March 17 1976 - Johnson City, Tennessee
Review by Steve Mappin - Elvis Monthly, Issue 249 (October 1980)

Every concert Elvis ever held is now legendary and the one Elvis performed on 17th March, 1976, was no exception. was fortunate to see most of this show on film taken by a fan so I would like to review it as you may find it interesting. As I have said, I have not seen the entire concert so to get a complete picture of what took place I had to do some research. It was the first show of a new tour and originally only one show was planned. However the demand for tickets was such that two more shows were scheduled in Johnson City. When Elvis strolled on-stage to sing his opening song, 'C.C Rider'. the crowd of over 21,000 cheered and screamed. He looked outstanding in a blue jumpsuit with the design of a silver phoenix on the back and front. it was the same suit as pictured on the cover of Elvis Monthly No. 240. He was a little overweight but he moved about as much, if not more than before.

His second song was 'I Got A Woman' (after several "Well's" at the beginning) with the 'Amen' ending. He put on a fantastic performance of this song (doing the "aeroplane" bit etc.) and then discarded his guitar to sing 'Love Me'. The lights were constantly flashing on and off and the screaming was sometimes so loud that when Elvis was talking you could not hear him. Whilst singing 'Love Me' Elvis handed about a dozen scarves out to the hysterical female fans. He also kissed one or two ladies. After drinking some water he sang 'You Gave Me A Mountain' and followed it up with the rock medley 'Teddy Bear'/'Don't Be Cruel'. Elvis' next choice was the ballad 'Until It's Time For You To Go'. The powerful song, 'Hurt' gave Elvis a chance to demonstrate his vocal ability. Elvis sounded and looked most sincere as he was singing this particular song.

The pace completely changed when Elvis began 'Polk Salad Annie'. It was mind blowing seeing Elvis up on-stage, arms swaying etc., as the multi-coloured lights flashed. Elvis really got into this song and ended it with a bang! He did a karate kick and was in complete control of the music. As always his timing was unique. As he drank some more water he took time to introduce the band. He joked with J. D. Sumner about having more jewellery than he had on himself. Elvis, as a matter of interest, wore two large diamond rings and diamond cross. As James Burton played 'What'd I Say' on guitar Elvis joined in. He also joined in singing it as Sonny Brown was introduced to play a piano solo.

The introductions now over Elvis sang 'And I Love You So'. He interrupted the song halfway through to complain to the sound engineer saying "I can't tell if I'm singing 'Jambalaya' and a crawfish pie or filley gumbo". At one point he started to sing 'For The Heart'. He took a copy of the words from Charlie, held it up to the audience then said "You're crazy if you think I can remember all those words".

Also during the show he received a pair of fancy sunglasses which he tried on. Elvis was very serious though when he did 'How Great Thou Art'. 'Love Me Tender' delighted the girls preceded by a rousing 'Let Me Be There'. One of the highlights from this concert was Elvis' version of 'America'. The spotlight focussed on his head and shoulders added extra effect especially with the dark background.

A short version of the rocker 'Burning Love' brought forth more screams. In Elvis The Movie you will see Kurt Russel do an almost identical performance to Elvis'. Before singing 'Heartbreak Hotel' he teased the fans. Another early hit, the one and only 'Hound Dog', began. 'Tryin' To Get To You' had Elvis singing his heart out.

During many of the slow songs Elvis would stride across the stage as he did in the film On Tour. 'Mystery Train'/'Tiger Man' and 'All Shook Up' were next. A good version of 'Hawaiian Wedding Song' and 'Can't Help Falling In Love' closed the show.

Elvis had been on-stage for about one hour twenty minutes proving without a doubt that he was the world's greatest ever entertainer. The King.

March 21 1976 (Evening Show) - Cincinnati, Ohio
Review by Geoffrey McDonnell - Elvis Monthly, Issue 431 (November 1995)

Taken in the context of 1976 and remembering that a 1976 show from Elvis meant more, greeting the fans, rather than a hard edged show - the first tour of 1976 was indeed a good one with Elvis up for a burst of Bicentennial pride. So although the Cincinnati show shows Elvis 'more static' on stage than before, his voice was very good for this first 1976 tour and especially for this Cincinnati evening show. Whether you watch the show (it's been around for years on video) or just listen, there's no doubting Elvis' fantastic voice throughout this show. Elvis voice is rich, very strong and powerful Although Elvis had 'ripped through the A/S, having to change pants from the White sleeved Bi-centennial to the first Pontiac suit the Rainfall during the afternoon show (and mentions this fact during the evening show), wearing the one suit Rainfall, (rare in photos, and one of my favourite suits), Elvis puts on a great show.

Track listing for Elvis' Cincinnati, March 21 1976 evening show:

'2001' Theme: 'C.C.Rider'; 'I Got A Woman': 'Love Me' (false start); 'Let Me Be There'; 'Love Me Tender'; 'Steamroller Blues': 'All Shook Up': 'Teddy Bear'/'Don't Be Cruel': 'You 'Gave Me A Mountain'; 'Polk Salad Annie': Introductions; 'What'd I Say'; Lengthy band solos; 'School Day'; 'And I Love You So' (false start): 'Hurt': 'Hurt'; Announcement; 'Burning Love'; 'America'; 'Hound Dog': 'Funny How Time Slips Away'; Dialogue; 'Can't Help Falling In Love'/ Closing Vamp. Running time 56 minutes.

This show is the third from the "Diamond Anniversary Editions" (DAE 3595-3) with full colour, fold out cover, featuring eight excellent photos from the concert, full details once again are included of the musicians, back-up vocalists and sound engineers, etc. Digitally remastered from the Master-tape 21.3.76 E/S - which here, makes the 'new' band line-up (for this tour only) sound even better than the audience heard it, and they're playing "Hot' . fair dinkum! Great sound, nice one Bruce!

Straight away Elvis opens, full of energy, in incredible voice for 'C.C.Rider' sung very strongly as Elvis is really "up" for this show, Elvis then continues enthusiastically for 'I Got A Woman'/'Amen', leading into greeting the crowds with 'Love Me' and a "joyful" 'Let Me Be There'. The show continues with a haunting version of 'Love Me Tender' echoing around the 17,000 seater Riverfront Coliseum (better appreciated on the audience recording). Another concert highlight is next performed, a smouldering version of 'Steamroller Blues', 'All Shook Up', runs a bit faster into smooth versions of 'Teddy Bear'/'Don't Be Cruel'. Next we're into a real show highlight and if you weren't awake then you would be now as Larrie Londin's drumming beats through a powerful version of 'You Gave Me A Mountain' - which although Elvis 'jokes' with the lyrics "Blamed for the loss of an eye," and laughs with his 'own' mountain Larrie Londin - it's a moving version.

'Polk Salad Annie' is performed next with a heavy rock sounding version on guitars and thundering drumming throughout. Elvis DOES move a bit here as, at the climax of the song, he gives one high karate kick - which is very interesting to see on video (shot from stage left), you can clearly see a camera flash go off during this karate kick, which gives us the great 'action' picture you can see on the front cover of Elvis Monthly No.280!

For this first 1976 tour, introductions came during the middle of the show and include lengthy solos from the 'newer' band members. After a verse of 'School Day' Elvis continues with a sincere and convincing version of 'And I Love You So' (after a false start). Next Elvis sings his "new" record - 'Hurt', then repeats it a second time - with even more feeling, in a very moving/persuasive voice! Following this Elvis does a P.A. announcement for the benefit of a fan in section 116 of the Coliseum. 'Burning Love' then starts straight away and it's a lively version once again, driven along well by Larrie Londin's drumming. As it's the Bi-Centennial year, Elvis performs a stirring version of 'America' (going up higher at the end). Then an interesting beat 'Hound Dog' leads into 'Funny How Time Slips Away', which receives a good ending from Elvis and J.D.Sumner's 'off the keyboard voice'. Elvis then mentions to his audience that they had been fantastic in Cincinnati and says if they ask for him he'll come back - which he did on June 25 1977!

Then Elvis closes this, above average, show with 'Can't Help Falling In Love'.

My memory of this show?.... That incredible voice. Elvis voice was so rich and strong during this show (standing out from audience recorded audio/videos) like a rich cake and a strong steamroller combined!

This show is also a fine tribute to the memory of drummer, Larrie Londin. For "trivia" fans, the woman who wants a kiss or she'll die, before 'Funny How Time Slips Away', is again back at the Largo June 27 1976 evening show and during 'Love Me Tender', presents Elvis with a huge card - on it saying Remember Cincinnati? "One kiss or I'll just die!" On the downside, Elvis can't remember the lyrics at the start of 'And I Love You So', and 'Burning Love' looking in the photos as if he'd had too many "pub" lunches, which has me 'holding back the tears' listening to this CD on August 16 1995! However his voice is both clear and strong throughout, enjoying himself 'on stage with the excellent backing band supporting him, which he acknowledges at the end of the show. From 1976 already, we've had the poor Hampton Roads August 1 1976 afternoon show, the average Tuscaloosa 30.8.76 show (Kathy Westmoreland Tribute) and NOW this above average Cincinnati March 21 1976 evening show (to this very large audience). Therefore I'm now looking forward to an excellent show from 1976, i.e. October 1976, but they haven't been released yet!

Unfortunately, after the worldwide "crackdown" in July '95, on the Korean Baxter Diamond mine, and those Kansas City salt mines under threat of closure, with Bootleg CD distribution seriously affected (of any artist), we're left in the RCA/BMG soup kitchen again longing to Hold Back The Years...again and again after enjoying the DAE 3595-3 show in "perfect sound" which wouldn't be so bad - if ONLY RCA/BMG would take 'other' examples to continue on from The Alternate Aloha and Live In Dallas releases. We have recently heard from Ernst Jorgensen in The Man & His Music No.27, that there is no policy against live material if the sound is acceptable and Elvis sounds good (such as the Cincinnati March 21 1976 evening show). I'm sure that if RCA/BMG asked if enough fans are interested in this material they would find plenty saying 'there's always me'...who would prefer to pay RCA/BMG for such releases, then we many thousand of fans worldwide wouldn't find ourselves "Moody Blue & other great feelings" - left "Strung Out" after having binged on such quality CD 'live' releases over the last few years! Meanwhile until RCA/BMG can pull rabbits out of the hat 'For the good times' once again, 'Old times they are NOT forgotten!'

March 22 1976 - St. Louis, Missouri
Review by Harper Barnes - Rolling Stone, Issue 213 (May 20 1976)

These days, Elvis Presley wraps himself in the power of other people. There are ten backup singers, including a female high-note specialist and a male low-note specialist; three guitar players, including the brilliant James Burton; a bassist; a pianist on a miked grand; two drummers; an immense horn section; and god knows what else hidden in the tangle of arms and legs.

In St. Louis, where he ended a four-city mini tour that had touched Johnson City, Tennessee, Charlotte and Cincinnati, the whole human calliope was going full boil virtually all the time, embracing Elvis in a dense helix of sound. And the rock they play now is harder and louder than it used to be, a lot closer to Capricorn Records than to Sun.

Elvis seems weak, perhaps justifiably so after a prolonged battle with overweight, a battle he has only partially won and problems with his innards that sent him to the hospital. His set lasted barely fifty minutes, he loafed even more than usual and there were none of the karate chops and leaps of a few years ago.

But the fire burned through from time to time, and besides, it was Elvis Presley. You go to see him as much out of reverence for the past as from expectation for the immediate future. The auditorium, which seats 10,500, had been sold out for weeks. A crippled girl had been unable to get tickets and all she cared about in the world is Elvis Presley. There was a story in the paper and as if by magic a St. Louis massage parlour came up with a couple of ducats right up near the front for the little lady and her friend who pushes the wheelchair. There was a story about that in the paper too.

A creepy Las Vegas comedian named Jackie Kahane, who must be blackmailing Elvis or maybe is his brother-in-law told some prune juice jokes. Then it was time once again for the humble strains of '2001' (Thus Spake Zarathustra), and the rock 'n' roll obelisk named Elvis Presley hove into view. No cape this time, just basic gold-spangled black pants and vest over a ruffled and daringly low-cut baby-blue shirt.

He began with a fast 'C.C. Rider' and then really ripped into 'I Got A Woman', which became briefly entangled with 'Amen', but soon emerged unscathed. The Instamatic's were present in approximately one-to-one ratio with the bouffant hairdos and for a while the flash cubes were going off so rapidly it looked like high noon. That must have confused Elvis because, after long applause and a general rush of femininity toward the stage -- the audience was at least two-thirds women, including many mother-and-daughter combos -- he said, "I hope we have a good time this afternoon." It was about 10 P.M.

With the teasing elegance of a stripper in a room full of neck fetishists, Elvis removed and tossed into the audience two or three dozen scarves in the course of the evening, as has become his custom. If you didn't catch one, you could buy them in the lobby at five dollars apiece.

With a couple of exceptions, the remainder of the show. which seemed to be over in a blink, was devoted to a recitation of the classics. It was done quickly and perfunctorily -- with a couple of exceptions - and Elvis leaned on the band for support much of the way. There was 'Don't Be Cruel', 'Heartbreak Hotel', 'Love Me Tender' -- lots of squeals and camera flashes on that one -- 'Polk Salad Annie', 'Hound Dog'. Elvis sort of mumbled his way through the last, but when he was through singing, Burton took off on a glass-etching run of high notes. Elvis twitched his ass to the beat and the crowd went bonkers.

He closed with 'Funny How Time Slips Away' -- yes, isn't it -- and 'Can't Help Falling In Love'. The crowd at the apron of the stage by then consisted of maybe 300 people jammed together, with the ones closest to Elvis reaching up desperately to touch the hem of his garment. As the last note decayed into the vast dome of the ceiling, Elvis turned on his heel and strode into the wings, followed by four or five bodyguards. The crush of women below the front of the stage squealed and waved Elvis goodbye and above the fluttering fingers, held tightly in a strong right hand, swayed a crutch.

April 22 1976 - Omaha, Nebraska
Review by ? - Elvis News Service Weekly, Issue 256-57 (June 16 1976)

Most stars are two cylinder jobs performing with their throttles wide open. Elvis Presley is a super-charged, fuel-injected V-12 who idles beautifully along, occasionally racing the engine to give just a hint of his great power. Thursday night in Omaha, the 41 year old singer was as classy, though maybe not as sleek, as all of those Cadillacs he's been handing out since he was last here in the summer of 1974. The King is still the King, despite reports that he has been depressed, debilitated and overweight. Indeed, Presley is maybe thirty or forty pounds over his playing weight. The long time sex symbol has the start of a double chin.

But the pounds only make Elvis more imposing, if slightly less mobile. The charisma may be off a notch but the gestures are grand and Olympian. Omaha is the second stop on Presley's current seven-city tour. As in 1974, he made the town more than a little crazy. At the Hilton Hotel, fans packed every bar and restaurant hoping to catch sight of the singer. A Hilton employee said phone calls poured in and visitors asked to see the register. Presley had stayed at the Hilton in 1974 and had planned to stop again Thursday night until a change of plans. He cancelled his reservation for sixty rooms three weeks ago. Actually, Presley was still in the air between Kansas City, Mo., and Omaha when the sold-out crowd of 10,546 had settled into the seats of the City Auditorium. The concert was scheduled to begin at 8 pm. Presley arrived at the Auditorium more than an hour later.

Presley dresses in his plane so he can go from limousine to stage in just a few minutes. He sang for about eighty minutes and then was scheduled to go to Eppley Airfield for a flight in his private jetliner to Denver, the next tour stop. The Presley formula hasn't changed much since his three 1974 performances here. Some pleasing but decidedly minor entertainers opened the show. These included J.D. Sumner and The Stamps, comic Jackie Kahane and The Sweet Inspirations.

At intermission, the twenty-five sellers (all Elvis employees) who pitched to fans streaming into the arena, pitched to them again inside, selling Elvis buttons for one dollar, binoculars for five dollars. and posters and other mementos.

Then The loud speakers warned everybody to return to their seats and the Presley troupe began blaring '2001', a grand tune reserved only for prophets, superstars and antacid tablets. Presley's arrival triggered an unearthly mass scream distinctive from the squeals other big stars occasion. It's a high, building, inhuman rush of noise that might be compared to the music of the spheres on doomsday. The thousands of flash bulbs turned the midnight of the arena into high noon and then back. The process is rapidly repeated, giving the 20,000 irises of the fans a workout. Though Presley started with a routine version of 'C.C. Rider', the crowd was already his. During the next eighty minutes, Presley mixed patriotism, religion, sex and self-parody in a way that's as seductive as ever.

Finished with his guitar he had over his shoulder, he flung it carelessly behind him – where it, of course, was caught by a sideman. He wore a white jump suit cut nearly to the navel in front and with rhinestone-studded sleeves. On one finger was a gigantic, bright diamond ring. A diamond cross hung from his neck. His black curly hair had an intentionally tousled look, the only thing about him that recalls the 1950s, from whence he sprung.

His body still speaks a universal language, said with a twitch of the shoulders and a rocking of the hips. His handsome face flickered with self-mocking arrogance at times, his lip pulled up into a showy sneer. Presley has one of the great voices around and when he turned on the power, he was overwhelming. It's a deep rich enveloping tone that is commandingly masculine. Though Presley works hard for his fans, he gives them little of himself. His comments between songs were brief and sometimes puzzling. He got a laugh when he said, "I woke up the other morning and I was married to some chick," a reference to news reports about a woman who claimed Presley had proposed.

The big guy rolled through his best loved hits with an easy, playful style. These included, 'All Shook Up', 'Don't Be Cruel', 'Heartbreak Hotel', and 'Hound Dog'. But Elvis seemed to really get passionate about some of the others, belting out, 'Help Me', a sing-and-talk version of 'America', 'How Great Thou Art', and 'It's Now Or Never'. He had lots of fun with that ancient rock parody, 'Little Darlin'. The singer again handed out dozens of scarves to fans gathered in a frenetic band in front of the stage. A sideman hangs them around Elvis' neck and then he tosses them out into the crowd, only occasionally teasing the outstretched arms. He wiped one scarf over his perspiring, heaving chest and held it out. "That's the one I want," shouted a fan, as Presley strutted like Conrad Birdie, a fictional rock star who exaggerated the Presley image.

April 23 1976 - Denver, Colorado
Review by ? - Elvis News Service Weekly, Issue 256-57 (June 16 1976)

Face it - Elvis Presley, at 41, is approaching that never-never land of middle age. Yes, he is chubbier. He's enough to give sex-symbol dreams to the over weight throughout the country. His svelte, taut, youthful, truck driver's masculine body is a thing of the past. But his voice is still right on. The low register is still the powerful, sensual, sexy, melodious, euphonious instrument which made him King. The higher range is still expressive and full bodied; it is used to accent his singing and for the fast-moving melodies.

The audience has settled down too. Gone is the fanatic, hysterical, screaming. It has been replaced by a solid, respectful, established worship. The 19,000 people at McNichols Arena Friday night responded to Elvis with devoted clapping instead of unleashed madness. The audience was a study from A to Z of personality types. The emphasis was slightly to the country side where Elvis probably still is most popular. The majority was in the 30 and over bracket, although the low end was in the teens and the top end was in blue-washed hair set.

Elvis was escorted on stage by a phalanx of security guards approximately ninety minutes after the show began. Whichever way he turned, the reaction was the same - a disorienting, vertigo producing, continuous explosion of flash bulbs. He was attired in a basic white jumpsuit, opened to the waist. The jumpsuit had flared baby-blue satin sleeves. The front was multi-coloured cloth, accented with rhinestones and sequins.

The show was opened by J.D. Sumner and The Stamps. Jackie Kahane, a comedian, followed. The Sweet Inspirations sang a short set in front of a thirteen-piece band before two more musicians, "the scarf manager" and Elvis' ten backup singers came on stage. Time doesn't stop even for a living force. Elvis is no longer the "Pelvis." Elvis is a Frank Sinatra of another generation. He will be a living force until breath in his body ceases.

The King is middle-aged. Long live the King.

April 24 1976 - San Diego, California
Review by ? - Elvis News Service Weekly, Issue 256-57 (June 16 1976)

An Elvis Presley Concert is more an event than a musical show. No one can expect the King to hop on stage and just let loose with the controversial rock n'! roll that made him an idol beginning in 1956.

The prelims kept the audience content until the show band opened with the first blasts of Wagner's 'Thus Spake Zarathustra' -- or the '2001' Theme. Elvis was ushered on stage to the popping of thousands of flash bulbs and the cheers from the capacity crowd (more than 17,500.) The portly man in the white rhinestone studded jumpsuit opened with 'C.C. Rider' and who cared if he didn't play the red guitar his handlers strapped on him? After acknowledging the crowd's applause, he broke into "Treat Me Like A Fool" ('Love Me') but stopped the band momentarily to ask them to change the tempo a bit.

He then hit strides with songs like 'Let Me Be There', 'Love Me Tender', and 'Steamroller Blues'. But, the King really isn't singing - he's throwing out phrases that blend in with what his backup group is singing. What he is doing, though, is relating to a large and enthusiastic audience by dropping scarves to the screaming ladies who continually rush the six-foot high stage despite efforts of exasperated ushers. Elvis even gives those in the nickel seats a chance ($8.50 is what fans paid to sit behind the stage).

Next on the song list were a few oldies, 'All Shook Up', and ''Teddy Bear'. 'Don't Be Cruel' was as brief as the others - no song lasted more than two minutes. Again, these efforts involved more than singing and it wasn't until 'My Woman, My Wife' ('You Gave Me A Mountain'), that Elvis showed he could still reach those high powerful notes.

His effort on 'And I Love Her So'. was interrupted when Elvis forgot the words, but once untracked, it was one of his finer efforts. He really hit stride with the loud, "I'm So Hurt" ('Hurt') and the thunderous ovation obviously pleased him (so much in fact that he sang the ending again).

No one seemed to mind that 'Hound Dog' lasted thirty seconds because it was followed by "Fools Rush In" ('Can't Help Falling In Love'). After one hour and thirty scarves, it was over. So what if Elvis only pulled out the stops on one or two songs. So what if he's been out of the rock n' roll business for years. The King is still putting out and so are his fans.

April 26 1976 - Seattle, Washington
Review by ? - Elvis News Service Weekly, Issue 256-57 (June 16 1976)

He was a little older, a little heavier, a little slower – but that's all right. So was his audience. "Oh, Elvis! Elvis!" squealed a double-chinned woman in ecstasy. "Oh, he's just like I remember him." And he was too, if you squinted a little. There, right there, last night on stage at the Coliseum, were the hips that drove a generation bananas. There were the sideburns, the sequins, the tight pants and the heavy-lidded leer that promised so much more. Never mind that the sequinned jacket strained a bit whenever Elvis stooped - ooomphhh - to pick up a tossed bouquet.

"Treat ...me ... like ... a... foooooool ..." ('Love Me') he sang, pausing to tease out applause, batting his languid eyes at the audience in the balcony, whipping off his scarf and tossing it into the crowd. No more drumroll for Elvis this time around. He appeared to tympani and the strident strains of 'Also Sprach Zarathustra', pinned in the glare of five crossed spotlights, basking in the warmth of a hundred instamatic flashes.

"Oh, Elviiis! Look at me, Elvis." screamed a cluster of girls who jostled at the stage apron, grabbing at his boots and clawing after scarves he tossed their way. "I love you, Elvis! Ohhhh, Elvis please." The cries had a faintly familiar ring to those in the balcony. These were the daughters, some of them, of the dungaree clad maidens who swooned in droves for Elvis 20 years ago. "It can't be that long," insisted a husband in Row G, counting frantically on his fingers. "It was 1956, dear," his wife said gently.

But Elvis isn't ready for Medicare yet. Not while he can sell out houses of 14,600 in Seattle alone. The voice that sold 120,000,000 records still throbs with sensuous promise, still soars with spine-tingling power. The hips that moved preachers and prophets to despair of civilisation still send a crowd roaring with delight.

When Elvis left the Coliseum stage last night, guards held back the crowds until a single, mournful voice pronounced his valedictory from the loudspeakers.

"Elvis," the voice lamented. "Has left."

April 27 1976 - Spokane, Washington
Review by ? - Elvis News Service Weekly, Issue 256-57 (June 16 1976)

In the movie 2001 heroic strains of 'Thus Spake Zarathustra' signal the presence of Godlike beings from Outer Space. Last night the same music signalled the entrance of Elvis Presley from Tupelo, Mississippi.

A packed house was on hand to hear Presley, resplendent in spangled black pants, a black vest with a lot of cleavage and a ruffled blue shirt, do a fifty minute set. Presley, like Frank Sinatra, has passed the point of being a mere performer and has entered the realm of an institution. If most of the time he was content to sing his old hits without much conviction and let the band and backup singers carry the load, he would from time to time burst forth with enough power and general jiggling to set the crowd to shrieking.

After the introductory space music had died dowm and Presley had pranced around the stage like a bullfighter, he launched into 'C.C. Rider', a classic uptempo blues. Hundreds of flash bulbs went off in the audience and the lights rippled like strobes through the auditorium. He followed with a Ray Charles hit, 'I Got A Woman', as his brilliant veteran guitarist James Burton, played rapid whining runs behind him. He rode a drum roll into 'Amen' and slid back into 'I Got A Woman'. He said, a little blurry, "I hope we have a good time this afternoon."

Presley snapped into "Please, Please Love Me" ('Love Me'), and discarded his baby blue scarf in the direction of the audience. Backup singer Charlie Hodge quickly provided another – and another - and another – and another, as Presley teased the crowd like a good stripper with an inexhaustible supply of long white gloves.

Several hundred fans, the audience was mostly women, pressed against the apron of the stage. A woman in a blue pant suit with long blond hair ran plumply from the wings and embraced Elvis pressing his arms to his side. For a moment he looked a little scared. She was hustled off stage almost immediately and as the crowd pressed forward Presley said, "Mercy, folks."

After that it was 'Don't Be Cruel', 'Heartbreak Hotel', 'Love Me Tender', 'Polk Salad Annie', and 'Hound Dog' each done very quickly. Presley, at 41 years of age, goes through his old songs almost by rote, but he still has that remarkable charisma that made him famous in the first place.

April 27 1976 - Spokane, Washington
Review by Joan Gibbs - Daily Chronicle (April 28 1976)

IMMEDIATE OPENING: World in need of an idol. Lifetime employment astronomical salary. Successful applicant offered adoration of a deity. Must be able to make little girls go out of their heads...

Once or twice in a century the job gets filled, and to the generation that worships him, the others never existed; theirs can never replaced.

But there are pay-offs for the faithful: Now and then, he comes to town.

Begins then a kind of madness. People stand in line all night to get tickets. Every other engagement is cancelled. No one feels it necessary to explain.

Ask a half-dozen of the reverent why they shelled out $12.50 to help fill the Coliseum last night, and the response becomes predictable: A blank stare which says, "How can you ask? Some things are given" followed by the verbal, "I came to see The Man," with a range of exuberance.

Two hours before the show was to begin, fifty or so people, each clutching a reserved ticket, waited outside. their numbers grew and grew, and the turnstiles spun from then until the house lights dimmed.

The crowd moved smoothly through the doors and to their seats. A beefed-up Coliseum staff kept everyone happy, and a contingent of uniformed city policemen kept them calm.

The hawkers were everywhere. Each sales pitch called to single-minded fans was more imaginative - and louder - than the one before.

A thirty-ish woman who bought the whole package moaned that she should have brought a shopping bag. A woman fifteen years older opened the slick photo album and said, "They should have given us pictures when he was young. That's when he was cute."

People finding the seats, though, heard a plea which may rank as the low point in Coliseum history. A fellow with a microphone stood in front of the stage, showing "Elvis super souvenirs" and he said went like this: "Now we're holding up the beautiful 8x10 colour photo of Elvis. In beautiful colour. The beautiful colour photos are beautiful. And now, the beautiful Elvis button, with the beautiful picture of Elvis. And ladies, the beautiful, gorgeous, beautiful Elvis scarves. It is a tradition to wave these beautiful scarves at Elvis when he comes on stage. And they're beautiful scarves in beautiful white and beautiful blue".

Judging from the paraphernalia people were juggling. the $3 photo album was worth the price; the $2 poster was a good buy, but since few of the $5 scarves were waved at Elvis when the strode on stage, some traditions seemed to exist only in the mind of the man peddling them.

To go anticipating that the place would be filled with 7,000 people thirty to thirty-five years old was to underestimate the scope of the singer's appeal.

There were thousands who remember watching the bottom of their television screens turn black one night twenty years ago, but their mothers, grandmothers - and their children joined the throng last night.

A girl who couldn't have seen her sixteenth birthday leafed through her album, clutched it suddenly to her breast and said, "Oh, this one's going over my bed."

Many dressed as if they had a personal date with the man. There was floor-length chiffon, satin and lace; there were jeans, too, and The Polyester Pantsuit. Men often came as Elvis' lookalikes. A youngish woman told her friend, "I was going to wear a see-through pantsuit, but thought better of it."

Not more than a minute after the announced hour, the lights dimmed. The screaming anticipated Elvis. The announcer introduced "the finest gospel quartet in the country today, " and J.D. Sumner and The Stamps Quartet sing some up-beat, powerful - not to mention deafening and intelligible - songs of glory.

Then came Jackie Kahane, a comedian and The Sweet Inspirations, a trio so good they could make it on their own.

But the crowd wanted Elvis, and there was disappointment when the intermission preceded his arrival.

But then everyone got precisely what they'd paid for: The man glittering in a bejewelled black jumpsuit, teasing - maybe thirty pounds heavier than in his last appearance here - then immediately with a swivel of famous hips, haunting their screams with minuscule movements.

The songs were the ones everyone knew, and the familiar first bar brought more screaming when it was a fast 'I Got a Woman', or 'Polk Salad Annie'; a sort of reverent gasping for 'My Way', and 'Hurt'.

The required stampede the stage was continual, and Elvis ritualistically, wiped a sweating brow with what must have been a hundred scarves, and dropped them to women crowded at his feet. When a couple of them got a kiss, there was a mass envy.

Rarely did he pause, heaping memory on memory, unadulterated emotion on pure unabashed feeling. An hour with Elvis is an inexplicably personal experience, worth twice the going rate.

For other performers, an encore is mandatory. All Elvis needed to do was wave and promise to return.

April 30 - May 9 1976, Lake Tahoe
Review by Norman Duncan - Elvis Monthly, Issue 430 (October 1995)

This was to be Elvis' fifth appearance at Lake Tahoe since 1971, and once again it was during May, three days after completing a seven-day by eight show tour at Spokane. The Elvis Presley show opened in the high Sierra Room for a fifteen show engagement. The usual line-up of musicians and vocalists and again accompanied by the Al Tronti Orchestra.

The show times were different from past times, there were two shows on weekend days only (Sat/Sun), with weekdays, one show only each night at 10pm. There were no dinner shows, they were all now cocktail shows.

April 30 - Opening Show
'2001' Theme; 'C.C.Rider'; 'I Got A Woman'/'Amen'; 'Love Me': 'If You Love Me (Let Me Know)'; 'You Gave Me A Mountain'; 'All Shook Up': 'Teddy Bear'/'Don't Be Cruel'; 'Tryin' To Get To You'; 'Polk Salad Annie'; Intro's of band: 'America'; 'Hurt'; 'Burning Love'; 'How Great Thou Art'; 'Funny How Time Slips Away'; 'Hound Dog'; 'Can't Help Falling In Love': Closing Theme.

A really good performance overall although a slightly shorter time of around forty-five minutes. Prior to the closing song Elvis explained that he appreciated that they had waited in line a long time to see him, however, only a few hours before appearing, he was informed that he had to do TWO shows tonight, which he thought was strange on opening night, but he had to do it. Basically, the show hadn't changed much since his last appearance but the inclusion of 'America', 'Burning Love' and his latest single 'Hurt', with faultless delivery, made it that bit different.

The weekday shows were all very lively with some powerful vocals by Elvis, and a good selection of material, however, the introductions to the band etc, were taking up a considerable portion of the show time. Elvis allowed the individual band members a 'solo spot', this seemed to bother the fans as, after all, they had come to see Elvis PERFORM and really watch him stand around for up to twenty minutes. OK, it was a tribute to the musicians and their capabilities, however comments were being made that they could have done this at the very beginning prior to Elvis coming on stage, or following Elvis' departure.

May 5 - 10pm Cocktail Show
'2001' Theme; 'C.C.Rider'; 'I Got A Woman'/'Amen'; 'Love Me': 'If You Love Me (Let Me Know)'; 'You Gave Me A Mountain'; 'All Shook Up': 'Teddy Bear'/'Don't Be Cruel'; 'Tryin' To Get To You'; 'Polk Salad Annie'; 'Hound Dog': Intro's to band: 'Love Letters'; 'Hurt'; 'Burning Love'; 'Hawaiian Wedding Song'; 'How Great Thou Art': 'It's Now Or Never'; 'Can't Help Falling In Love'; Closing Theme.

The introductions of the band extended to around twenty minutes in this case. However, in fairness to Elvis, he did vocalise with the artist's solo performance with 'Early Mornin' Rain', 'What'd I Say', 'Johnny B. Goode' and 'School Day'.

As the shows continued he was even allowing the Backing Vocalists to have a "solo spot" in the show. As each show moved on they were getting a helluva lot longer as he was also taking and singing requests from the audience as they were called out to him. The finest example of this has to be the closing night's closing performance that lasted in the region of two hours!

May 9 - 10pm Closing Show
'2001' Theme; 'C.C.Rider'; 'I Got A Woman'/'Amen'; 'Love Me'; 'If You Love Me (Let Me Know)'; 'You Gave Me A Mountain'; 'All Shook Up': 'Teddy Bear'/'Don't Be Cruel'; 'Blue Suede Shoes'; 'Return To Sender'; 'Heartbreak Hotel'; 'Hawaiian Wedding Song': 'America'; 'Polk Salad Annie'; Intro's of the band including 'Early Mornin' Rain'; 'What'd I Say'; 'Johnny B. Goode'; 'Love Letters'; 'School Day': 'Wooden Heart'; 'Young and Beautiful'; 'That's All Right'; 'Blue Christmas': 'Hurt' - which he sung twice; 'Hound Dog': 'Happy Birthday' - to them all; 'Love Me Tender'; 'Burning Love'; 'Help Me'; 'The First Time Ever I Saw Your Face'; 'Jailhouse Rock'; 'One Night'; 'How Great Thou Art'; 'Can't Help Falling In Love'; Closing theme.

This show had a great party atmosphere with the band solos taking up a fair portion of the show, fun time, as Elvis sang 'Happy Birthday' to the audience and fooled around with the 'Mickey Mouse March'. He allowed Kathy Westmoreland a solo spot with My Heavenly Father and Sherrill Nielsen solos with 'Danny Boy' and 'Funny How Time Slips Away'. Many rare performances were also of note with 'Return To Sender', 'Wooden Heart' and 'Young and Beautiful', with a few "one liners" heard, 'When The Saints Go Marching In' and 'For The Heart', over two hours long and certainly a show to remember.

This, unfortunately, was the last time Elvis was to appear at this venue as no offers to have him back were ever made. Fifteen shows that had management tearing their hair out as over 30,000 fans descended on the hotel, over the period, demanding more and more of Elvis each night. Himself, either reluctant to let go' each night, or in an attempt to satisfy every last fan, run these show to suit himself despite a contract for fifty minutes each night. There were many rare renditions of songs sung over this period that the fans of today would really like to hear, over and above the ones listed, 'It's Now Or Never', 'The Wonder Of You', 'Steamroller Blues', 'Little Darlin', 'Help Me Make It Through The Night', among many.

Was any official recording taking place, of this last engagement, that we have heard nothing of?
Were sound desk recordings made for reference?
Did any official filming or videoing take place?

The Official Recording of Elvis shows took place, on many occasions, on the other side of Nevada at Las Vegas, which we have heard some of over the years, therefore, is it possible they exist from this venue?

Official recordings took place at many venues, while Elvis was on tour, over the years, some of which have seen release, so why not Lake Tahoe? Are there official or unofficial recordings lurking in vaults or salt mines waiting to be discovered?

Elvis had five engagements at this venue, with a total of no less than ninety-eight performances in the High Sierra Room, every show being packed to capacity, with at least 1,700 fans, over the years, from 1971 to 1976. With the Showroom being smaller than the Las Vegas one, this allowed a more intimate contact, with the audiences, being developed by Elvis. It was much easier for fans to call out requests and for Elvis to hear these and, as we have seen, respond with what, are now, very rare versions of songs. FROM THE MASTERTAPES series management, can we expect to see the release of at least some of these shows from over the years, they are all good and the venue was excellent for recording in.

Over to the fans now who attended these shows and should be able to respond with their memories, especially those from Stateside.

May 27 1976 - Bloomington, Indiana
Review by Rich Stim (Bloomington Herald Times) - Elvis News Service Weekly, Issue 258-59 (July 10 1976)

Since a lot of people are going to be reading this solely to find out if Elvis Presley looked obese last night at Assembly Hall, I might as well start out by saying that I could care less if Elvis was rolled out in wheelbarrow, as long as his attitude was okay and his voice was in tune.

As it was (and I hate to dwell on this more than necessary) he didn't look much more overweight than the average 41-year-old ticket buyer. Besides which, let's remember that a little extra weight used to be a sign of pride in man. It demonstrates that he can afford to live the good life.

Presley wasn't afraid to live the good life on stage at Assembly Hall Thursday night. He laid back often, giving his back-up singers a lot of chances to fill in; and played continually with the audience, shaking and posturing in the way that the crowd remembers him.

Wearing a white outfit (his band wears all black) and tossing scarves like a traveling lingerie salesman, Elvis delighted the crowd with renditions of many of his favourite hits, such as 'All Shook Up', 'Love Me', and 'Teddy Bear'.

Referring to the negative publicity surround ing the present Elvis tour, Presley told the audience in a slightly slurred voice, "Regardless what you heard, have a good time." And regardless what the audience had heard they did have a good time. Women continued to jump at the stage, grab for his neckwear and hope for that magic kiss.

Helping to bring out a lot of positive response was Elvis' extremely well-disciplined back-up band and his Las Vegas orchestra which had the best intonation I've ever heard in Assembly Hall. Also excellent was J.D. Sumner and The Stamps Quartet.

As always, Presley surrounds himself with the best in warm-up musicians and back-up bands. But like all the superstar revues, when the smoke has cleared from the early acts, everybody in the show better be ready to put out for the King.

Which is what happened during the second act. The gospel quartet, The Sweet Inspirations and the men who back Elvis on the big notes (I guess you'd have to call them singing aids) all line up on one side to push the sound that the crowd! wants to hear.

There were some disappointments, though. The sound system was out of whack through much of Presley's performance, causing the superstar to comment more than once about the "dime-store" microphones. Also disappointing was the long wait for the star to appear (not until the second act). And finally, I think, most disappointing for a few fans was the King's reserved singing on a few numbers.

Personally, I thought Elvis' performance was a perfect Bicentennial gift. Presley's evolution from a skinny young rebel to the well-heeled showman makes for the ideal statement about what can happen to a person or a country, if they have the right attitude.

May 29 1976 - Oklahoma City, Oklahoma
Review by Judy Hawthorne - Strictly Elvis Generation, Issue 12 (March/April 1977)

Oklahoma is "famous" for its wild and unpredictable spring weather, and when they dubbed our state "tornado alley," they weren't kidding! On Saturday morning, May 29, 1976, we started our 120 mile drive to Oklahoma City. The sun was out, the wind light, but far to the west we could see those familiar storm clouds gathering. By six o'clock that evening we pretty well knew it was going to be one of those nights.

The Myriad was crawling with people long before the doors opened to allow us into the room we would soon be sharing with the King of Rock and Roll. All types of souvenirs were being sold: scarves, posters, picture-programs, a small photo button, and a brand new six-inch button that had never been offered to fans before.

At 9:35 P.M., after sitting restlessly through fine performances by the Stamps, Jackie Kahane and the Sweet Inspirations, the building began to shake and rumble, not from the storm outside, but from the haunting strains of '2001'. From out of the darkness, amid the shrieks and flashing light, the "Tennessee Tornado" exploded on stage before our eyes. Dressed in a beautiful baby blue jump-suit that was decorated with red, blue and gold sequins across his chest and down his legs, Elvis took control. His outfit was topped off with a white satin shirt with bell sleeves, and a belt that had the Presidential Seal imprinted all over it. The diamond cross was around his neck, as was a small string of beads.

Grabbing a brown and black guitar, Elvis launched the show with 'C.C. Rider', 'I Got A Woman' and 'Amen', asking the audience to sing along on the latter. The golden music poured from the stage like honey. 'If You Love Me (Let Me Know)' seemed more of a question rather than a song, and the more than 15,000 fans screamed back the answer. As the minutes ticked by, so did the songs. 'You Gave Me a Mountain', 'Fever', 'Early Mornin' Rain'. He destroyed any resistance we might have had with 'Polk Salad Annie' and 'Burning Love'. 'How Great Thou Art' was a masterpiece.

Elvis took us back to the good old days with a medley of 'All Shook Up'-'Teddy Bear'-'Don't Be Cruel' and almost outdid himself with a spirited 'Jailhouse Rock'. The biggest surprise of the evening had to be 'Love Letters', with Elvis' voice never sounding so tender and full. Although the old rockers received a tremendous ovation from the fans, none of them touched the response for 'Hurt'. After singing it through once, Elvis said, "Want to hear it again?" You can imagine the answer he got, and the second rendition was even better than the first.

At one point, Elvis decided to set the record straight concerning his marital status. "Not long ago a 42-year-old chick and I were supposed to get married in Alabama," he chuckled, "I guess she's still waiting at the chapel. It wasn't true. It was just a rumour, that's all." Thousands of female hearts were set at ease. Elvis said "You're a beautiful audience" several times during the show and said "Anytime you want us to come back, just let us know and we'll be back." Where do I send my letters?

Elvis was on stage for an hour and twenty minutes, giving us his very best both in sight and sound. It's too bad the whole thing had to be marred by the fans themselves. From the moment Elvis hit the spotlight, the place was like a zoo. I've never seen such a lack of consideration for others. People were standing in their seats almost the entire length of the show, keeping the fans behind them from seeing Elvis. Even when the police tried to make them sit down they refused. C'mon folks, $12.75 is a lot to pay for a ticket, and nobody wants to spend it just to look at someone's backside!

Before the concert, I had decided not to comment on Elvis' physical appearance. I want him healthy, but I don't expect him to have the same measurements he had twenty years ago, either. What a pleasant surprise it was when Elvis appeared looking much slimmer that the last time I saw him. There was almost no sign of excess weight. He danced, wiggled, threw karate chops right and left, among other things. He seemed a bit tired, but who wouldn't be with his kind of schedule? All things considered, Elvis looked super!

As the last notes of 'Can't Help Falling In Love' faded away, Elvis waved and saluted the audience for several minutes. Suddenly, just like one of our spring "twisters", Elvis vanished into the darkness from which he had come. As we left the arena, we found the streets wet and the sky cracked with lightning and thunder...... Perfect tornado weather.

June 25 1976 - Buffalo, New York
Review by Nadine Rightmyer - Elvis News Service Weekly, Issue 258-59 (July 10 1976)

After seeing Elvis in person on June 25th in Buffalo, NY, I'll never be the same again. I was very fortunate at this concert and had the extreme pleasure of seeing Elvis up close. After seeing him so close and hearing him perform several of my very favourite songs with his better than ever voice in person - my desire to see him again is tremendous.

I met several of "Elvis' boys" at the Hilton Hotel in Buffalo for my first time, before and after the show. They are so nice and friendly. When I talked with James Burton and got his autograph, I just had to ask him, "doesn't the loud music make you deaf?" he leaned over close to me and said, "what?"

I can't help but say Elvis has passed the state of being gorgeous. His looks simply devastated me seeing him up that close! He was in a beautiful mood, seemed so happy and really enjoyed everything he did. His beautiful hair is long and such a deep black. He has just a little tummy, otherwise he's in terrific shape.

Elvis no sooner arrived onstage and began singing when some girl came running right at him. She threw her arms around him and kissed him. This time a girl had him "All Shook Up" and he broke out laughing. When he sang 'Amen' he asked the audience to "sing it with me" needless to say, almost every person in the place immediately began singing 'Amen' and were also clapping their hands enthusiastically. He said, "I get very nervous on opening night, really." The music was so loud and with the constant explosion of flashes especially whenever he turned around to the back balcony - all I could think was - Elvis' poor ears and eyes. His beautiful versions of such songs as 'And I Love You So', 'Love Letters', 'Early Mornin' Rain' and 'Polk Salad Annie' and the sexy 'Fever' brought forth a sea of sighs and endless moans and groans.

He did a double leg split slowly going down on one leg and then the other. He prefaced it by looking up at heaven and saying "God help me". Whenever he was holding a glass of water he would tease his fans by pretending he was going to throw it on them. His captivating smile showed he got a big kick out of teasing them. When the houselights came on Elvis said, "Two hundred miles for a birthday kiss-c'mere sweetheart." Elvis asked her what her name was and then he kneeled down and sang 'Happy Birthday' to her. When he kissed her, the girl didn't want Elvis to leave. but he said, no more."

"Hail Hail Rock N Roll" ('School Day') was sung by Elvis during the intros, when he was singing, 'You Gave Me A Mountain' he told his audience, "you're goin' nuts!" A little girl was brought up to the stage and Elvis gave her a sweet little kiss on the cheek. A fan gave him a crazy-coloured hat. So he put it on and walked across the stage to The Sweet Inspirations. one of the Sweets took the hat and put it on. Before giving out one scarf to a fan he wiped his chest on the inside of his jumpsuit with it. Elvis sang every song beautifully but two songs really stood out.

He said, "We have a new record out ladies and gentlemen and we'd like to sing it for you." He belted out 'Hurt' once to a tremendous response and then he asked so cutely "Wanna hear it again?" The crowd sure did, so the super singer burst out with an even stronger version of his new song, 'Hurt'. The second time around he made his voice go up really powerfully at the end. Wow!! His one and only voice sure is a wonder to me!!

Charlie Hodge brought a giant bulletin board that was covered with photos of Elvis up on-stage to Elvis, and Elvis looked it over. Without a doubt my favourite song was the man's sincere version of 'America'. To hear Elvis perform this intensely moving song (very moving because Elvis made it very moving) truly is a touching experience no fan should miss. This song alone, the way he performs the song, speaking part of it the way he does, is enough to keep me in awe of the man for the rest of my life. He has the sensitive ability of knowing just when to pause and what word or phrase to emphasise to get the best possible effect and feeling. I almost cried and during this song found myself saying silently, God bless him and take care of him.

Before that final song Elvis said "I'd like to tell you something, you've been a fantastic audience, when was the last time we were here?" The audience yelled out different numbers. Elvis asked "Two years, three years? three, four year?" Then he said so amusingly, "Do i hear five?" "So any time you want us back, just give us a ring and we'll come back again." (the loudest roar from the audience yet!). when his fans rushed to the stage at the end of the show he tried to calm them down by saying, "Take it easy" and a shout of, "whoa - whoa-whoa,whoa," I was about to go up to Elvis on the right side of the stage. There were no guards and not many people on this side. Which put me in a daze that I could get that close to Elvis with no guards to make me go back. But suddenly about twenty girls rushed at Elvis and a few of them got a hold of Elvis. Immediately a swarm of guards were carrying the girls away. Elvis just pulled himself away from the girls and smiled. Being fortunate enough to experience Elvis up close, got to know him as a person as well as a performer was amazing and fantastic as the guy is, he really is just another human being like you and me. But a very, very special human being that i have a very, very special love for, he was so nice and so friendly with his fans, he is such a nice man.. we love him!!.

June 25 1976 - Buffalo, New York
Review by Chris Brown - Elvis News Service Weekly, Issue 260-61 (July 24 1976)

We arrived in Buffalo at 11:30 and after a two hour drive from Toronto, on the day of the concert. When we found the Buffalo Memorial Auditorium, we were told that all of the tickets were gone. But, several times during the day we would check at the box office. Talking with some of the security guards, we were told that some tickets were available from the offices upstairs. So we bought tickets for the second row on the right hand side of the stage -- right eye-level with Elvis. These were the best tickets I have ever had for an Elvis concert. They cost $13, but were well worth it. (Some were selling tickets for $50 that were halfway back from the stage.)

The show was to begin at 8:30 but, as often happens, it began ten minutes late. One of the Stamps Quartet acted as MC for the show. (I think it as Ed Hill.) The show opened with the Joe Guercio orchestra and the band playing the Theme from S.W.A.T.

The Stamps Quartet were first on the bill this evening and, believe it or not, Ed Hill says, by way of introduction, "And now ladies and gentlemen, one of the finest gospel quartets in the nation, J.D. Sumner and The Stamps Quartet". So Ed then puts down his mic' and joins the other three as they take the stage. They sang real rockin' gospel songs ---- of which I could understand very few words. As they were performing, J.D. was sitting on the very back of the stage smoking cigarettes and drinking something (?) waiting to make his entrance. J.D. finally enters, proving that he does have a very deep bass voice, but also managing to make a fool of himself in front of nearly 19,000 fans. (The Stamps were quite a disappointment ofter seeing the perform at the Pontiac show.)

When their set was finished, Ed announced the comedian (?). Jackie Kahane! What can I say? The same material for over four years, with NO change. Unbelievable! (I suppose that Elvis and Mr. Kahane do have at least something in common. )

The Sweet Inspirations followed and, as usual, they were the highlight of the opening acts. And then: "IT'S INTERMISSION TIME." This lasted for about fifteen minutes.

Finally, Ed Hill says: "Could we have the houselights down, please!" SCREAM SCREAM. The very exciting '2001' theme begins. Near the end of it, half the audience is on its feet, craning to get the first look at Elvis as he bounds on stage. The drums pound, the band plays the intro music, but Elvis still hold's back for another ten seconds. He's here. He enters the stage from the left side (which is unusual). The crowd was one of the very wildest I have ever seen. They began to flock to the stage, from all sides. (I must say that security was very bad, and that the guards spent most their time watching Elvis.) Elvis walks back and forth acknowledging the audience. Getting his guitar from Charlie, Elvis walks up to the microphone, and pulls it over to him. Leaning over into the mic', he belts out 'C.C. Rider'. Elvis was on! (The very first number can usually tell you what kind of show you're going to see. 'C.C Rider' was dynamite.)

"Thank you very much. Well well well well well well well... You people just come here to hear me sing well well. Well well well well... That's it, thank you very much." As the crowd laughs Elvis roars into 'I Got A Woman'. The right leg is pumping all the time, while the crowd is pressing closer and closer to the foot of the stage and Elvis!

When Elvis began singing 'Amen' there was some feedback, and Elvis looked over to the sound engineers and sang, right in tempo, "Watch your feedback." While singing 'Amen', Elvis would say, "Sing it with us, come on!", to the crowd. "Come on! Sing with us." The key would go up higher and higher, and Elvis would say, "Take it up!" "A little higher." Letting The Sweet Inspirations sing some of 'Amen', Elvis would throw in several "Hallelujahs!" At the conclusion of 'Amen', just before Elvis would let J.D. from the airplane dive, Elvis started gyrating, going from side to side, he says: "I'm just trying to see if it all works". As he finishes, he says "That's enough, Aaaaaaamen. Go get it, J.D." Elvis would then step back from the mic', with his guitar hanging around his neck, and imitate an airplane flapping his arms as wings as J.D. "dived". When J.D. had finished, Elvis walked back to the microphone and said "That was pretty good, ladies and gentlemen, but he can do better than that. He's the world's lowest bass singer, so he should be able to do better than that. Listen to him this time!" Then, Elvis repeats the 'Amen' chorus at breakneck pace, saying, "Go get it, J.D." Elvis again does the airplane, and J.D. does indeed appear to go even lower.

With this over, Elvis rips back into the ending of 'I Got A Woman'. "Thank you very much. Good evening ladies and gentlemen -- my name is Wayne Newton. I got a Wayne Newton haircut." His hair did appear to be a little longer than usual, though. "Oh, I hope you enjoy the show, you know, ah, ah, I get very nervous you know opening night. Really!" This was the first show on this new tour. "So!" Just then, I think, a girl ran onto the stage and hugged and kissed Elvis. Sherrill Nielsen helped remove her from the stage. Elvis then turns around to the hundreds behind the stage and, of course, hundreds of flashbulbs go off. "I hope you can see up there."

"Treat me like a fool, treat me mean and cruel, but ah Love Me..." During the song, he gives out many scarves, and the crowd at the foot of the stage is getting larger and larger. Almost uncontrollable. Stuffed toys were being thrown onto the stage. A hat was thrown to him, and he put it on. A rose was also thrown, and he attempted to put it in his hair. He sings: "...if you ever go, darling I'll be, oh so, oh so, ah so o so lonely..." Chinesey (if you get what I mean). At the conclusion of the song, he makes his back up vocalists hold the last note for some tine. (Note: What made this show really good was that Elvis was not using them as much. That is, he would hold the last notes, go up to the last notes, and actually sing them, instead of what he usually does -- which was to conduct them. This is a good change, and I hope Elvis continues to sing his own songs. )

"Thank you very much. Take it on!" 'If You Love Me (Let Me Know)' is still not on a record, what a shame. It was a beautiful version, and, as the crowd grew, Elvis said: "Be careful! Be careful!" When the song was over, Elvis again said: "Thank you, be careful now! Really! We don't want anybody to get hurt. Take it on!"

'You Gave Me A Mountain' followed. The crowd was at a very high fever pitch now. Elvis was not permitted to get really involved in this song because of the crowds' reaction to him -- but nonetheless, he gave the best he could in the circumstances. Part of the reason for Elvis' non-involvement was that a boy (I think it was a boy) of two or three was lifted onto the stage. Elvis, while singing, walked over and gave the boy a scarf and a kiss. For this, Elvis drew great applause. The child didn't know what to do now, but was finally lifted off the stage. During another moving part of the song, a very large stuffed hound dog was thrown onto the stage, but Elvis continued singing. He made no move towards it, and consequently, Charlie quickly removed it from the stage. Elvis continued: "...My woman got tired of the heartaches, tired of the sweat ah grief and the strife, so tired of working for nothing..THEY'RE GOING NUTS!!" Elvis could hardly believe the crowds' reaction to him.

"Thank you very much. Thank you ladies and gentlemen. You're a fantastic audience. I'll get to you when I get a chance to, boy. I'd like to do a medley of some of my records for you. You just want a kiss?" He laughs through the first few lines of 'All Shook Up', but then finally regains control of himself.

The medley of 'Teddy bear'/'Don't Be Cruel' followed quickly. During the instrumental break in 'Don't Be Cruel', Elvis gave out several scarfs, but in the process he got too close to the edge of the stage. À fan grabs tightly to his pant leg, which causes a somewhat worried Elvis to say, "Don't pull me off the stage for God's sake."

The next song is my very favourite Elvis ballad. It is the beautiful 'And I Love You So'. He sings this well, but the Today version still was way out in front. During the song he sings: "...I tell them my God I don't know..." I'm not sure if he was just ad-libbing, or whether that was another one of his reactions to this wild crowd. "...and yes, I know, how lonely life can be, THE shadows follow me..."

This beautiful ballad was followed by -- 'Jailhouse Rock'. I couldn't believe it. It was great, with the piano being particularly outstanding. I had never heard Elvis sing this in person. It was a really rockin' version. He ended the song with that famous Elvis ending: "They were dancin'...to the Jailhouse...oh with me...yeah!" It was marvellous!!

All Elvis şays now (for the third tine) is "Take it on." 'Fever' would describe exactly how the crowd was feeling. This is only the second time I've seen Elvis do this song. It was good, with lots of leg movement. The crowd was finally beginning to settle down, with some moving back to their seats. "...I light up when you call my name.. Elvis!" "...fever when you kiss me, fever when you hold my-hold me tight..." The ending (because I believe the band was not prepared for this song was all off) caused Elvis to say: "Somebody was off!" "Thank you." Elvis leans over and picks up a necklace. Studying it, he then says: "Oh, a pearl necklace, What's this for? Who's is it?" Two women start waving their hands. "Wait a minute, it couldn't belong to the two of you." A woman, who had lost it when she tried to get to Elvis in the crowd, finally recovered her necklace from Elvis.

"OK ladies and gentlemen, since this is our bi-centennial year, I'd like to do our version of 'America'". Absolute dynamite. If a live version of this song is not released soon, it would be a crime. Elvis sings a little, then speaks part of it, then finishes the song with an unbelievable high note.

"Yeah, thank you very much." Elvis then says, "Polk Salad Annie." This was very good, though not as excitingly performed as I've seen before. This version contained a fairly lengthy bass solo by Jerry Scheff.

"Oh, thank you ladies and gentlemen. I'd like to just walk around and catch my breath. It's hot up here! I'd like to introduce you to the members of my group before I go any further..further..farther..whatever. The young ladies you met earlier in the show, we've been together for about six-and-a-half years. I think they're fantastic -- The Sweet Inspirations.. I'll be back there." Screams galore as Elvis is partially facing the people seated behind the stage and my side. "The gentlemen in the back , one of the top Gospel quartets in the nation, J.D. Sumner and The Stamps quartet. This fellow here on the end, who tackled the girl earlier" (the one who jumped on the stage and kissed Elvis), "he sings harmony with me a lot, his name is Sherrill Nielsen. I'd like to introduce myself..no..I'd like to introduce The Stemps to you individually ladies and gentlemen. Their bass singer is from North Carolina, his name is Larry Strickland. The baritone singer--he's from Nashville, his name is Ed Hill. Their lead singer, the blond headed kid, he's from Nashville, his name is Ed Enoch. He's my twin brother! They have a new tenor singer ladies and gentlemen, his name is..." He leans over to ask him. "Ron Booth. Any kin of John Wilkes? The little girl who does our high voiced singing she's from, ah, Los Angeles, Her name is Kathy Westmoreland." Elvis walked to the back of the stage and threw three or four scarfs up to the fans in the balcony behind him, and then says, "Hello there!" He then walks back to the group. "On the rhythm guitar from, ah, ah, Springfield, New York is John Wilkinson. Play something."

'Early Mornin' Rain' is played and Elvis sings the entire first verse. "Yeah, thank you John. On the lead guitar is James Burton."

'What'd I Say' is expertly played, with Elvis doing the equivalent of one verse, and some. "On the drums is, ah..." (Note: Elvis had fired Ronnie Tutt and Glen D. Hardin, but no reason was given. Whether there is some hard feelings here or not is hard to say. But if there was, Elvis' forgetting Ronnie's name would be an indication. Ronnie is back, Glen is gone.) "hard working Ronnie Tutt." As always, his solo is fantastic. "Thank you Ronnie. On the fender bass from up in Canada ladies and gentle en is Jerry Scheff. Play the blues Jerry." A solo follows. "Yeah," Elvis says in conclusion. "on the piano, ladies and
gentlemen is Tony Brown. Hit it baby. Yeah!" Throughout the solo, Elvis throws in several "Yeahs," as he moves back and forth to the music. A really good solo, maybe even better than Glen's? "Yeah, on the electric clavinet..hairnet..ah, clavinet from Nashville, ladies and gentlemen, is David Briggs." A solo on this weird sounding machine follows. When David appears to be going nowhere with his solo, Elvis says, "When you gonna end it, son? Do something. There you go! Hah! 0K! You forgot the ending. Ah, the first time that David and I worked together, we recorded a song called 'Love Letters'. We'd like to sing that for you." A very slow and absolutely beautiful version followed. I don't know if Elvis has ever done this song before, but it sure is welcome for a change. "The fellow who gives me my scarfs, and water, and sings harmony with me, his name is Charlie Hodge. Our conductor, ladies and gentlemen, is from Buffalo, New York, his name is Joe Guercio. Nice going. Joe is conducting the fantastic Joe Guercio orchestra."

They played 'School Day', and Elvis sang some of it, off mic'. "Yeah, there you go. We have a new record out" (Screams screams screams) "ladies and gentlemen, we'd like to sing that for you."

Really terrific intro music for 'Hurt'. Elvis' voice is unbelievable on this as he reaches up for those notes at the beginning and the end of this song. The spoken part is very dramatically done. After the fantastic conclusion, and because of the wild applause, Elvis asks: "You wanna hear it again?" fantastic apolause again.

"I'm so Hurt..." He did it again. He put his all into the last few notes of this song and it showed. It did it better this time!

"Thank you. You're fantastic. Thank you very much. Thank you. 'Burning Love'," says Elvis. This version suffered because of the effort he had just put into the last song -- but still, a good version. "Lord Almighty, I feel my temperature rising, Girl girl girl it's burning through to my soul, Girl girl girl you've gone and set me on fire..." Elvis looked at little lost right at the beginning of this song, then finally got into it. There's a slightly new horn arrangement, which I really liked. Elvis shakes a little, punches at his imaginary opponent, and goes into a few karate stances.

"Thank you very much. Now that you've had a chance to look at us, I'd like to turn the houselights up so we can see you. Whooo! Everybody? Four-hundred miles for a birthday kiss," reads Elvis from a sign a woman is holding up. So Elvis says, "Come here, sweetheart." Another girl had made her way to the stage, preparing to be kissed, but Elvis said, "Not you! Her! It's her, it's her!" She is at the stage now, and Elvis is kneeling down to her. "It's your birthday? You want a kiss? What's your name? Barbara?" Then, yes, he sang: "Happy Birthday' to you, happy birthday to you, happy birthday dear Barbara..sahh.. happy birthday to you." The band had also joined in. He then gave her her present.

'Funny How Time Slips Away' began, and you know the concert is about over. I've always thought that this song wouldn't be a bad closer for his show, and each time he sings it, I think -- Maybe he'll close with this tonight? But he didn't. Elvis does the falsetto part again like he did on the album Madison Square Garden, when he sings: "...what I told yyyOOOOOOOOuu...." J.D. goes down for the last note as usual.

"Thank you ladies and gentlemen. I'd like to tell you something, uh, you've been a fantastic audience here. When was the last time we were here? - Three years?" The crowd screams. "Three?" More screams. "Four?" More screams, with Elvis imitating an auctioneer, "Do I hear : five? So, any time you want us back, just give us a ring and we'll come back again." (Note: This is very maddening, because probably one-quarter of that audience were Canadians, myself included. Why should he go back. to Buffalo for the sixth, seventh time. Toronto is ready, why isn't Elvis? Is he afraid? He comes so close, yet he can never make it that extra ninety or a hundred miles.)

"Take it!" 'Can't Help Falling In Love' closed the show as usual. The crowd is moving, but not out, but towards the stage. They are frantically reaching, and throwing things. Someone gives Elvis a very beautiful painting of three or four horses (maybe Elvis'?). "Only fools rush in, but I can't help falling in love.. take it easy!!" And later, "...darling so it goes, somethings ..woh...are meant to..eh woh woh woh.. take my hand..." Elvis hits the ending notes with a lot of power, puts down the microphone, and begins to say goodbye to each side of auditorium. He walks to all sides of the stage, waving and shaking hands, and throwing out the last few scarfs -- and then quickly exits. The end of a fantastic concert, one of his very best. Ed Hill says: "Ladies and gentlemen, Elvis has left the building. Thank you and goodnight."

June 28 1976 - Philadelphia, Pennsylvania
Review by Daniel T. Spadoni - Strictly Elvis Generation, Issue 12 (March/April 1977)

Well, here it was, Monday, June 28, and after weeks of waiting, my friend and I were on our way to The Spectrum in Philadelphia to see Elvis. For myself, it was exactly two years and five days from the time I first saw him in the same building. That occasion was one I don't think I'll ever forget.

So now it was Elvis IV, the fourth time I had seen him in two years, but the first time for my friend, who was naturally quite excited. I was slightly calmer that I had been other times, but not by much.

It didn't take long to notice that there were changes from the last Elvis show I saw in July of 1975. First, Big Al was not around, his place being taken by a member of The Stamps, who urged fans to buy souvenirs while speaking from a mike behind the stage. Then, as the show itself got under way, it was not Voice but The Stamps who appeared, doing a few gospel songs, and then bringing J.D. Sumner out as they closed with 'When the Saints Go Marching In'. Jackie Kahane followed, and then The Sweet Inspirations, who surprisingly sang 'Silly Love Songs' as one of their selections. They are a very talented trio.

Finally, the time came for Elvis. We were sitting fifteen rows back of a corner of the stage, and had an excellent view of him as he came up the steps, amid a chorus of screams and what seemed like a million flash cubes going off at once.

After I had studied him closely for a few minutes through binoculars, I was mildly surprised at the weight he had put on since July, 1975. Perhaps I expected it around the stomach, but his face seemed puffy, much different that it ever appeared before, at least to me. Also, his hair seemed much longer and was combed differently, although it looked good on him.

Elvis opened with 'C.C. Rider', followed by 'I Got A Woman' and 'Let Me Be There'. He sang these songs at half-power, which still sounded better than anyone else could do. Then came 'You Gave Me A Mountain' and the almost 20,000 fans heard for the first time the incredible range, depth, and beauty fo Elvis' voice.

As usual, Elvis did many of his old favourites, but left out 'Love Me Tender', which surprised me. He also did some unexpected songs, such as Perry Como's 'And I Love You So' and 'Love Letters'. Both of these songs demonstrated the beauty and tenderness of his voice.

When Elvis said he was going to do his version of 'America', almost everyone stood immediately, and they remained standing for what has to be the best I've ever heard anyone sing that song. It was a very touching moment, especially since We were in Philly, the "Cradle of Liberty."

Elvis introduced the people of stage, still other changes were evident. Ronnie Tutt was gone on drums, and so was Glenn Hardin on piano. Hardin was replaced by Tony Brown from Nashville, who did a fine job. But there were other familiar faces, especially the likeable Charlie Hodge, who could probably hand Elvis scarves in his sleep by now.

Every Elvis concert has at least one special highlight, and in Philly it came when he sang 'Hurt'. Before he began, I wondered if he would really cut loose, because 'Hurt' is a powerful song which demonstrates in both beginning and end the full range of Elvis' voice like few other numbers. I didn't have to wait long for my answer.

Elvis sang the first line "I'm so hurt...." with such unbelievable force and beauty, that we were actually blown back in our seats. I was astounded, and the ending of the song came across the same way. He received a partial standing ovation, and then did something I had NEVER, NEVER heard of before -- he sang the entire song over, hitting a few notes in the end that just cannot be described in words. In fact, I don't even know if those notes can be found on the scale. Everyone stood the second time and cheered wildly, in what has to be the most exciting moment I've ever seen in an Elvis concert. That song alone was worth the price of admission.

Then, all too soon, Elvis was saying, "You've been a wonderful audience and it's been a pleasure working for you. If you ever want us back, just give us a yell." Of course, everyone screamed, and Elvis began 'Can't Help Falling In Love'.

As a final interesting note to the show, before Elvis shook hands with the crowd, he apparently removed his horseshoe-shaped diamond ring from his finger, probably so no one would try to steal it. We didn't blame him, since I believe the ring is worth $18,000.

After the concert, my friend asked me what I thought of Elvis' performance. I pondered the question for a few minutes, but there could really be only one honest answer. Yes, he did put on weight. Yes, he moved less that before on stage. And yes, he only sang for an hour. BUT.... the voice, the stage presence, the charisma, the concern for his audience, were ALL better than ever. No one could touch that voice, not in 1956 and not in 1976. It's a voice that can make you scream or cry, a voice that can bring you to your feet or make you sit spellbound, a voice that can sing any song like you've never heard it before. And this voice, coupled with his other talents, is what has made Elvis Presley the greatest entertainer of all time. Yet even more amazing is the fact that, through all the years of success, he has remained totally responsive and eternally grateful to us, his fans. Perhaps that is the real reason why he is, and will always be, "Number One." I think so.

August 1 1976 - Hampton Roads, Virginia
Review by Cheryl Tucker - Times Herald Newport News (August 2 1976)

Let me put one thing straight at the very beginning. I have never seen Elvis Presley in concert before. But I was curious to see what it was that can turn a grown woman into something resembling a vocal mass of jelly. After seeing his concert Sunday afternoon at Hampton Coliseum, I am still trying to figure it out.

Screams greeted Elvis when he strode onstage to the grandiose strains of 'Thus Spake Zarathustra' (Theme to '2001'), and his fans screamed even more loudly when the king of rock and roll deigned to perform a very few of his famous gyrations.

But, judging from his performance, they are screaming for what he was, what he symbolises, rather than what he is or how he sings now. He performed his songs well Sunday, although he didn't do very many. But there was no soul, no driving power behind his voice, nothing that could bring me even to contemplate a fit of frenzy.

Maybe it's the years that have taken the toll, or maybe it's our expectations are set too high. Can Elvis realistically be expected to put a lot of energy into his act when he's a 41-year-old king? When he's well established in his profession? When he's not hungry anymore? Maybe that's the secret. Maybe you have to be hungry.

"Ladies and gentlemen...if you'll look at the man up on that stage...he's showing you the Elvis super souvenirs that are available in the lobby and from the men walking up and down the aisles. You can get a giant photo album full of colour pictures of Elvis for only $3. And for only $5 you can get a six-inch Elvis pin with a built-in easel, so you can wear it or stand it up."

He wore a light blue suit with multicoloured sequins and a white shirt. His gut hung over his belt a little, and his double chin gave his face a bloated look. But somehow he still can drive women crazy, turning them into something akin to the Bacchae, those women of ancient Greece who worshipped Bacchus, the god of wine. In their sexual-religious passion, they often would tear their sacrificial victim apart with their bare hands. It was fortunate Elvis had ample squad of bodyguards. It would have been a little messy if any of those women had gotten their hands on him.

Have you ever seen what happens when you throw a piece of bread into a pond? A swarm of fish converges on it, fighting each other for the food. That image came to mind whenever Elvis tossed a scarf, that briefly had rested around his neck, to the pleading, screaming women at his feet. Somehow there is something grotesque about women clawing each other for the chance to get a slightly damp piece of cloth.

Following Elvis through the entire act was a flunky whose sole purpose in life seems to be to hand the star a drink between each song and make sure that there is a scarf ever draped around The Neck.

As quickly as one is placed there, Elvis removes it and flings it at the mass of arms waving up at him. To the one who is closest, who can shove hardest or jump highest goes the relic that undoubtedly will find its way to a well-tended shrine.

"And here, in beautiful colour, is the Elvis poster for only $1. Autographed by Elvis, it comes in three different sizes and poses. It's suitable for framing. And for only $5 you can get the traditional Elvis scarf - blue and white. Every lady should have one to wave when Elvis comes onstage. Be sure to get your Elvis super souvenir."

What did he sing? Somehow that seems rather secondary to the whole thing but here goes: 'C.C. Rider', 'If You Love Me (Let Me Know)', 'You Gave Me a Mountain', 'All Shook Up', 'Fever', 'Return to Sender', 'Early Mornin' Rain', 'Johnny B. Goode', 'Hound Dog', 'Can't Help Falling in Love' and, in tribute to the Bicentennial year, a stirring version of 'America'.

More noticeable were the songs he didn't sing. What about 'Heartbreak Hotel', 'Blue Suede Shoes' and 'Love Me Tender'? What about the old songs, the ones they came to hear? The ones that bring back memories of the way he moved, the way he made their parents nervous, the reason Ed Sullivan could show him only from the waist up.

Marty Tanner and Cathy Horton wanted to see a really great show. They had a right to. The concert was costing them $125 each. At the beginning of Saturday night's show, they were arrested for trespassing. They had been trying to get a picture of Elvis. They were back again Sunday after spending several hours in Hampton jail, being fingerprinted, paying $100 fine each, getting a police record that always will be with them. "We just wanted a picture. There were a lot of people up there, but we were the only ones they arrested," says Marty. "We didn't even get near the stage. I hope he's good, because after this, I'm never coming back."

Marty and Cathy left halfway through the concert. How much longer will the Elvis legend go on? Will they still love him when he's 64? When he's even fatter and slower? Maybe the legend will die only when he does. But as I was leaving the coliseum, a little girl, no older than ten, with eyes open wide and awe in her voice announced to no one in particular "I almost touched him, I almost touched him."

September 1 1976 - Jacksonville, Florida
Review by Martha Collins - Elvis News Service Weekly, Issue 266 (September 7 1976)

Wild-eyed nuts that we are, the day after we got home from our 6,500 mile trip, having missed Elvis in nearby Mobile, Alabama, my older daughter and I set out for Jacksonville, Florida, to try to catch Elvis on tour. We must have been blessed by some sort of "Elvis-angel," for we actually found Jacksonville, our hotel, and the Coliseum, in that order! What we couldn't find at first were tickets! Police were all over the area - everywhere we walked in the parking lot, we bumped into a cop! I really began to hate all those people with tickets (and big excited smiles on their faces)! The scalpers were really hidden. Finally, around 8.00, we landed at the front door of the Coliseum and sat down on a ramp in despair, carefully avoiding the TV cameramen on the steps. But we were still being watched by that "Elvis-angel," for we found ourselves next to a group of Graceland gate regulars, out following the tour. One introduced us to a girl with two extra tickets (her friends were unable to attend at the last minute) who sold them to us for face value! Before we went in, clutching our tickets ecstatically, the Memphis fans related some sad news, Red and Sonny West, as reported in the Memphis paper, have left Elvis' employment. Word at the gate is that they want to team up to write a book on their lives with Elvis and that Elvis feels betrayed by such an idea. Thus their parting, after all these years, was bitter, and is a dreadful blow to Elvis at this time. The fans felt Elvis' shows on this tour were good but that he is under a dark cloud due to these personal problems. They noted the nasty reviews and said the audience in Macon was unresponsive to the extent that Elvis shortened the show to forty-five minutes, not being up to a challenge - which he usually likes.

Thus we were rather worried as we sat down to watch The Stamps, Jackie Kahane, and The Sweet Inspirations. Big Al walked by us in the corridor, but did not do the introductions or hawking. At 8.30 sharp, Joe Guercio's orchestra was introduced as the "Hot Hilton Horns," mind you, and went wild on S.W.A.T. Then The Stamps stomped out to do fantastic renditions of 'It's a Great Morning', 'Operator', and 'Gone at Last'. JD joined them for 'When the Saints Go Marching In'. The audience greeted all this with great enthusiasm. Then Jackie was introduced as Mr. Jack Kahane - is this an attempt at new dignity?! Same jokes, however. The Sweets did their usual great job on 'Love in the Shadows', 'Silly Love Songs'/'Sophisticated Lady', and "the only hit we ever had, 'Sweet Inspiration'". They introduced their five-man band, as well as themselves.

After a twenty-four-minute intermission (interminable!), Elvis appeared, in his light blue jumpsuit with white full sleeves. The noise level in the audience reached a painful level and stayed there! Listen, world - he is still heavy in the middle, but he IS NOT balding - as has been reported for some strange reason!!! I was above and behind him and fairly close so I got a good view! He was on one hour and ten minutes, and seemed to be enjoying himself, although I felt a definite lack in concentration on his part, except in a couple of songs. The show was the 'C.C. Rider' basic with the newer additions of 'America', 'Jailhouse Rock' (Lord, he sounds just like the original!!) and 'Hurt'. Every twitch, every toss of the head elicited screams - it was often hard to hear Elvis sing. During the 'Amen', he made the audience sing: then chastised us for singing and clapping too fast. "What do you think this is?" he asked with mock disgust.

"Hava Nagilah?!" a girl screamed incoherently at him while he was expounding a JD's low voice. Elvis blinked at her innocently and said, "No, honey. I can't," Then he looked up and smiled slyly: "I mean sing that low." The audience went hysterical, By the time Elvis began 'You Gave Me A Mountain', I was slightly seasick from watching the fans who were crowding the stage, sway back and forth, They would follow Elvis' moves, madly attacking a scarf if he threw one, Elvis jumped a couple of times when the attacks became particularly vicious and only gave one kiss in the entire show, wisely keeping his distance, (The police did finally move the crowd out.) In response to screams of "TURN AROUND", Elvis turned rather curtly to the stage rear - and you could virtually see him counting to ten - then almost in military fashion he would turn back to the front. He did this two or three times in response to nearly constant screams, each time very abruptly, and one time muttering (after the mandatory 10-count) "That's it." His mood was fairly loose, yet there were flashes of negativism, and he was certainly cautious with the loud and frantic audience and rightly so.) Surprisingly, he has found a way to throw folded scarves into the lower balconies, to the wild joy of the fans.

'And I Love You So' brought out a "I love you too, honey" from Elvis in response to several young ladies. He changed the words to "how lonely Charlie's been, but life begins again, when he gets a fifth in his hands" - which made both Charlie and the singing word-changer break up completely!

Elvis did his usual meticulous job on introducing everyone on the stage, including JD's "niece" Ed Enoch, Bumping into a microphone stand, Elvis mumbled, "Excuse me, mike" - which made the Jackie Kahane freaks among us sit up, bug-eyed, (Did Elvis realise what he was saying? Has he been listening to Jackie lately? We'll never know!!) The instrumentalists played super solos, allowing vis to sing parts of 'Early Mornin' Rain', 'What'd I Say', (James Burton had to play a verse of 'Johnny B. Goode' with his guitar behind his head as well - a strange and amusing feat!) and 'Love Letters'.

Even talking to the audience, Elvis had trouble being heard, but he promised to drag JD back if we wanted him! It was a good show - and the screams are still ringing in my ears! Elvis must be slightly deaf by the end of a tour, but he MUST know he is WANTED!!