Great Thou Art' which came next was so great that he did two repeats of the last part of the song, and then with 'Can't Help falling In Love' the entire audience was on its feet yelling and waving and applauding, everyone from the front row to the very back of the balcony. Just to round everything off properly he rode away on Lamar (but without the monkey) but came back again on his own feet and had the curtain taken up again so that he and the audience could acknowledge each other properly. He and Charlie distributed scarves like a conveyer belt, and then Elvis and the guards stood in an uneasy row, Elvis still smiling but looking sideways, ready for his final exit, and at last they all grouped round him and ran off together. Down came the gold curtain, and suddenly it was all over.

After hauling your emotions up and down like this, he leaves you feeling drained and exhausted, and because this was the last show you have a sad, hollow feeling too. Who knows when you'll see him again?

But on the positive side you feel even greater pride in him and affection for him than ever, having seen him work so hard and put such a lot into his shows. The fascinating thing is that there's very little veneer of artificiality to his performance. He presents himself, and he's a very endearing man, in any mood.

 

August 22 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 22nd
A girl gave Elvis an ankh or Egyptian life symbol, and put it over his head. The chain was only just long enough so that the ankh stuck on his nose and he wore it like that for a little while before pulling it down round his neck properly. The girl held the ankh out to him for a while and he pointed to her to let her know he had noticed her, as he would do to most reasonable looking people who were trying to attract his attention. The very wild or excited ones he had to stay away from for fear of being hurt.

He was also given a star of David on a chain and he looked puzzled before accepting it, although a photograph taken by Judy Palmer at Spokane, Washington, April 28 1973 shows him wearing one, so one wonders why he looked doubtful.

He was given two lots of roses, I think just single ones in paper, and one of these he unwrapped jerkily in time to 'Love Me' and showed the audience.

He held out his hand to Charlie for water in the middle of 'An American Trilogy', and at other times for scarves Charlie put about 3 scarves on him at once for 'Fever', to save him or Elvis going to and fro.

In 'Suspicious Minds' he did his karate exercise knees bend, but only went down onto his left side, and he would nearly always bounce up and down very slightly to the music before getting up again.

The body guards in the wings moved in anxiously during 'Can't Help Falling In Love' and Elvis' father was stamping his feet up and down as if he was tense, or cold.


August 22 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 22 1973 Midnight Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C. Rider', 'I Got A Woman', 'Love me', 'Steamroller Blues', 'You Gave Me A Mountain', 'Blue Suede Shoes'/'Long Tall Sally (JD)/'Whole Lotta Shakin' Goin' On'/'Mama Don't Dance, 'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Love', 'Suspicious Minds', Intro Of Band, 'My Boy', 'Release Me', 'An American Trilogy', 'A Big Hunk O' Love', 'Can't Help Falling In Love'.

((White suit, blue inserts, blue and white scarfs))

At the end of 'I Got A Woman' JD did his bass part and Elvis said, "He stayed right down there boy". After 'You Have Me A Mountain', Elvis changed mic's, he didn't seem satisfied with the one he was using, then he said, "is that better Bill".

Someone decided to throw some panties on the stage during 'Love Me Tender' and during 'Fever'. I think someone gave Elvis a cigar.

While singing 'Suspicious Minds' Elvis said, "I hate this song", but he continues to do it.

 

August 22 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 22nd
In 'Fever' he was given a pen and paper to sign, and he held the pen in his mouth pretending it was a cigar, and doing a gangster pose for a second.

During some song he snorted down the microphone - on purpose; I think he was in the last stages of amusement over something.

He either did or pretended to have knocked his nose on the girls he kissed. J.D. helped him to get away from some over-jealous fans, and got tangled up with Elvis and the microphone lead.

He often wore Band-Aids on his fingers to prevent his rings rubbing, and towards the end of a show he would start picking at the Bank-Aids with the fingers of the same hand. This show he bit on the edge of the Band-Aid, tore it off and spat it out. I collected it later and it was wet with sweat, so must have been irritating.


August 23 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 23 1973 Dinner Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C. Rider', 'I Got A Woman', 'Love me', 'You Gave Me A Mountain', 'Blue Suede Shoes'/'Long Tall Sally (CH)/'Whole Lotta Shakin' Goin' On'/'Mama Don't Dance, 'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'How Great Thou Art', 'Suspicious Minds', Intro Of Band, 'My Boy', 'Release Me', 'Something', 'An American Trilogy', 'A Big Hunk O' Love', 'Can't Help Falling In Love'.

((White suit, blue inserts, blue and white scarfs))

This was a remarkable night for us, not only did we see Elvis backstage, but everything else seemed to be happening in the shows.

Sylvia came out for the first show sat down, something she never did. Whilst we were backstage we saw the doctor leave and we were sure he had been to see Elvis, but Elvis said Sylvia (The Sweet Inspirations) was sick and had gone to hospital so she didn't come out when Elvis was on, though she was back for her own spot in the dinner show and again not Elvis'.

We never did hear what happened after that but hopefully she was able to finish the season.

This show we really thought we had Elvis' attention, was it because he'd seen us backstage just before?

Normally he is a little less playful during the dinner show, but later we realised it was because Linda Thompson was in the audience, she hadn't been at the previous shows we'd seen, so it just shows that she does have a good effect on Elvis.

He again looked at Charlie during the rock medley. We noticed Elvis made a point of looking over to our table and this really made our day, luckily we were next to the stage. Wendy got kissed during 'Love Me', and Helen during 'Love Me tender', unfortunately Maggie and Lesley didn't make it this show but Lesley had got to Elvis a few times at previous shows so we did very well really as Elvis did come to our table twice in one show.

Elvis said, "I'd like to sing this for Linda, she likes it" and he went into 'Something'. From this time on he looked over to Linda a lot and really seemed to be enjoying the show.

 

August 23 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 23rd
He blew away a bit of fluff floating round the microphone.

Charlie twice got a scarf over the top of Elvis' head instead of round his neck, and was given a look for doing it wrong.

He was given a framed copy of the picture from the back of the second souvenir photo album, and he held it in front of his face for the audience to see.

He said "Thief" to a woman who stole his scarf while he was kissing someone else.


August 23 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 23 1973 Midnight Show
Review by Wendy Murton & Friends - Elvis News Service Weekly, Issue 123 (October 10 1973)

'C.C. Rider', 'I Got A Woman', 'Love me', 'Steamroller Blues', 'You Gave Me A Mountain', 'Blue Suede Shoes'/'Long Tall Sally (JD)/'Whole Lotta Shakin' Goin' On'/'Mama Don't Dance, 'Flip, Flop And Fly'/'Jailhouse Rock'/'Hound Dog', 'Love Me Tender', 'Fever', 'What Now My Love', 'Suspicious Minds', 'The First Time Ever I Saw Your Face', 'An American Trilogy', 'Release Me', Mystery Train'/'Tiger Man', 'Can't Help Falling In Love'.

I presume these last two should have been written down but I think Lesley was writing them down and she was so upset that it was our last show she just couldn't manages it. Never mind. I do remember 'Can't Help Falling In Love'.

There was no chance of anyone making a last dash to Elvis, all the boys were on the stage, especially Sonny West who seemed to keep an eye on the ever-dashing Lesley and Maggie.

At the end of 'C.C. Rider' Charlie nearly missed the guitar which Elvis throws at him every show, but he did manage to catch it. He said something about having nineteen fingers on one hand and being clumsy. Poor old Charlie he seemed to come in for a lot of leg pulling.

At one show, possibly this one, Elvis sang a song for the Thompsons, (Linda's folks?) and Dee etc, we didn't catch the rest of it, but I think he sang 'The First Time Ever I Saw Your Face'.

 

August 23 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 23rd
He was given a single yellow rose, some of whose petals dropped off the moment he took it.

He tried to put a flower he was given behind his ear but didn't seem able to get it to stay.

He got Charlie to go over to him in 'Fever' to give him scarf, but Charlie went without one and had to go back. Elvis said, "Come here, Charlie", "Scarf", and "Got One,"

A girl offered Elvis a note while he was on the ramp for 'Fever' and he turned away with his head in the air pretending virtuously to ignore her.

Linda sat between the stage and the ramp - the best seat in the house - and Elvis gave her one or two puzzled and meaningful looks.

His father was in the audience, and went out in the middle and then came back again.


August 24 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 24 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 24th
Elvis went to give Charlie a playful kick, and Charlie looked as though he was taken by surprise.

He missed out 'Flip, Flop And Fly' to my disappointment; a mistake, I think. His nose was knocked again by the girls kissing him.


August 24 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 24 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 24th
Elvis was given a very heavy huge lollipop, more than a foot across, in yellow and pink swirls. Apparently the Americans called a lollipop a "sucker" and Elvis said, "That's the biggest sucker I've ever seen - in candy, that is."

Elvis thumbed his nose to Red in the wings. He was always looking at Ned and laughing at him.

Elvis teased Estelle, doing something to her as if she was a fan. I think he held out his hand for her to touch, or some trick like that.

Lots of girls got up on the stage, and one girl resolutely got up onto the end of the ramp, marched up the length of it to Elvis and kissed him, and marched back again. Elvis keeps saying he can't see the audience because of the lights, and at the end of his song he said he couldn't see her at all until she was right up in front of him, and it was like a ghost suddenly looming up before him.

After another attack by a fan he pretended to be putting his nose straight, and when a girl somehow managed to approach him from behind he was a bit scared - she made him jump, I think. The audience yelled "Look out" so he probably wondered for a second what was coming.

He began a song wrongly, or the orchestra did, and he asked Joe Guercio in mock sarcasm if he could help him (instead of hindering, i.e.)


August 25 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 25 - 28 1973
Review by Kalia Yiannakis - Elvis News Service Weekly, Issues 119 & 120-21 (September 1973)

I arrived in Las Vegas on 25th August with my Mother (we had already spent three weeks in the States, visiting my brother in California.) We spent four days in Vegas and saw four Shows, although I don't need to tell you that four Shows were not enough for me! Anyway, after queuing for an hour in the morning of the 25th merely to reconfirm our reservations (they weren't answering the 'phone), and then another three hour wait in the afternoon, we finally entered the Showroom at 6.00pm for the Dinner Show - although the show wasn't to start until 8.00pm!

Well, at long last the lights dimmed, the golden curtains went up and the Orchestra started plaving. About a minute later the Sweet Inspirations ran out on stage dressed in white satin trouser suits. They were good and performed for fifteen minutes. At 8.15 Jackie Kahane came on, and much to my surprise proved to be quite funny! He joked about Elvis a couple of times saying things like : "You know the fans love me; when we arrived at Chicago (I think) two-hundred screaming females ran at me and knocked me to the ground ....... You don't believe me? Ask Elvis, he was standing right behind me. I like Elvis, he's a good kid. I take him everywhere with me."

Anyway at about 8.29 he finished his act to a warm reception. The house lights dimmed again and the orchestra began playing the powerful '2001' Theme - 'Thus Sprach Zarathrusta'. It was the original version and not the arrangement that we heard in some of the openings in Elvis On Tour. Whilst it was playing a spotlight illuminated the words "Elvis: Now" on the curtains. The audience was always quiet during this and only started to clap and cheer when the last note was being played. Then the familiar drumming began, the curtain rose and a great cheer and roar went up in the audience. About thirty seconds passed before Elvis came on stage, but as soon as he came out, the cheering and clapping intensified threefold! It was very moving! Elvis walked out very slowly and looked almost shy! He smiled, walked to the centre of the stage and half-way down the right-hand side, then back to Charlie Hodge, put on his guitar, walked over to the mike, tilted it back and went straight into 'C.C.Rider'. As in Elvis On Tour, Elvis fiddled around with his left ear, which he always seems to do when he's a little nervous. 'C.C.Rider' was the opening song to all the four shows we saw. Elvis also wore a white jumpsuit at all the shows, minus the cape, I'm pleased to say, for I thought it was making his outfit look far too extravagant. He also wore a collection of white, blue, red and golden scarves.

I'm sorry to say that when Elvis first walked on stage, it really did look as if he had just got out of bed! His hair was a little untidy, he had very heavy bags under his eyes, and he sounded out of breath when he first spoke and sang. He gave the impression throughout this performance that he was just too tired to put on a really powerful act. He did, in fact, keep joking "Oh, Lord, give me some more sleep" or "Oh, Lord, it's too early in the morning!" He then went straight into 'I Got A Woman', with the 'Amen' part included. After JD Sumner sings base (which incidentally makes the showroom vibrate!), Elvis pauses for a while whilst the audience applauds, and then he finishes the rest of the song. On the 28th at the Dinner Show he wasn't too pleased with JD Sumner's performance and said "He can do it better than that, really," and he asked JD to do it again. After 'I Got A Woman', Elvis thrusts the guitar to one side (As he did in That's The Way It Is, after singing 'That's All Right'), takes it off and throws it to Charlie Hodge almost without looking. Elvis then thanked the audience for coming and said "I hope you enjoy our show this afternoon!" As you will know it must seem like afternoon to Elvis because he doesn't get up until a few hours before the show. He then went into 'Steamroller Blues', which I thought did not sound quite as good as on the Hawaii show, He hardly moved during this song, but after singing "I'm gonna roll all over you" he gave some arm jerks to the following beats.

In between songs - and during singing as well though - Elvis kept laughing and exchanging private jokes with his backing group. As one Elvis fan put it "He got an attack of the sillies." Anyway, the audience didn't always respond too well to this because obviously they did not know what Elvis was laughing about. If Elvis had just been entertaining a showroom of fans, this would have been O.K., but there were many people there who were seeing him for the first and maybe only time, so obviously they could not understand why he was behaving like this and breaking up the songs by laughing - it became a little irritating at times, and I think Elvis sensed this because he fooled around relatively less in the second half of the show. However, he did give the impression of indifference towards his audience. He was tired, he was in a good mood, but a mood which seemed to make him say "Look, I can't really be bothered to entertain you to-night." At one point when he was laughing a lot and the audience wasn't responding he said to The Sweet Inspirations, "Come on, straighten up, these people have come to judge us" almost implying that he was fed up of trying to prove himself to people.

However, he did sing 'You Gave Me A Mountain', without any interruptions, and he sang it well. Actually I've never seen or heard a performance of his when he hasn't sang it well. He obviously takes the song seriously. After this song he moved onto the ramp, the lights dimmed, and a pink spotlight shone on Elvis as he started singing 'Fever' - it gave a very good effect. At this Dinner Show Elvis didn't take this song at all seriously (he didn't at the other shows either, but on the 25th he really fooled around with it). He started laughing as soon as he sang the first word! And then he continued to break up the song in this way, either by laughing or making some funny comments. Even though I would have liked to have seen him do this song straight - just once - as on the Hawaii Special, it still was very entertaining seeing him perform it. Because he was making his jokes here generally, the audience responded well, because they knew what he was laughing about, unlike earlier when he would say something to his backing group and then they would all laugh together. For example, at the drum beats in 'Fever', Elvis would shake his legs and then he started slapping them saying, "Hey, quit, quit, it's too early yet!" He was obviously parodying himself, but at least the audience could share in the laugh this time. Another time Elvis shook his legs and a girl started screaming - he stopped, and looked down at his legs to see what she was screaming about! That was very amusing.

I can't remember the order of the songs after this (it was such a shock watching Elvis that I don't know how I even remembered this much!) Anyway, I'll tell you the songs he sang and any interesting things connected with them (or at least I should say the things I remember, as there were a lot of interesting things!) At this point I'll just mention that George Hamilton was in the audience and Elvis introduced him, saying that he had recently played in 'Evel Knievel' and that The must have been crazy!"

Before singing 'My Boy', Elvis drank some water and said he would like to sing a song that was recorded by Richard Harris and that it "might be my next recording" (applause). He gave an excellent performance on this song at all Shows. This was the only song, in the shows that I saw, which he never laughed in or fooled around whilst singing.

Before singing 'Love Me Tender' Elvis said, "I'd like to do a medley of one of my records for you", but I don't think everyone quite caught that. Whilst singing, he gave away scarves and kissed a couple of girls by the stage. One girl actually got on stage and hugged him - he hugged her back. Unlike in That's The Way It Is and Elvis On Tour, Elvis kissed very few girls, at the most, three a show, and no long lingering kisses either. But he did give away a lot of scarves - what a substitute!'. 'Blue Suede Shoes' and 'Love Me' were also sang, with Elvis laughing now and then. When he started 'Love Me', he began far too low and both he and the audience laughed, then he began it properly again, Also included in this show was 'Whole Lotta Shakin' Goin' On', 'Your Mama Don't Dance', 'Flip, Flop And Fly' and 'Jailhouse Rock'. The Medley was sung well, but Elvis did not move at all during the singing.

Just after half-way during the Show, Elvis said "This is the part of the show where we do some of the songs that we like, all sorts of songs ......" He sipped some water and went straight into 'The First Time Ever I Saw Your Face', a much more powerful and better version than the one on the B-side of 'An American Trilogy'. We were then treated to 'Mystery Train'/'Tiger Man', with the same flashing lights as we saw at the start of That's The Way It Is, with Elvis shaking his shoulders - very effective. Before singing 'I Can't Stop Loving You', he went over to drink more water and whilst drinking Glen Hardin started on the piano and Elvis gulped and said, "Hey, they expect me to sing and drink at the same time!"

Elvis gave a very good performance of 'Bridge Over Troubled Water', without any fooling around. Although I was told that on the 27th August at the Dinner Show when he sang "Oh, lay me down" he got down on the floor and was singing lying on his back). He was given a good applause for the song and at the end Elvis said "That's a beautiful song, just beautiful", and he sang the last verse again. During 'Suspicious Minds', he again gave out scarves and generally teased the females along the stage. As one over-eager girl was pulling a scarf off he said, "Hey honey, be careful!" She practically took his head off with her! At one point when he was singing the song he substituted the words "I'll never lie to you" to "Oh, Lord how I hate this song!" He also went down in that position where he bends one knee and then outstretches the other leg and said the well-known phrase "I hope this suit don't tear up baby!"

Elvis sang two more songs during this show but would you believe I can't remember which they were! I think they were 'Don't be Cruel' and 'Teddy Bear'. I made a note of the songs and happenings after each show and I listed these two, but as I couldn't remember anything in connection with them, I thought I might have been mistaken. What I am sure of, is that he sang 'Can't Help Falling in Love'. Elvis had been on for an hour, although it seemed like only five minutes! Before the closing song he said something which I only caught the first half of: "if we've made you happy, or if we've made you smile ......", and then he sang that last song, during which he gave out at least another six to eight scarves. At the end he put the mike down on the ground, waved once and motioned for the curtains to go down. A lot of people gave him a standing ovation. About fifteen seconds passed and then the centre part of the curtain went up and Elvis just stood in the opening (security men all around), bowed again, smiled, waved, and then the curtain went down for the final time.

After Elvis had gone, I still couldn't believe that I had been watching him perform for an hour - little did I know that the reality of it would still not register even after watching another three shows!

As I had said earlier, my initial impression of Elvis at the Dinner Show of the 25th, was that he looked tired and radiated a little indifference towards the audience. However, this was not to be typical of the following shows at all; Elvis looked much better, the bags under his eyes were disappearing; his hair looked very nice (it's cut in short layers and styled - although the length is the same as it was in Elvis On Tour, because the top part is layered, it doesn't fly around when he moves - remember the opening of Elvis On Tour?). The audience response at these other Shows was also much better, and although Elvis was still very funny, he fooled around considerably less, and when he did joke, it was in the right places. At the 26th at the Dinner Show, he was obviously in a very good, happy mood. The songs were basically the same, but he dropped 'Mystery Train'/'Tiger Man' for 'A Big Hunk O' Love', and 'Bridge Over Troubled Water' for 'An American Trilogy'. He also dropped 'My Boy', but I can't remember which song he sang in its place. I'll try and mention here again some of the things connected with the songs, and the things Elvis said in response to calls from the audience.

When he first came out on stage he put his hand above his eyes and made out as if he were looking for someone in the audience. We were later to find out that he was looking for Lisa and Linda Thompson! For halfway during the show Elvis said, "Ladies and Gentlemen, my little daughter is In the audience tonight ...... stand up honey, turn around ...... and again." The house lights were on and everyone was clapping and cheering at Lisa who is the image of a little doll! She really is lovely. She was turning around so all of us could see her and she was smiling. Elvis is obviously very proud of her. I also got a glimpse of Linda and she seemed quite beautiful from the distance at which I was looking at her. She was wearing a dark blue (I think) backless dress, and had long brown hair with what I think were streaks of lighter brown - she did look nice. Lisa, by the way had her hair up in a bun, but I couldn't see what she was wearing. Elvis then said, "I would like to dedicate this song and the whole show to my daughter" (applause) and he went on to sing 'Teddy Bear'. (Incidentally, when Elvis saw Lisa bowing and turning around etc., he said something like: "Oh, she loves it! Look at her, she likes it better than I do," and he imitated the way she was turning round - it was really sweet.)

During this show Elvis was handed a lot of things from the audience. One little girl gave him a big stuffed dog - he kissed her, gave her a scarf and then at the end of the show he kissed her again and the audience applauded). Elvis obviously adores children. Whilst singing 'Fever', someone threw him a rose which hit the lower part of his body! He looked down and started laughing. Then he picked it up and tried balancing it around his ear but it kept falling off. At the end of the song, a stunning blonde stood up by the ramp side but Elvis pretended he didn't see her. The audience was cheering and calling things out, but Elvis kept looking up in the air, to the left to the right, behind him and then made as if he were walking away, and then suddenly pulled off his scarf and threw it to her - but he didn't kiss her.

As he was about to start another song someone from the audience called out "I love you!" He called back: "I love you too......but we have to get on with the show!" and he looked at the Sweet Inspirations and grinned. Another woman by the stage called out to Elvis to give her daughter a scarf or else she'd beat him up. Elvis said "Beat me up?!" ...... he gave her a scarf:

During 'An American Trilogy' he exchanged the word "Dixieland" to "Disneyland", and "your Daddy's gonna die" to "your Daddy's lost his mind"; he laughed a little now and then but otherwise sang it straight. As I said before he did fool around a little bit and he kept saying to The Sweet Inspirations (whom he called "Supremes" at one point), "come on straighten up" and "come on, give me some help". In all though, this was a good show.

On the 27th August, we saw the Midnight Show at which Elvis gave an even better performance - he was very relaxed, happy and in good voice. The songs were again basically the same, but this time he also included 'How Great Thou Art', 'Release Me' and 'Johnnie B. Goode'. When he sang 'Johnny B. Goode', he did so as if the song were biographical - when he sang "many people comin' from miles around" he pointed to the audience, and when he sang "You'll be a leader of a big o band" he pointed to his Orchestra.

Elvis was again handed a lot of presents during the show, mainly small stuffed animals - I distinctly remember one brown dog and a small pink elephant which Elvis really loved - he'd walk around with it and showed it to The Sweet Inspirations, and then finally gave it to Charlie Hodge. At one time though someone threw him a gift on stage, he picked it up and then threw it back again. I don't know why, but the audience started clapping. I couldn't see who he threw it to - maybe it was to Lisa, for she was at the Midnight Show as well. Elvis again introduced her, this time adding, "She's five years old". He also walked up closer to her along the ramp (she was sitting in the first row of booths with Linda and a security guard) and said to her, "Hey, Lisa, it's past your bedtime!" Elvis then dedicated 'An American Trilogy' to her. (I was also told by someone who attended the Dinner Show on the 27th that he dedicated a song to Linda, saying "This is for Linda" and sang 'The First Time Ever I Saw Your Face').

At the end of 'Suspicious Minds', Elvis gave a Karate Kick and then pa id tribute to Joe Guercio for having been so quick in realising what Elvis was going to do, for Elvis said "He didn't know I was gonna do that he gave another Karate Kick), but he caught it, exactly." And the audience applauded. One thing I noticed about Elvis is that he is always paying tribute to the people who work with him - he never takes all the credit himself - he seems to be totally without selfishness. At this show he paid tribute to his backing group and orchestra saying "I fool around a lot on stage, change words and so forth, but they never miss anything - I may miss things, but they don't!" And again the audience applauded. Also, during 'An American Trilogy', he paid tribute to the flute player, stating "He's played that tune 400 (I can't remember the exact number he quoted) times, and he's never missed a note." Once more the audience applauded.

I think, however, of the shows I saw, Elvis gave his best performance at the Dinner Show of the 28th. He was very relaxed, happy, and sensed as soon as he came out on stage, that the audience was behind him all the way. He included in this show 'What Now My Love' (which I'm afraid he sang a little flat at the beginning), and also 'Heartbreak Hotel'.

Linda and Lisa were again in the audience and this time he dedicated the song 'My Boy' to Lisa. Those of you who know the words to this very sad song will realise what a moving moment this was. When Elvis introduced Lisa, people called from the balcony that they couldn't see her, so Elvis said "Stand up again, honey ....... put her up higher". Her hair was let loose down on her shoulders this time, and she again looked really cute.

After about ten minutes on stage, Elvis stopped to tell the audience about the rings he was wearing. He did, in fact, do quite a bit of talking in this show. He stood in the centre of the stage and said: "I'd like to tell you about these rings." (Pointing to his right hand he said) "This one was given to me by a Japanese lady yesterday." (At one of the shows, I saw her give it to him) "It has my name on it. I don't know who the lady was, she just gave it to me. This one here is my Karate ring (applause). This one here is a present from me to myself!" (He also mentioned a fourth ring, but I can't remember what he said about it.) Then pointing to the only ring on his left hand - a square shaped ring - he said, laughing "The is another present from me to myself at Christmas!" Throughout all his Shows Elvis was always commenting on his rings saying things like: "God, they're heavy. They really weigh me down." And then he mentioned the Hawaii Show, saying "We did a Hawaii Show a few months ago (applause) and these rings kept clicking against the mic'" and he laughed.

At one point during the show there was something wrong with the mic' - I didn't notice it myself, but Elvis thought it was making a cracking noise and said "Hey, man, what's wrong with the Mic'? ....... I think it must be my teeth!" He looked up to the balcony where the electrician was operating and asked what was wrong. They said something about they didn't know, because Elvis answered, "You're the main electrician and you don't know what's wrong with the Mic'?!" Anyway, Elvis went along and changed it and then said to the audience "Is that better? 0.K." and carried on singing (applause).

Whilst drinking some water he joked "God, this suit's heavy. You know it weighs 191bs! You don't believe me, do you?" Someone called out ''Take it off!" Elvis looked straight back and with a startled look on his face called back very clearly "Take it off?! Man, they'll take me away!"

During 'Fever', when he shook his leg, a girl screamed out - Elvis stopped, looked round and with that loveable, funny expression on his face said, "Thank you!" It really was a musing, and the audience clapped. Also, whilst shaking his legs, he joked, "It's easy really, anyone can do it!" Then he shook it again and said "That's not dirty, really it isn't!" He also looked back at the fire effect on the screen and commented "Lord, the place is on fire!" Also, he confused the word 'sizzle in the song and said to The Sweet Inspirations, "Is it 'fizzle' or 'sizzle', I can never get that right."

Elvis was obviously enjoying himself at this show and when the hour had passed, he said "Ladies and Gentlemen, we've fooled around a lot this evening and we've stayed on longer than we should have (applause). The Management here doesn't like me staying on longer - but I don't care (applause) what they say - from the top man to the smallest man. (applause) Would you like to hear Heartbreak Hotel ?" The audience went ecstatic and started calling things out for Elvis to sing and do. Someone shouted out "Do some Karate" and Elvis answered "Honey, I don't wanna do any Karate" but then he gave a couple of Karate Kicks. Another person called out for 'Burning Love' and he answered "Honey, I don't know that song". Someone else wanted 'Old Shep' and Elvis replied "I don't wanna do 'Old Shep'!" and he sounded as if he really meant it too! Then he asked again if we wanted to hear 'Heartbreak Hotel', the audience clapped and so he sang it. After that he said he wanted to feature a song with The Stamps Quartet and sang 'How Great Thou Art' for which he got the longest applause. He gave a very impressive performance and when he finished, the audience carried on clapping and clapping, and Elvis just stood by Charlie Hodge looking really happy and smiling.

When he sang 'The First Time Ever I Saw Your Face' he messed the words up - but not on purpose, and he looked over to The Sweet Inspirations and started laughing, and then he said something like he'd recorded 520 songs and that it was difficult remembering all the words, and he gave his head a few knocks! The audience appreciated the fact that he had to learn so many songs and applauded. This was the only time he ever joked whilst singing this song though. Along with 'My Boy' it seemed the only song he took seriously.

In all then, this was an excellent show. Elvis was in a good mood, in good voice, moved more as well and made jokes that the audience could respond to. At the end, the curtains went down the centre part rose again and Elvis came out onto the ramp and shook hands with people - this was the only show (of the ones I saw) that he did this. Just imagine the scene - the houselights were all on everyone was clapping, most people giving him a standing ovation, and there was Elvis standing on the ramp shaking hands with all the people clamouring around the ramp. Then he backed up along the ramp, smiled and waved again and the curtain came down for the final time. (I should add that Linda and Lisa always left the showroom as soon as Elvis finished the last words of 'Can't help Falling in Love', whilst the houselights were still out, but they didn't always make it to the exit on time, and when the lights went on we could see them just in front of the exit on the way out).

To sum up then, Elvis lived up to all my expectations, although at times I was a little disappointed that he fooled around so much and broke up the songs, and also the fact that he radiated an impression of laziness and indifference, I had nevertheless, seen this displayed a little in Elvis On Tour so it did not come as a complete surprise to me, although admittedly I did not expect to see so much of it as I did on the 25th August Dinner Show. Vegas proved to me how important it is to see more than one show (although I'm sorry that it is like this - of course Elvis can't sustain a performance of excellence in every show when he does two shows a day for a whole month; but I do think that every show should be good with the occasional excellent ones appearing here and there). If I had seen just one show I would have got a one sided view of his performance.

In all his three other shows though, Elvis proved that when he wanted to sing well he could, and he proved that he still had a very powerful and versatile voice. His actions nowadays are considerably subdued, maybe even less than what we saw in Elvis On Tour, and perhaps I was a little disappointed here. But as a lady in the queue said to me "He's not a young boy anymore!" she went on to explain how she had seen his Vegas Shows in 1970/71 and said that "he worked so hard on stage that you felt sorry for him. If he had carried on like that he would have just cracked up." She went on to say that it was impossible for Elvis to keep up that type of stamina and still have the health to be performing to-day. And from what I saw in That's The Way It Is I believe her. However, I still think that a few arm and shoulder jerks and a leg movement would not be imposing too much strain on Elvis and in this respect I feel he has become somewhat lazy.

Appearance wise, Elvis is very impressive. He is visually very pleasing! He is tall, broad, with a good build. (By the way, he was thinner than when we saw him in Elvis On Tour). Even if he weren't wearing a sparkling white jumpsuit, he would still look very conspicuous on stage; he is simply a very handsome human being. He is very relaxed on stage. has great confidence, and responds very well to the audience, coming out with some very amusing ad-lib phrases when people call things out to him. He has the show in the palm of his hand - he controls both the audience and the Orchestra. He makes good use of the stage area, walks around a lot and sings from different positions, but he does tend to favour the left side of the stage (that is, to his right), and walks right up to the end to kiss a girl or give away a scarf, whilst he will only walk as far as the third table on his left.

He radiates personality and charm when he is on stage, and when I saw Elvis I remembered Peter Aldersley's words in That's The Way It Is: "He has charisma with a capital C." As well as being an excellent singer, performer and entertainer, he comes across as being a wonderful human being - He has such a way with him that you think to yourself "My God, I'd really love to meet him." His only fault, as I could see it, was his inclination to be a little lazy and indifferent, according to the mood he was in and the type of audience he had. But apart from that, he is truly superb and in the words of Derek Jewel who was reviewing That's The Way It is in the Sunday Times:

"Elvis emerges warm, mature, superbly professional, good-humoured and every ring-toting knuckle a superstar."

 

August 25 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 25th
He sang through his nose pretending it had been damaged when he kissed someone, and pretended he had no teeth, biting inwards on his lips.

I don't think he got any presents this show!


August 25 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 25 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 25th
As well as Linda, Elvis' father and step-mother were in the audience. Elvis' Dad raised his arms in the air and gave a nice wide smile when Elvis introduced him, and received a very good round of applause, as he always did.

Elvis sang "When you're weary, feeling sad" in 'Bridge Over Troubled Water'.

He didn't get many gifts, but one he got was a tiny red box, with a surface like enamel or shiny paint. He thought of giving away his blue chair as a gift to some lucky member of the audience and laid hands on it as if to heave it into the crowd, but changed his mind.

He handed a glass of water to Sylvia, which puzzled her and she looked at the glass and at Elvis blankly, and then just stood it on the floor.

He said, "Wake up, Linda".

When the Inspirations looked pre-occupied he said, "Cheer up, girls, We're not in Church. We will be tomorrow." (It was Saturday)


August 26 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 26 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 26th
He spat water at Ronnie.

A rose was thrown at him and again he tried to put it behind his ear, but it wouldn't stay. One show he said, "A rose is a rose is a rose".

He got a big yellow Snoopy dog which amused him and he stabbed the air with it as his final bit for one song.

There were little children on the front row, and he made a point of giving them scarves as he always would for a child.

He leaned on Estelle's knee in passing, and nearly overbalanced her.

He said to John when introducing his musicians, "You really don't trust me, do you," which seemed a strange thing to say, but it was the opening of an Elvis-joke because as he was going on to Ronnie Tutt he suddenly aimed a great wild blow at John in parting and frightened everybody.

A girl gave him a green bottle of something and a necklace or medallion held on top. Elvis kept looking at the medallion and when Charlie went to take it from him he whipped it out of Charlie's reach with a "hands off" look.

He moved his fingers as though tickling his ribs in 'A Big Hunk O' Love' as he did in Elvis On Tour.


August 26 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 26 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 26th
A girl ran over the stage to Elvis and he put out an arm to her as a gesture to Red meaning "Leave her", but he wasn't quick enough and Red seized her and whisked her away. His green scarf floated off in the girl's grasp as she left. He laughed in the song a few seconds later and said "Where did that girl go," and looked round as if searching for her.

He was given a rose and a leather belt.


August 27 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 27 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 27th
Elvis turned his head with his hand, holding onto it on top, in 'C.C. Rider'.

He yanked up Estelle's arm at the end of 'Hound Dog' and she gave him an amazed look.

He talked to a little boy and held up a notice he had with his name, Brent, printed on it in stuck-on shells. The little boy seemed to be saying his father had operated on Elvis' dog, Snoopy, and Elvis said, "My dog," and laughed.

He threw his guitar pick at the Inspirations and said "Take your pick".

He gave scarves to five or six children in the audience, and lifted one little boy up by one arm to stand by him on stage because he had on an Elvis suit in pale blue with a cape and white scarf.

A girl got onto the stage - grabbed Elvis round the neck bending him sideways and shrieking very loudly and piercingly in his ear and intermittently kissing him all over his face. He looked surprised and helpless. The noise was awful even at a distance of about twelve or fifteen feet, so I'm sure she must have made Elvis' ears buzz and go numb.

In 'Bridge Over Troubled Water' he put his forefinger and thumb into his mouth as though adjusting his false teeth - a bridge. He gave himself a clap at the start of this song because the audience showed no sign of doing it unbidden.


August 27 1973 (Monday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 27 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 27th
Elvis gave kicks at the end of one or two songs.

He noticed the square hole had been repaired in the floor as he'd requested the previous show. He didn't say anything but just looked at it.

He got a plaid teddy bear which he showed the audience as he sang 'Teddy Bear' and shoved it into long suffering Charlie's face.

He imitated J.D. singing with his hand over his ear. Large women leapt up shrieking, usually more or less ignored. He glugged into his glass of water.

He said how well Joe and the Orchestra follow his every move, and said, "They never miss when I do this" (or words to that effect) and gave a big kick out sideways, and still they didn't miss even though they can't have known for sure what he'd do. I think Ronnie Tutt deserves most credit for this sort of sharpness though.

He caught the microphone in his TCB chain, as he did in his ankh chain in Elvis On Tour.


August 28 1973 (Tuesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 28 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 28th
He did some funny little dance steps at one point, something like his little "wiping his feet" steps in the Elvis On Tour version of 'An American Trilogy'.

He was asking Bill Porter in the balcony about the sound and made a helpful click with the microphone against his teeth to illustrate the point. I think he was irritated with the sound because he moved quite violently, in some songs afterwards, and his sweat flew off in a spray.

He asked the musicians if they could see him (I forget why) and imitated the pop-eyed, senseless way he reckoned they were staring at him.

He was teasing Charlie as usual and was flapping his hand at him; again, I forget why; and at the end of a song jerked back in a jump towards him and hit out at him, just miming a blow, of course.

A little tiny insect lives on the stage of the Showroom and every show it would fly a couple of circuits round Elvis, or the Inspirations, when they did their bit, and this show it landed on the front of Elvis' hair where it goes over his forehead, and sat there while he sang part of 'My Boy'. Len Leach said it was the best seat in the house. After a while it took off again and Elvis turned away from it as if he'd seen it and was getting out of its way, (too late).


August 28 1973 (Tuesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 28 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 28th
Elvis usually wore his guitar for two songs at the start of the show, 'C.C. Rider' and 'I Got A Woman' but the strap came off during 'C.C. Rider' and gave him the cue to start fooling around with it. He wore it back to front and finally gave it to Charlie at the end of the first song.

In 'My Boy' he put his hand under Charlie's chin and squeezed his cheeks like a fond daddy, and then went across to J.D. and got up on The Stamps' rostrum and did the same to him.

When he introduced Charlie he held his collar from behind to prevent him taking his usual step forward to bow. He was behind Charlie because he was reading behind his back to get a glass of water while doing the introduction.

He seemed to sweat a lot this show. It dripped off his nose and chin down his scarf and soaked through the back of his suit and flew off him if he turned fast.

When he was introducing James he went for him slightly and James drew back.

He said he could hear funny noises on the microphone and was it J.D'S teeth? and he began a joke with Kathy about her eyesight which he continued on and off through a number of other shows. "Do you wear glasses?" he said. "No, I just wondered if you wore glasses", and at other times he was making gestures about his eyes and her eyes.


August 29 1973 (Wednesday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 29 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 29th
Elvis seemed sleepy this show and said he hadn't woken up until a quarter to eight! He was on stage soon after eight-thirty. He was delayed by something else too and the Orchestra had to play an extra piece of music between Jackie's departure and 'Also Sprach Zarathustra'. Later some people from a New York fan club said he was late because he was talking to them just before he went on stage.

A little boy got up on the ramp at the end of the show to ask for a scarf and Elvis gave him a pale blue tie he was wearing which someone had just given to him, having held it up all through the show.

Charlie did a little act of his own, carrying on Jackie Kahane's joke of "That's how I first met Charlie Hodge". He was saying he was going to have coffee with Jackie later and Elvis listened to him ramble on for a while, looking at him sideways with narrowed eyes, and then said Charlie had better be careful, there were people from his home town in the audience and he'd have to go back there someday. Again I think he wasn't too keen on Charlie taking the limelight, but he laughed eventually and went on with his next song.

Elvis was given a long white feather boa which he wore briefly.

As J.D. did his long bass note in 'I Got A Woman' Elvis held onto the microphone with one hand and collapsed his knees as usual so that he was slowly sinking to the floor, and then he let go of the microphone and held out his arms, elbows bent and hands limp, and looked like a dying swan. He would always screw up his eyes and nose during this part of the song too in an expression of agony. It would have made a lovely picture.


August 29 1973 (Wednesday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 29 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 29th
He came on with a green Mountain Valley Water bottle in his hand and gave it to Estelle. He had poured the water down J.D. on entering, as he nearly always did.

He was given a gold cross on a stand; a white tee-shirt with his name and a caricature picture of him on it, and he showed this to The Sweet Inspirations and Charlie; and a toy tiger wearing a gold crown. He showed the tiger to the Inspirations and then said "Jealous" and carried it off to Charlie.

Some kind of mood came over him in the middle of 'Bridge Over Troubled Water' and he looked angry and sang it very forcefully, and from then on did all the songs loudly. He did his usual loud swooping ending to 'I Can't Stop Loving You' and contorted himself in the effort of singing it until I thought he'd overbalance any moment.


August 30 1973 (Thursday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 30 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 30th
This show reminded me of That's The Way It Is in a number of ways.

The sound was unsatisfactory again and Elvis put two microphones to his ears and had to say "hello" down them, and later he was down on his knees accepting water from the people on the front row having drunk or thrown around what was brought on stage for him. Charlie had to go off and fetch some more. He called the Inspirations the Supremes when he introduced them and so they refused to stand up.

He gave Joe a scarf in 'An American Trilogy' having thrown a whole bottle of water on him at the start of the show. He also threw water at Tutt and it went over the drums and kept trickling off the symbols, and so Elvis gave him a red scarf too.

In 'Love me Tender' Charlie made an amorous approach to Elvis when he went near and Elvis raised his forearm in a "Get off!" gesture.

He acted out "break my faithful heart" in 'Love Me' with an expression of pain and a stab of his heart with the microphone.

The Inspirations applauded at the end of the first crescendo of 'Bridge Over Troubled Water' as they nearly always did. Red and Elvis' stepbrother in the wings did once as well.

He put his hand to his brow after shaking vigorously in 'Fever' and said, "Oh Lord have mercy."

He bowed with his hands on his knees at the end of the show. This is his usual bow when he holds the position for a moment, but I don't think it was usual for him to hold it at the end of shows this season. He was very quick and hasty as a rule at the end and seemed keen to get away.


August 30 1973 (Thursday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

August 30 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 30th
He sang, "Charlie, be good tonight" in 'Johnny B. Goode'.

The foam top of the microphone fell off and he looked steadily at what was left and at the bit on the floor.

He was given a red and white rabbit, a blue and grey feather thing like a flower, and a rose made of cloth by a very proud middle-aged lady who said she always gave him one when she came to see him.

Charlie put a scarf on Elvis in time to a beat of the music, but Elvis had to put out his hands as a warning not to do it too soon.

Again in time to the music Elvis went boom! with one arm and raised up the other while he was kissing someone - an unusual effect!

He picked off a Band-Aid near the end of the show and it fell in a nice curve, still retaining the shape of his finger, but he eyed it quietly for a moment and then reached his decision and trod it flat.

For J.D's little solo Elvis took his microphone off the stand and took it over to J.D. to increase the effect of his bass voice. This meant Elvis was a bit awkward ending 'I Got A Woman' because he had an extra object to hold while doing his dramatic 'I Got A Woman' ending where he throws the guitar to the anxiously poised Charlie Hodge.

Sometimes he would try to fool Charlie and not throw it after all, but do an extra thrust with the guitar back towards J.D. and then throw it to Charlie - who never was fooled and still caught it anyway.

So many flashes went off this show that all the illegal photographers couldn't possibly have been caught, and Elvis was annoyed eventually and down came his eyebrows, although as a rule he would never react to just one or two flashes.


August 31 1973 (Friday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
C. C. Rider       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
I Got A Woman / Amen       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Love Me       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Steamroller Blues       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
You Gave Me A Mountain       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Trouble       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Hound Dog
      Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Love Me Tender       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Fever       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Bridge Over Troubled Water (with Reprise)       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Suspicious Minds       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
Introductions       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
My Boy       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
I Can't Stop Loving You       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
An American Trilogy       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
A Big Hunk O' Love       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)
The First Time Ever I Saw Your Face       Getting Down To Business°° (sound booth recording - two mic's)
(incomplete - wrongly dated August 30 DS)
How Great Thou Art       Getting Down To Business°° (sound booth recording - two mic's)
(incomplete - wrongly dated August 30 DS)
Can't Help Falling In Love / Closing Vamp       Getting Down To Business°° (sound booth recording - two mic's)
(wrongly dated August 30 DS)

Review

August 31 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - August 31st
Elvis snored gently into the microphone on 'C.C. Rider' pretending to have dropped off, or else meaning us to understand he'd got up late again.

He threw water over Glen's piano, Estelle went to steal Elvis' scarf evidently thinking she'd do the tormenting for a change, and Elvis went to throw a glass into the wings but didn't.

He gave a big kick in 'Fever' and pretended it had hurt and was therefore a mistake.

He was given a photograph of himself and a little boy by the people who had taken the photo.

He sang "I saw J.D. with bald-headed Sally" but pointed to Charlie by mistake and had to change hands and point at J.D. instead.

Lisa looked very sleepy and dishevelled when Elvis introduced her and he said, "I don't know if she was asleep."

He made a big production out of scratching his ear, looking very confident and full of himself.


August 31 1973 (Friday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

August 31 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - August 31st
Looking under the curtain we were able to see that Elvis was stepping on the guards' feet just before he came on stage.

He held the guitar pick in his mouth as goofy teeth during the instrumental part of 'An American Trilogy' and glanced at the Inspirations but they weren't looking and so he took it out and threw it towards Ronnie.

Again he praised Joe Guercio and the orchestra for being able to follow his movements exactly, and he suddenly shot his arms and legs out in all directions and wriggled around to demonstrate what kind of a feat that was. He also imitated Ronnie Tutt "conducting with his eyebrows". I don't know what he meant!

Anne Nixon gave him an orange Elvis scarf with his name and pictures of him on it and he immediately put it on and stood, head up for the audience to see him in it, looking very chuffed.

He thumped his chest with his fist and the microphone in 'Love Me' as he did in Aloha, and also said, "Chinese" in the same song after going "so-no-no no-so- so-no lonely".

There were some highly decorated ladies near us, with fantastic hair-do's and false eyelashes and sequinned outfits who were trying to attract him over by waving their arms and looking seductive, but he shook his head at them.


September 1 1973 (Saturday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

September 1 1973 Dinner Show
Review by Jeri & Ben Whatley - Elvis News Service Weekly, Issue 120-21 (September 1973)

The show opened as usual with The Sweet Inspirations doing hits of Billie Halliday, with her picture on the disc screen... followed by Jackie Kahane.

Then of course, the '2001' Theme... then out walked "The One And Only"---ELVIS! On with his guitar and right into 'C.C. Rider', 'Trouble', (great version) 'I Got A Woman', (with 'Amen' ending) 'Love Me', 'Steamroller Blues'...Elvis says, "I'd like to do a song now, that's not mine, but I'm going to record it, it's called 'My Boy'." (beautifully sung) Next song was, 'You Gave Me A Mountain', medley of 'Blue Suede Shoes', 'Long Tall Sally', (He changes the words to "I saw Charlie Hodge with JD Sumner") and cracks up laughing! 'Whole Lotta Shakin' Goin' On', 'Mama Don't Dance', 'Flip, Flop And Fly' and 'Hound Dog'.

Next he sings, 'Love Me Tender', 'Fever', (he says he hates this song, and says, "Captain Smith poked his hontas, no, no, no, that's not right." 'Suspicious Minds' was next and then introduces his band. When introducing Emory Gordy, Elvis says, "The only guy I know with a name as bad as mine" and says in a funny mocking way.. "Emory Gordy"---"Elvis Presley". He mentions that the Joe Guercio Orchestra was voted number one. Elvis continues with 'The First Time Ever I Saw Your Face', and says "This is my Father's favourite song". 'An American Trilogy' was next with stars and stripes shown on the screen. Then Elvis says, "You know what I can't do... drink water and sing at the same time"... then starts singing, 'I Can't Stop Loving You'.

He then introduces his special guests who was his Father, Dr. Sidney Boyer and wife (Elvis's Vegas physician) and then said "There's someone here that has been a singer for thirty years, but I don't want to embarrass him or anything." Elvis wouldn't say who he was! Next Elvis sings 'How Great Thou Art' which seemed to be the most applauded song of all! Elvis would say, "Do you want to hear more"? Then he would sing the chorus again, really strong and powerful and very spine tingling.

Then 'Bridge Over Trouble Water', which was the best version I've heard...he also repeats the chorus over and then says... "If we've made you smile and be happy, then we fool We've done our job". Then starts singing 'Can't Help Falling In_Love'. Near the end of this song, Elvis walls to the side of the stage and grabs one of the body guards, and starts dancing with him.... Charlie Hodge (who was following Elvis replacing his scarfs) tripped and fell on Elvis's microphone cord!

 

September 1 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - September 1st
He threw water at Glen and squeezed John's hand over the end of the guitar neck and hurt it. John kept flexing his fingers afterwards.

Kathy tapped her head at him meaning "You're mad" after he'd suddenly shot back into the middle of the stage in 'Trouble'. He swivelled his leg slowly in the air in 'Steamroller Blues' and swivelled his fingers round and into his own face.

He said, "No!" to the pleading fans by the ramp in 'Fever' and looked up into mid-air in prim determination. After the first shake in 'Fever' he held his forehead as if it made his head throb to shake so early.

During The Stamps' solo in 'An American Trilogy' Elvis would growl into the microphone quietly, imitating J.D. or trying to sing as low as him. He did this quite often when in the right mood.

He took Estelle's hand as he passed and nearly pulled her off her chair, and after that she would draw back and keep out of his way each time he came past.

At the end of the show Elvis went along the left side of the stage to the people there, and Red was close behind to protect him, Elvis suddenly turned back and he and Red seemed to collide and get tangled up, and the next we knew Elvis has swept Red off his feet and was swinging him round as though they were dancing, getting him out of the way. I just saw Red's feet flying out over the audience, and the two of them whirling round together.


September 1 1973 (Saturday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada

       

Review

September 1 1973 Midnight Show
Review by Jeri & Ben Whatley - Elvis News Service Weekly, Issue 120-21 (September 1973)

This show opened the same with Elvis taking right off with 'C.C. Rider', 'Trouble', 'I Got A Woman', at the start of this song Elvis says, "well, well, well, well", getting lower with each well) and says, "there's people out there that has come 2,000 miles just to hear me say well, roll, etc". 'Love Me' is next, followed by 'Steamroller Blues', 'My Boy', 'You Gave Me A Mountain'...medley of 'Blue Suede Shoes', 'Long Tall Sally', 'Whole Lotta Shakin' Goin' On', 'Mama Don't Dance'...'Flip, Flop And Fly', and 'Hound Dog'.

Next he sings 'An American Trilogy', 'Love Me Tender', 'Fever', 'Release Me'... (only time to sing this out of the four shows we saw, then 'Suspicious Minds'. Elvis then sings, 'The First Time Ever I Saw Your Face' and dedicated it to Linda Thompson and his Father who were in the audience. 'Bridge Over Troubled Water' was sung next and at the end Elvis says, "that's not the best I can sing that song" and then sings the chorus over over so strong and the audience really responded with great applause, and Elvis seemed to really appreciate this.

He also had mentioned during this show about the Jerry Lewis Telethon for Muscular Dystrophy being held in Las Vegas and that The Stamps Quartet had went over and sang some Gospel songs during the day. 'How Great Thou Art' was next sung just as strongly as before with the same great applause from the audience. (some guy had yelled out some thing while he was singing this song, but couldn't understand clearly) Then 'Can't Help Falling In Love'.

 

September 1 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - September 1st
Elvis was given a white flat box which he opened immediately and took out a picture of himself in a white stage suit.

He put his hands round Glen's neck and throttled him for his arrangement of 'Release Me'.

He seemed very tense in 'Bridge' and was working his fingers round nervously and shaking the microphone.

He put terrific effort into his singing and did repeats of 'Bridge Over Troubled Water' and 'How Great Thou Art'. He held his nose in 'Bridge' at one point to make it sound better (??)

He flicked back the curtain and exposed Red who was lurking among its folds, and made him look silly.
When he introduced his father he couldn't see him and leaned forward shading his eyes saying something like, "Daddy? You out there, Daddy?" and smiled at him. His father waved his arms aloft and beamed, and Elvis said, "And they wonder why I'm crazy".

He seemed to have got very wound up and excited over this show, and happy too, and in 'Can't Help Falling In Love' he struck an Eros pose, and went to and fro giving away numerous scarves, and he conducted the orchestra to keep them playing when the curtain was closing.

He sang 'I Got A Woman' without the guitar, and took a big bite onto the end of the microphone compressing the foam rubber with his teeth.


September 2 1973 (Sunday - 3.00am Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
C. C. Rider       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
I Got A Woman / Amen       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Love Me       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Steamroller Blues       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
You Gave Me A Mountain       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Trouble       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Jailhouse Rock / Hound Dog
      Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Love Me Tender       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Fever       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
What Now My Love       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Suspicious Minds       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Introductions       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Release Me       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
An American Trilogy       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Mystery Train / Tiger Man       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
The First Time Ever I Saw Your Face       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
How Great Thou Art       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Can't Help Falling In Love       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)
Closing Vamp       Las Vegas Hilton 1973 CD2 (FTD)°° (sound booth rec. - two mic's)

Notes
Advertisement
Extra 3.00am Show
Extra 3.00am Show - September 2 1973 (Thanks to Rex Martin)
Advertisement
Extra 3.00am Show
Extra 3.00am Show - September 2 1973
 


Review

September 2 1973 3.00am Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

3.00am - September 2nd
There was no flag in 'An American Trilogy' on the screen behind the stage this time, as Elvis had said previously that it was a bit "heavy" and they could do without it because the song said it all.

When The Stamps sang "I wish I was in Dixie" Elvis said, "I wish you were too."

He was walking towards someone on the front row and thought he would tease them, by walking round in a circle instead of continuing the line to them.

He was amused by Ronnie's furious drumming and looked at him over the top of the drums to see how he was doing, and also bent down and looked through the drums at him. He steadied the cymbal for him.

A girl grabbed his shin in 'Fever'.

He gave a shudder of pleasure in 'How Great Thou Art' as he did in 'I'm So Lonesome I Could Cry' in Aloha only more emphatic, and he shook the microphone from side to side, looking tense.


September 2 1973 (Sunday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard
       

Review

September 2 1973 Dinner Show
Review by Jeri & Ben Whatley - Elvis News Service Weekly, Issue 120-21 (September 1973)

The show opened the same as before, only there seemed to be a short delay just before the '2001' Theme started, in which Jackie Kahane came back out and filled in with a few more jokes.

Anxiety was once again building up (more with every show) and then there was Elvis, looking greater than ever, and right into 'C.C. Rider', 'Trouble', 'I Got A Woman', 'Love Me', 'Steamroller Blues'...then Elvis says, "I'm sick of these songs, we act like we like them but we don't...no I was just kidding...is there something you would like to hear?" Someone yelled 'Teddy Bear' and thats what he sang. At one time Elvis turns to James Burton and asks.. "what are we going to do now, 'Old Shep'".

'My Boy' was sung next, followed by 'You gave Me A Mountain'...medley of 'Blue Suede Shoes', 'Long Tall Sally', 'Whole Lotta Shakin' Goin' On', 'Mama Don't Dance', 'Flip, Flop And Fly' and 'Hound Dog'. Next was 'Fever'.. (when doing this song Elvis's legs would really shake and he would grab and clap them and say, "That's enough, that's enough".) Then 'Suspicious Minds' and introduction of his band. (each of the four shows, Elvis made the same remarks about Emory Gordy and about the Guercio Orchestra being voted number one) Elvis introduced the special guests, who was Gloria Loring....and when singing 'An American Trilogy', Elvis sings, "Gloria, Gloria, Hallelujah" and stretches his arm in her location.

He then says, "Just before I came on tonight, the Hilton gave me this gold necklace." He holds it out, and comments on it being so heavy. (being presented with this necklace, could explain the short delay at the start of this show.) Then he sings 'The First Time Ever I Saw Your Face', 'I Can't Stop Loving You', 'How Great Thou Art', (beautifully sung) then 'Bridge Over Trouble Water' commenting at the end as before..."If we've made you smile and be happy, then we've done our job".... then goes into 'Can't Help Falling In Love.

 

September 2 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - September 2nd
The Microphone fell off the top of its stand and he said, "I broked it". Then he set about putting it together again commenting "You drive a thousand miles and pay all kinds of money to see me screwing this up. Don't worry, I used to be an electrician."

In 'Suspicious Minds' in the part where he goes down on one knee he put his head right back and held the microphone vertically above his face and paused as though he'd forgotten he was supposed to carry on with the rest of the song.

When he threw the heavy chain the Hotel had given him to Charlie, he missed it and it wrapped around the leg of the music stand.

He introduced Charlie with a hand placed affectionately on his neck. I expect Charlie wondered what Elvis would do, knowing how full of play he seems most of the time.

He laughed through 'You Gave Me A Mountain' and said "You give me a chain." That was when he took it off, and it left his collar sticking up and his scarf lying over one shoulder and down his back. A girl had got hold of him earlier on and tried to pull his scarf off and in doing so had got the chain tight across Elvis' face and eye, so perhaps he thought he'd be safer with it off.

He gave scarves to several little girls but didn't kiss them. I think he laid his hand on top of one child's head. He did that one show anyway.


September 2 1973 (Sunday - Midnight Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Recorded on Soundboard (?)
       
Also Sprach Zarathustra
      High Spirits In Las Vegas°° (sound booth recording - two mic's)
C. C. Rider       High Spirits In Las Vegas°° (sound booth recording - two mic's)
I Got A Woman / Amen       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Love Me       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Steamroller Blues       High Spirits In Las Vegas°° (sound booth recording - two mic's)
You Gave Me A Mountain       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Trouble       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Hound Dog
      High Spirits In Las Vegas°° (sound booth recording - two mic's)
Love Me Tender       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Fever       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Bridge Over Troubled Water (with reprise)       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Suspicious Minds       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Introductions       High Spirits In Las Vegas°° (sound booth recording - two mic's)
My Boy       High Spirits In Las Vegas°° (sound booth recording - two mic's)
I Can't Stop Loving You       High Spirits In Las Vegas°° (sound booth recording - two mic's)
An American Trilogy       High Spirits In Las Vegas°° (sound booth recording - two mic's)
The First Time Ever I Saw Your Face       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Mystery Train / Tiger Man       High Spirits In Las Vegas°° (sound booth recording - two mic's)
How Great Thou Art (with reprise)       High Spirits In Las Vegas°° (sound booth recording - two mic's)
A Big Hunk O' Love       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Release Me       High Spirits In Las Vegas°° (sound booth recording - two mic's)
What Now My Love       High Spirits In Las Vegas°° (sound booth recording - two mic's)
Can't Help Falling In Love / Closing Vamp       High Spirits In Las Vegas°° (sound booth recording - two mic's)

Review

September 2 1973 Midnight Show
Review by Jeri & Ben Whatley - Elvis News Service Weekly, Issue 120-21 (September 1973)

This show opened same as always only with a much greater burst of excitement throughout the audience, as the explosive Elvis walked out! He starts right out with 'C.C. Rider', 'Trouble', 'I Got A Woman', 'Love Me', 'Steamroller Blues', 'My Boy', 'You Gave Me A Mountain'.

Elvis has a little trouble with his microphone, and takes it off and says, "Have patience, ladies and gentlemen, I use to be an electrician". He then does a medley of some old hits, and then sings 'Fever', and 'An American Trilogy'.

Elvis introduces his special guests who were his father, Marty Allen and his wife, and Hugh O'Brien. Elvis bends down and kisses Marty Allen's wife and dedicates this next song to her... 'What Now My Love'.

He then sings 'Suspicious Minds', 'The First Time Ever I Saw Your Face'. At one time during this show, the gold necklace that the Hilton had gave him, got twisted around with the cross necklace and his scarfs, so he tumbled with it for a while, and then Jerked the Hilton necklace off and threw it to Charlie Hodge!

He then does 'I Can't Stop Loving You', giving away many scarfs and kisses and also taking gifts etc... each time Charlie Hodge replaced a scarf, Elvis would poke him in the chest with his mic', and give him a side-kick as he turned around!

'How Great Thou Art' was next and 'Bridge Over Trouble Water' and saying, "If we've made you smile or be happy, then we feel like we've done our job." Then starts singing 'Can't Help Falling In Love'.

 

September 2 1973 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - September 2nd
Having had trouble with the microphone before, he held out his hand to it as if to steady it before stepping back for the instrumental part of 'C.C. Rider'. He said he didn't know why someone didn't mend it; it would only need a bit of tape.

When he moved from side to side with the strobe light in 'Tiger Man' he pretended to have got confused with shaking so much, and ended up facing sideways the first time, and facing Ronnie the next.

I think someone must have called something out in 'How Great Thou Art' because he held out his hand for quiet. It was very unusual for anyone to make so much as a squeak during this song.

When someone kissed him he put one leg straight out behind him so that he was poised precariously on one leg leaning forward, like an ice-skater.

I'm told he ran his hand along the inside of the grey curtain as he walked on stage.

For the final beat of 'I Got A Woman' he had the microphone in one hand and the stand in the other and gave the air a stab on each side of him to send the song. Then he got in a muddle trying to get the guitar off while still holding the microphone. He moved the microphone up and down and from side to side on top of its stand in time to "She's there to love me, All day and all night" etc.

He imitated James playing the guitar in 'A Big Hunk O' Love' and when James played something slightly different he'd just thought of, Elvis turned round to look and show he'd noticed and approved.

Sometimes he would hold the microphone in both hands, and when he was using two when he wasn't happy with the volume of sound he held one in each hand and used both which looked funny, but he did it quite seriously because he was singing 'How Great Thou Art'.

J.D. smiled at Elvis' hand-over-ear imitation of him.

He bit on the microphone again and held it close against his nose for a joke.

He came on with the usual green Mountain Valley bottle and poured water on Estelle's chair - isn't he a frightful nuisance, - and was going to give the bottle to Charlie but tossed the last drops in Charlie's face before handing it over.

He pointed to Joe Guercio on "You ain't nothin' but a Hound..."

He reached to his own falsetto bit on 'Trouble' and looked surprised and gave a slight stagger.

Someone applauded Elvis' "Well....well....well" at the beginning of 'I Got A Woman' and Elvis said a smart "Thank you" and walked away.

He gave a mime of stirring for "I'm a cement mixer", and on a dramatic gesture in another song he suddenly noticed his palm and looked at it with interest from all angles.

He was given a flat box of cigars..

In 'Release Me' he towed himself along by the chain he was given, and in another song he cleverly threw the guitar pick a foot or so up and caught it again.

As he and the boys ran off at the end I watched their feet under the curtain and Elvis gave a bit of a hop and a skip because his feet were getting caught up with theirs.


September 3 1973 (Monday - Dinner Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Also Sprach Zarathustra
      Closing Night (FTD)°
C. C. Rider       Closing Night (FTD)°
I Got A Woman / Amen       Closing Night (FTD)°
Love Me       Closing Night (FTD)°
Steamroller Blues       Closing Night (FTD)°
You Gave Me A Mountain       Closing Night (FTD)°
Guadalajara (1 line) / Trouble       Closing Night (FTD)° ('Guadalajara' not listed)

Review

September 3 1973 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Dinner - September 3rd
Elvis seemed sleepy this show and not quite with it for a while.

Someone on the front row put a clockwork Dachshund onto the stage and it walked steadily along past Elvis when he did 'Hound Dog'. He was amused by it and changed its direction so it could continue walking around for the rest of the song.

Linda Ashme ad gave Elvis a doggy like the Hush Puppy and he held it to his chest and said "Thank you, Sweetheart" very nicely and gave her a kiss in exchange.

He was also given a painting of himself which he briefly showed to the audience.

He did an energetic version of 'Polk Salad Annie', but it wasn't a regular feature of the show this season.

He threw water on Glen who sprang nimbly off his chair and out of the way, and at Red in the wings and got some on Linda Ashmead and some on the curtain.

A girl stood up and waved to him and Elvis casually waved back as if he didn't realise she wanted anything.

He put a scarf round Sylvia's neck and tied it for her.


September 3 1973 (Monday - Closing Show)
Showroom, Las Vegas Hilton, Las Vegas, Nevada
Long Tall Sally / Whole Lotta Shakin' Goin'
_On / Mama Don't Dance / Flip, Flop And Fly
_/ Hound Dog
      Closing Night (FTD)°
Love Me Tender       Closing Night (FTD)°
Fever       Closing Night (FTD)°
What Now My Love       Closing Night (FTD)°
Suspicious Minds / Bridge Over Troubled Water     Closing Night (FTD)°
Bridge Over Troubled Water       Closing Night (FTD)°
Suspicious Minds       Closing Night (FTD)°
Introductions       Closing Night (FTD)°
My Boy       Closing Night (FTD)°
I Can't Stop Loving You       Closing Night (FTD)°
An American Trilogy       Closing Night (FTD)°
A Big Hunk O' Love       Closing Night (FTD)°
The First Time Ever I Saw Your Face       Closing Night (FTD)°
Mystery Train / Tiger Man       Closing Night (FTD)°~Opening Night '72°
How Great Thou Art       Closing Night (FTD)°
Help Me Make It Through The Night       Closing Night (FTD)°~Opening Night '72°
Softly As I Leave You (solo)  
OPA5
8219
Closing Night (FTD)°~Opening Night '72°
Can't Help Falling In Love / Closing Vamp       Closing Night (FTD)°

Review

September 3 1973 Closing Show
Review by Christine Colclough - Elvis News Service Weekly, Issues 124, 125 & 126 (October 1973)

Although I've written about the main points of the shows already, and about meeting Elvis, there are still numerous little details and antics to tell. To an outsider, I expect they would seem insignificant but they were important enough for me to want to note down at the time, and so I expect other devotees will be glad to hear them.

Midnight - September 3rd
He threw water and Gatorade over Glen, and received a bottle of Gatorate from a girl. He took the lid off and had a drink and gave the lid and bottle to Charlie.

A man yelled out that he wanted Elvis' scarf and Elvis said, "You want the scarf, 0.K." and walked up to the end of the stage and gave it to him. Quite a number of men seemed to be after scarves during this engagement.

I haven't much more to say about this show, because I wrote the rest in my first account of the shows, and to get a true impression of this last show that account should be read. I hope these supplementary notes are of interest to other people, even though they are just a list of little things Elvis did in the course of the shows. It reads like a list of jokes and pranks, I think!

Live 1972
Essential Lists Index
Live 1974