On return to live performances in 1969 Elvis' initial setlist was heavily loaded with many of his 50's hits intertwined with some more recent hits and recordings. As the 70's wore on most of the 50's hits were maintained albeit in abbreviated forms and occasionally some songs from the 50's like 'Trouble' would make an appearance for a full season before being dropped or others would have one off performances such as 'I Was The One' on 12 Aug 1970 during that legendary sit down section at the Midnight show.
An exception to all of those examples was A Big Hunk Of Love which two and a half years after the live comeback was the 'oldie' introduced to the setlist among five new songs on 26 January 1972 and would become almost a permanent fixture in the setlist for exactly two years and was usually given a fully committed performance.
It was sung on the first two shows of Elvis' tenth Vegas season on 26 January 1974 before being appearing to be dropped and never to be performed live again. In the time that it was included in the setlist it was three times committed to film firstly in the 1972 movie Elvis On Tour (from Hampton Roads on 9 April) then during both Aloha shows (although a fourth is likely to have been filmed for 'On Tour' at Greensboro on 14 April).
Incidentally it was the fourth last track recorded in the 50's on 10 June 1958 before Elvis began his national service in the Army and it would be almost two years before Elvis entered the recording studio again on 20 March 1960.
In this wonderful first 70's live version Elvis is practically spitting out the words, almost like the old Elvis - who said Elvis of Vegas couldn't do rock 'n' roll!!!
Listen Here
Friday, 3 February 2017
Thursday, 19 January 2017
You Can Have Her (Only Time Performed Live)
Elvis Presley appeared four times at The Forum of Inglewood in Los Angeles in the 1970’s over two days ,three years apart. The first in 1970 on 14 November during just his second tour and the second on 11 May 1974.
The 1974 shows were attended by British rock group Led Zeppellin and both the afternoon and evening shows had very little difference in terms of the setlist .
Of the 37,000 who attended those two shows the half which made their way into the Forum for the afternoon show had no idea that within that show would be two and a half minutes which would set this show apart and the treat that awaited them.
Both shows were excellent with Elvis in good voice and mood – a combination which always proved to be a winner. During the afternoon show between ‘Love Me Tender’ and ‘Steamroller Blues’ something magical and quite wonderful happened. In a moment of pure Elvis spontaneity he started to sing Ray Hamilton’s 1961 hit ‘You Can Have Her’.
The song seems to progress in stages with the passing of each verse firstly Elvis shouts the songs title then Elvis and pianist Glen D. Hardin start of before Ronnie Tutt joins in with the cymbals but at the start of the next verse it’s full blown drums. At the beginning of the next verse it’s the turn of the guitars which then become more prominent next turn around. Joining next time around are the backing vocalists and then it just becomes singing for fun. By this stage you can hear the clapping along as everyone seems to be playing and singing with a smile on their face and it’s almost just like they never want it to end but eventually Elvis does just that by bringing the song to a close.
A studio version could never have caught this fun in quite the same way and the audience recording seems to add to the ‘fly on the wall’ feel to this recording. I doubt if anyone in the crowd that afternoon had any inclination as to how special a moment they were witnessing. In a cruel twist of fate the Evening show was recorded at the mixing board and the subsequent soundboard recording was released by Sony on the FTD label in 2007 but it appears that the same cannot be said of the afternoon show. This suspicion is strengthened further by the fact that Sony actually bought the audience recording of ‘You Can Have Her’ and included it as a bonus track on the aforementioned ‘Live in L.A.’ album. It is however lucky for us that the performance was captured at all and that in spite of it being recorded by an audience member it is of good quality.
Listen to "You Can Have Her" here
The 1974 shows were attended by British rock group Led Zeppellin and both the afternoon and evening shows had very little difference in terms of the setlist .
Of the 37,000 who attended those two shows the half which made their way into the Forum for the afternoon show had no idea that within that show would be two and a half minutes which would set this show apart and the treat that awaited them.
Both shows were excellent with Elvis in good voice and mood – a combination which always proved to be a winner. During the afternoon show between ‘Love Me Tender’ and ‘Steamroller Blues’ something magical and quite wonderful happened. In a moment of pure Elvis spontaneity he started to sing Ray Hamilton’s 1961 hit ‘You Can Have Her’.
The song seems to progress in stages with the passing of each verse firstly Elvis shouts the songs title then Elvis and pianist Glen D. Hardin start of before Ronnie Tutt joins in with the cymbals but at the start of the next verse it’s full blown drums. At the beginning of the next verse it’s the turn of the guitars which then become more prominent next turn around. Joining next time around are the backing vocalists and then it just becomes singing for fun. By this stage you can hear the clapping along as everyone seems to be playing and singing with a smile on their face and it’s almost just like they never want it to end but eventually Elvis does just that by bringing the song to a close.
A studio version could never have caught this fun in quite the same way and the audience recording seems to add to the ‘fly on the wall’ feel to this recording. I doubt if anyone in the crowd that afternoon had any inclination as to how special a moment they were witnessing. In a cruel twist of fate the Evening show was recorded at the mixing board and the subsequent soundboard recording was released by Sony on the FTD label in 2007 but it appears that the same cannot be said of the afternoon show. This suspicion is strengthened further by the fact that Sony actually bought the audience recording of ‘You Can Have Her’ and included it as a bonus track on the aforementioned ‘Live in L.A.’ album. It is however lucky for us that the performance was captured at all and that in spite of it being recorded by an audience member it is of good quality.
Listen to "You Can Have Her" here
Saturday, 15 October 2016
Elvis Presley - Bridge Over Troubled Water 14/04/72 ES (On Tour Version with new audio)
Between his first, on 10 August 1970 and final, on 26 June 1977, performances of Simon and Garfunkel's 'Bridge Over Troubled Water' over 200 times Elvis sang it on stage in which time his delivery and the arrangement of the song would evolve.
The earlier performances, particulary in August 1970 would be full of emotion, sincerity and understated power with a typical Vegas arrangement loaded with strings and brass.
By 1972, when this particular version was performed the tempo was slightly quicker and the ending was now full of power.
On 14 April 1972 whilst filming for the movie 'Elvis - On Tour' the cameras of MGM caught this stirring rendition in the Greensboro Coliseum, North Carolina during the evening show.
Many fans count this as their favourite version and it is obvious, particularly towards the songs conclusion how much enjoyment Elvis is getting out of this performance.
If you watch carefully towards the end of the final chorus you can hear and see Estelle Brown of 'The Sweet Inspirations' shout yeah completely in keeping with the spirit of the performance.
This concert is still to recieve an official release on CD an to date the only one of the four 'On Tour' shows to be released officially was the San Antonio show of 18 April 1972 which appeared on the 'Close Up' 4CD boxset in 2003.
Video source : MGM's 'Elvis - On Tour' blu-ray version
Audio source : The Greensboro Concert CD
Elvis Presley - Bridge Over Troubled Water 14/04/72 ES (On Tour Version with new audio)
The earlier performances, particulary in August 1970 would be full of emotion, sincerity and understated power with a typical Vegas arrangement loaded with strings and brass.
By 1972, when this particular version was performed the tempo was slightly quicker and the ending was now full of power.
On 14 April 1972 whilst filming for the movie 'Elvis - On Tour' the cameras of MGM caught this stirring rendition in the Greensboro Coliseum, North Carolina during the evening show.
Many fans count this as their favourite version and it is obvious, particularly towards the songs conclusion how much enjoyment Elvis is getting out of this performance.
If you watch carefully towards the end of the final chorus you can hear and see Estelle Brown of 'The Sweet Inspirations' shout yeah completely in keeping with the spirit of the performance.
This concert is still to recieve an official release on CD an to date the only one of the four 'On Tour' shows to be released officially was the San Antonio show of 18 April 1972 which appeared on the 'Close Up' 4CD boxset in 2003.
Video source : MGM's 'Elvis - On Tour' blu-ray version
Audio source : The Greensboro Concert CD
Elvis Presley - Bridge Over Troubled Water 14/04/72 ES (On Tour Version with new audio)
Sunday, 26 July 2015
In The Ghetto - The first take
The 1960's were awash with protest songs from artists such as Bob Dylan and Joan Baez and whilst protest songs exist from both before and after the 60's it is with that decade that they are probably associated with most. The Civil Rights Movement and The Vietnam War are the two subjects most covered by the protest song in that period.
It took until the closing minutes of 'Singer Presents Elvis', or the 'NBC 68 comeback Special' if you prefer, for Elvis Presley to present any sort of material that in any way resembled a 'protest' song. 'If I Can Dream' was written by Walter Earl Brown at the behest of the program's producer Steve Binder after a conversation over Elvis' dismay at the assassinations of Martin Luther King and Bobby Kennedy. Elvis and Binder had been looking for a song to replace 'I'll Be Home For Christmas' as the show's closing number and Elvis chose to try it despite Colonel Parker's objections. The song with Elvis' raw emotion and it's iconic status as the show's finale remains one of Elvis' most famous recordings. How much of a protest song it actually is is open to each individuals interpretation.
The same can perhaps be said of the Mac Davis compositon 'In The Ghetto' which also became one of the most famous of Elvis' recordings. At first perhaps slightly reluctant to record the song he eventually did and the result was a masterpiece.
Recorded in American Sound Studios on 21 January 1969 it tells the story of poverty in 60's Chicago and the difficulty in escaping that predicament.
This first take, the master was take 23, is almost a completely different song from the master in that it has almost the bare minimum of accompaniment. The song starts with just an accoustic guitar and then Elvis' vocal almost at a whisper and so it continues with just drums and organ for company.
Apart from a slight error with the lyrics and phrasing at the two minute this could almost have passed as an alternate master a folk version if you like and this could possibly have placed it squarely in the 'protest' bracket.
Here are the words of the song's composer Mac Davis on the song's inception and how it was originallly titled 'The Vicious Circle' :
'I never really dreamed of pitching that song to Elvis. I had been working on In the Ghetto for several years. I grew up playing with a little boy in Lubbock, Texas, whose family lived in a dirt street ghetto. His dad and my dad worked in construction together. So that little boy and I sort of grew up together. I never understood why his family had to live where they lived while my family lived where we lived. Of course back in those days, the word 'ghetto' hadn't come along yet. But I always wanted to write a song about that situation and title it 'The Vicious Circle.
I thought that if you were born in that place and that situation, then you grow up there and one day you die there, and another kid is born there that kind of replaces you. And later I started thinking about the ghetto as a title for the song. In the meantime, Freddy Weller had showed me a guitar lick he had been playing. I liked the lick and went home one night and used that guitar lick and wrote that song'. 'I didn't write the song for anyone in particular, but later while I was working on an album in Memphis, Chips Moman called me and said Elvis was recording and asked me if I had any songs for him. So I sent him a tape with 19 songs on it and Elvis recorded the first three songs on the tape, In the Ghetto, Don't Cry Daddy and another song they never released titled Poor Man's Gold. A lot of people have asked me about Elvis talking to me about In the Ghetto. I don't think we ever had a conversation about that song ... either before or after he recorded it'.
I thought that if you were born in that place and that situation, then you grow up there and one day you die there, and another kid is born there that kind of replaces you. And later I started thinking about the ghetto as a title for the song. In the meantime, Freddy Weller had showed me a guitar lick he had been playing. I liked the lick and went home one night and used that guitar lick and wrote that song'. 'I didn't write the song for anyone in particular, but later while I was working on an album in Memphis, Chips Moman called me and said Elvis was recording and asked me if I had any songs for him. So I sent him a tape with 19 songs on it and Elvis recorded the first three songs on the tape, In the Ghetto, Don't Cry Daddy and another song they never released titled Poor Man's Gold. A lot of people have asked me about Elvis talking to me about In the Ghetto. I don't think we ever had a conversation about that song ... either before or after he recorded it'.
Sunday, 5 July 2015
Sit down section - 12 August 1970 Midnight Show
Although the point of view is purely subjective August 1970 is probably Elvis at his absolute peak as a live performer. Having already conquered Las Vegas with both his return to live performances a year before or consolidating that position with a triumphant return in January/February 1970 whilst updating his setlist with more contemporary material, he reached another level entirely in August.
The stratospheric levels that Elvis would reach in this Vegas season would never again be reached with such consistency. Elvis would still have many more peaks and outstanding shows but not for a complete season and for that there were many reasons maybe not clear then but certainly now.
As every show throughout this engagement was of an exceptionally high standard it is almost impossible to find a show which is better than any other. Many fans however are of the opinion that the Midnight show of 12 August was that show indeed the linear notes from the 2000 special edition, 3CD version of TTWII, on which that show was first released makes reference to this.
The Midnight show of 12 August 1970 is without doubt an excellent show and includes the version of ' You've Lost That Loving Feeling' with a wonderfully unexpected reprise and the final live version of 'Words'. After the band introductions Elvis embarked on a twenty minute period that would never be repeated starting with a four song burst of 'Heartbreak Hotel', 'One Night', 'Blue Suede Shoe's' and 'All Shook Up'.
Fortunately all of this and what was to follow was recorded by MGM during the filming of what was to become 'Elvis - That's The Way It Is' as this was the fifth of six shows filmed. Whilst the first part of the aforementioned twenty minutes was included in the film why the second part was not is as inexplecible as it is unforgivable especially as it was still left out of the 2001 re-edit.
The first hint of this hidden gem was on the 'Las Vegas' disc of the 1980 'Elvis Aron Presley' boxset which had a medley of 'Little Sister' and 'Get Back' but at that point we had no idea as to how much more was after that. Just before this Elvis asked for a stool and with an electric guitar started singing as if in a jam session and the result was astonishing.
This video is that second part of those twenty of so minutes and you can see and decide for yourself if this is Elvis at his absolute best - relaxed and totally immersed in the moment!
https://www.youtube.com/watch?v=oQ5C43YYfE8
The stratospheric levels that Elvis would reach in this Vegas season would never again be reached with such consistency. Elvis would still have many more peaks and outstanding shows but not for a complete season and for that there were many reasons maybe not clear then but certainly now.
As every show throughout this engagement was of an exceptionally high standard it is almost impossible to find a show which is better than any other. Many fans however are of the opinion that the Midnight show of 12 August was that show indeed the linear notes from the 2000 special edition, 3CD version of TTWII, on which that show was first released makes reference to this.
The Midnight show of 12 August 1970 is without doubt an excellent show and includes the version of ' You've Lost That Loving Feeling' with a wonderfully unexpected reprise and the final live version of 'Words'. After the band introductions Elvis embarked on a twenty minute period that would never be repeated starting with a four song burst of 'Heartbreak Hotel', 'One Night', 'Blue Suede Shoe's' and 'All Shook Up'.
Fortunately all of this and what was to follow was recorded by MGM during the filming of what was to become 'Elvis - That's The Way It Is' as this was the fifth of six shows filmed. Whilst the first part of the aforementioned twenty minutes was included in the film why the second part was not is as inexplecible as it is unforgivable especially as it was still left out of the 2001 re-edit.
The first hint of this hidden gem was on the 'Las Vegas' disc of the 1980 'Elvis Aron Presley' boxset which had a medley of 'Little Sister' and 'Get Back' but at that point we had no idea as to how much more was after that. Just before this Elvis asked for a stool and with an electric guitar started singing as if in a jam session and the result was astonishing.
This video is that second part of those twenty of so minutes and you can see and decide for yourself if this is Elvis at his absolute best - relaxed and totally immersed in the moment!
https://www.youtube.com/watch?v=oQ5C43YYfE8
Thursday, 4 June 2015
Kentucky Rain - 26 January 1970 Opening Show
After the band introductions on 26 January 1970, the opening night show of Elvis' second Las Vegas engagement Elvis would perform the last of the ten new songs introduced during this show.
Just for the record the other nine first time perfromances in the order which they were performed, (and I've posted them all on my YouTube channel)https://www.youtube.com/channel/UCv0cx32ceHpogzf59mnUlJA were - Proud Mary, Don't Cry Daddy, Teddy Bear (in a medley with Don't Be Cruel), Long Tall Sally, Let It Be Me, Walk a Mile In My Shoes, True Love Travels On A Gravel Road, Sweet Caroline and Polk Salad Annie.
The tenth and final was 'Kentucky Rain' which had been recorded in the studio amost exactly year earlier on 19 January 1969 in American Sound Studios, Memphis, Tennessee.
Whilst most versions of 'Kentucky Rain' during this engagement would include some humorous comments or lyric changes this first live version is one of very few played absolutely straight. This version is also very close to the original studio master but one very subtle lyric change would take place. This version and the original studio master has in the chorus ....'and here's another town that I'll GO walking through....' however later live versions would be sung as '.....'and here's another town that I'll BE walking through....'. The ending would also change with percussion becoming far more prominent in the song's climax.
The definitive live version of this song, and the very first version to be released officially was that from 16 February Dinner Show which was made available on the silver 1980 box set 'Elvis Aaron Presley' and is a version which is also played absolutely straight.
This version was released on the 2013 FTD release of 'The On Stage Season - February 1970' which contained both the opening and closing shows of this engagement. Several other live versions from this engagement have also been made available on FTD's 2004 album 'Polk Salad Annie' which featured the 15 February Dinner Show and on both the FTD and Legacy editions of 'On Stage'.
After this song Elvis would sing an excellent version of 'Suspicious MInds' before closing the show with the traditional closer 'Can't Help Falling In Love' completing and opening show with over half of the songs featured performed for the very first time.
As far as this song being sung live is concerned it would be performed at all six shows during the engagement at the Houston Astrodome immediately following this Las Vegas season but the final Houston show, the evening show on 1 March was the final time Elvis would sing 'Kentucky Rain' live.
Just for the record the other nine first time perfromances in the order which they were performed, (and I've posted them all on my YouTube channel)https://www.youtube.com/channel/UCv0cx32ceHpogzf59mnUlJA were - Proud Mary, Don't Cry Daddy, Teddy Bear (in a medley with Don't Be Cruel), Long Tall Sally, Let It Be Me, Walk a Mile In My Shoes, True Love Travels On A Gravel Road, Sweet Caroline and Polk Salad Annie.
The tenth and final was 'Kentucky Rain' which had been recorded in the studio amost exactly year earlier on 19 January 1969 in American Sound Studios, Memphis, Tennessee.
Whilst most versions of 'Kentucky Rain' during this engagement would include some humorous comments or lyric changes this first live version is one of very few played absolutely straight. This version is also very close to the original studio master but one very subtle lyric change would take place. This version and the original studio master has in the chorus ....'and here's another town that I'll GO walking through....' however later live versions would be sung as '.....'and here's another town that I'll BE walking through....'. The ending would also change with percussion becoming far more prominent in the song's climax.
The definitive live version of this song, and the very first version to be released officially was that from 16 February Dinner Show which was made available on the silver 1980 box set 'Elvis Aaron Presley' and is a version which is also played absolutely straight.
This version was released on the 2013 FTD release of 'The On Stage Season - February 1970' which contained both the opening and closing shows of this engagement. Several other live versions from this engagement have also been made available on FTD's 2004 album 'Polk Salad Annie' which featured the 15 February Dinner Show and on both the FTD and Legacy editions of 'On Stage'.
After this song Elvis would sing an excellent version of 'Suspicious MInds' before closing the show with the traditional closer 'Can't Help Falling In Love' completing and opening show with over half of the songs featured performed for the very first time.
As far as this song being sung live is concerned it would be performed at all six shows during the engagement at the Houston Astrodome immediately following this Las Vegas season but the final Houston show, the evening show on 1 March was the final time Elvis would sing 'Kentucky Rain' live.
Friday, 29 May 2015
Teddy Bear / Don't Be Cruel 26 January Opening Show
On opening night of Elvis' second Las Vegas engagement, 26 January 1970 he introduced a mammoth TEN new song to the setlist. Of the first four songs half were new and the fifth and sixth would also be new but with a twist!
In retrospect with such a wide range of Elvis concerts now in the public domain it is almost unfathomable to imagine one (Aloha apart) without the Teddy Bear / Don't Be Cruelmedley. In the later years of course Elvis would use this as a point in the show where he could catch his breath, throw some scarves to the crowd and have some audience interaction, usually with those of the female variety!!
In early 1970 however, this medley was just a fledgling performance and after this show he would sing it just twice more this season, at the Dinner Shows on 3 and 5 February and not again until January 1971. It would be a setlist regular throughout August 71 and all of 72. In 1973 however it would only make the odd appearance. It was from the beginning of the March 74 tour where it would become a permanent fixture in the setlist and would take on it's now familiar guise in the show.
As a stand alone performance 'Don't Be Cruel' was sung throughout the initial Vegas engagement in August 1969 and a handful of times in August and September 1970 but post 1970 it was almost always segued into a medley with 'Teddy Bear'.
Teddy Bear was of course written for Elvis' second motion picture 'Loving You' and it is perhaps within this context that the song works best. It was recorded on the Paramount Soundstage in Hollywood, California on 16 January 1957.
Don't Be Cruel is probably one of the early Elvis' most famous recordings and was recorded in New York at RCA's studios on 2 July 1956 at the same session which produced 'Hound Dog'.
If you think it is a case of "If you've heard one 70's Teddy Bear / Don't Be Cruel medley you've heard them all" then you really are in for a treat and a surprise. During this first 70's live version at times Elvis is almost growling the words of 'Teddy Bear'!!! This is almost night and day from the later 70's versions!!!!!
In retrospect with such a wide range of Elvis concerts now in the public domain it is almost unfathomable to imagine one (Aloha apart) without the Teddy Bear / Don't Be Cruelmedley. In the later years of course Elvis would use this as a point in the show where he could catch his breath, throw some scarves to the crowd and have some audience interaction, usually with those of the female variety!!
In early 1970 however, this medley was just a fledgling performance and after this show he would sing it just twice more this season, at the Dinner Shows on 3 and 5 February and not again until January 1971. It would be a setlist regular throughout August 71 and all of 72. In 1973 however it would only make the odd appearance. It was from the beginning of the March 74 tour where it would become a permanent fixture in the setlist and would take on it's now familiar guise in the show.
As a stand alone performance 'Don't Be Cruel' was sung throughout the initial Vegas engagement in August 1969 and a handful of times in August and September 1970 but post 1970 it was almost always segued into a medley with 'Teddy Bear'.
Teddy Bear was of course written for Elvis' second motion picture 'Loving You' and it is perhaps within this context that the song works best. It was recorded on the Paramount Soundstage in Hollywood, California on 16 January 1957.
Don't Be Cruel is probably one of the early Elvis' most famous recordings and was recorded in New York at RCA's studios on 2 July 1956 at the same session which produced 'Hound Dog'.
If you think it is a case of "If you've heard one 70's Teddy Bear / Don't Be Cruel medley you've heard them all" then you really are in for a treat and a surprise. During this first 70's live version at times Elvis is almost growling the words of 'Teddy Bear'!!! This is almost night and day from the later 70's versions!!!!!
Wednesday, 27 May 2015
Proud Mary - 26 January 1970 Opening Show
Of the fifteen Las Vegas opening nights that Elvis performed in six a half years it appears that the only one not have been recorded in any way is perhaps the most significant show - Sunday , 31 July 1969. This was of course his return to live performing after release from the movie contracts. Despite professional recordings of shows later in the season specifically for a live 'In person' album it is still surprising that the earliest soundboard recording is four days into the engagement on 3 August. Even if RCA had no intention of using any material from this opening night one would have thought that at least it would have been recorded from the mixing board for posterity given the magnitude of this particular show. With that in mind it is also surprising that any type of audience recording has not surfaced which would at least give some audio documentation of this historic event.
This would leave any evidence of the opening night's setlist sketchy at best with any sort of record only possible by piecing together biys and pieces from reports of the evening.
The first Las Vegas opening night to be recorded was that of his next engagement on Monday 26 January 1970. The previous August Elvis' setlist had it's emphasis mostly on rock 'n' roll with the odd cover (Yesterday, Words) and recent hits (In The Ghetto, Suspicious Minds) thrown in for good measure. The January/February setlist would be somewhat different with a radical shake up in order to prevent the show from becoming stale. Many of the rock 'n' roll numbers would be retained into this new season as would the recent hits but there would be an introduction of many new songs and two new singles into the setlist.
On opening night alone Elvis would introduce TEN new songs, two of which were new singles an another two 50's hits not used in the previous engagement. Later in the season more new songs would appear including 'Release Me', 'The Wonder of You' and 'See See Rider'. There was also a couple of personnel changes in the band and backing groups. Glen D. Hardin finally arrived replacing Larry Muhoberac on piano, Ronnie Tutt, having had a previous commitment was missing and his place was taken by Bob Lanning. and Cissy Houston had left The Sweet Inspirations leaving them without a soprano for this engagement.
Whereas Elvis opened every show during the previous August engagement with 'Blue Suede Shoes' this was now changed to 'All Shook Up' and after that came 'That's All Right'. Elvis would now introduce the first of his new songs......
'Proud Mary' a hit for Creedance Clearwater Revival a year earlier would be first heard on the 'On Stage' album. This version is different even to the 'On Stage' version recorded three weeks later but the song would be dropped for the next two seasons before reinstatemant in August 1971 with a new faster arrangement and the omitted verse included akin to On Tour and MSG. Elvis would perform 'Proud Mary' for the final time at the third show of his August 1974 engagement in Las Vegas at the Midnight Show on 20 August.
This would leave any evidence of the opening night's setlist sketchy at best with any sort of record only possible by piecing together biys and pieces from reports of the evening.
The first Las Vegas opening night to be recorded was that of his next engagement on Monday 26 January 1970. The previous August Elvis' setlist had it's emphasis mostly on rock 'n' roll with the odd cover (Yesterday, Words) and recent hits (In The Ghetto, Suspicious Minds) thrown in for good measure. The January/February setlist would be somewhat different with a radical shake up in order to prevent the show from becoming stale. Many of the rock 'n' roll numbers would be retained into this new season as would the recent hits but there would be an introduction of many new songs and two new singles into the setlist.
On opening night alone Elvis would introduce TEN new songs, two of which were new singles an another two 50's hits not used in the previous engagement. Later in the season more new songs would appear including 'Release Me', 'The Wonder of You' and 'See See Rider'. There was also a couple of personnel changes in the band and backing groups. Glen D. Hardin finally arrived replacing Larry Muhoberac on piano, Ronnie Tutt, having had a previous commitment was missing and his place was taken by Bob Lanning. and Cissy Houston had left The Sweet Inspirations leaving them without a soprano for this engagement.
Whereas Elvis opened every show during the previous August engagement with 'Blue Suede Shoes' this was now changed to 'All Shook Up' and after that came 'That's All Right'. Elvis would now introduce the first of his new songs......
'Proud Mary' a hit for Creedance Clearwater Revival a year earlier would be first heard on the 'On Stage' album. This version is different even to the 'On Stage' version recorded three weeks later but the song would be dropped for the next two seasons before reinstatemant in August 1971 with a new faster arrangement and the omitted verse included akin to On Tour and MSG. Elvis would perform 'Proud Mary' for the final time at the third show of his August 1974 engagement in Las Vegas at the Midnight Show on 20 August.
Tuesday, 26 May 2015
Moody Blue - 12 February 1970 Charlotte, North Carolina
Elvis' first tour of 1977 would be ten shows in as many nights in nine cities and five states. He would begin in Hollywood, Florida on 12 February and conclude with two shows on consecutive nights at The Coliseum in Charlotte, North Carolina.
Having recorded the studio master in 'The Jungle Room' at Graceland on 4 February 1976, 'Moody Blue' would be both a single and the title of the final album to be released in his lifetime. The only time that Elvis would either sing or attempt to sing 'Moody Blue' on stage were at those two aforementioned shows in Charlotte.
At the first Charlotte show on 11 February and after singing 'My Way' Elvis tells the crowd "Our latest record is Moody Blue.....and I don't know it either! So if we make a mistake please excuse us because we've never done it except when we recorded it!" After much debate about where to start and in which key Elvis remarks "To hell with Moody Blue" and decides instead to sing 'How Great Thou Art". All of this is taken in good humour both by Elvis and the audience,
The following evening and still at the same venue Elvis this time remarks "I'd like to try to do my latest record... I tried it last night and didn't make it....I have to read it so if we goof it up please forgive us!". This time however there is no mistake and despite the obvious unfamiliarity with the song, with lead sheet in hand and with his eyes glued to the lyrics the only live performance of 'Moddy Blue' is still achieved and at the songs conclusion Elvis jokes:
"Well I'm sure glad you learned it..really.. 'cause I don't know the chord changes, the key or anything!"
This only live rendition of 'Moody Blue' was first released on the bootleg circuit in 1995 on Fort Baxter's 'Moody Blue and other Great Performances'. It would be 2007 before the track would recieve an official release by Sony through the FTD label released it as a bonus track on the Unchained Melody album in 2007. The main focus of this release was actually the 11 February show containing the aborted attempt and the full version was included as a bonus track.
Having recorded the studio master in 'The Jungle Room' at Graceland on 4 February 1976, 'Moody Blue' would be both a single and the title of the final album to be released in his lifetime. The only time that Elvis would either sing or attempt to sing 'Moody Blue' on stage were at those two aforementioned shows in Charlotte.
At the first Charlotte show on 11 February and after singing 'My Way' Elvis tells the crowd "Our latest record is Moody Blue.....and I don't know it either! So if we make a mistake please excuse us because we've never done it except when we recorded it!" After much debate about where to start and in which key Elvis remarks "To hell with Moody Blue" and decides instead to sing 'How Great Thou Art". All of this is taken in good humour both by Elvis and the audience,
The following evening and still at the same venue Elvis this time remarks "I'd like to try to do my latest record... I tried it last night and didn't make it....I have to read it so if we goof it up please forgive us!". This time however there is no mistake and despite the obvious unfamiliarity with the song, with lead sheet in hand and with his eyes glued to the lyrics the only live performance of 'Moddy Blue' is still achieved and at the songs conclusion Elvis jokes:
"Well I'm sure glad you learned it..really.. 'cause I don't know the chord changes, the key or anything!"
This only live rendition of 'Moody Blue' was first released on the bootleg circuit in 1995 on Fort Baxter's 'Moody Blue and other Great Performances'. It would be 2007 before the track would recieve an official release by Sony through the FTD label released it as a bonus track on the Unchained Melody album in 2007. The main focus of this release was actually the 11 February show containing the aborted attempt and the full version was included as a bonus track.
Saturday, 23 May 2015
What Now My Love - 4 August 1972
In terms of it's historical significance 'Aloha From Hawaii' stands apart from virtually everything else in Elvis Presley's career. It was the first worldwide satellite telecast by an entertainer and the most watched TV program in history with the original viewership estimated to be in excess of one billion people. It retains a place close to most fans heart as together with the rehearsal concert from two days earlier it remains the only complete Elvis concert to be officially released on visual home media.
Taken in isolation however, the actual concert itself is not Elvis best - not by a long way. By Elvis' own high standards the 14 January 1973 concert itself pales in comparison even with the aforementioned show from 12 January. It should also be added that every song in the show, 'An American Trilogy' and 'I'll Remember You' apart, had been performed better by Elvis at other shows. With the constant release of bootleg concerts both audience and soundboard and now with concerts being officially released both in mainstream and on the FTD label this view it could be argued is made purely in hindsight, Whilst there may be some truth in that argument the merits of the actual concert with other Elvis shows with a fair comparison could be made as far back as Summer 1974 - a mere eighteen months after the event.
Within the main Aloha concert Elvis seems somehow disconnected with both the audience and the music and at points within the show his speech is somewhat slurred. This is particularly in evidence before 'Something' where he welcomes the audience and after 'Hound Dog' where he remarks 'I'm lying like a rug!'. It is likely that this is the effects of medication probably taken to combat the high tension and nerves that would be felt quite naturally with what was at stake that evening.
In order to make a reasonable comparison to this show it is necessary to take two shows both recorded and released around the same time. For this purpose we can take the two live albums released by RCA on either side of Aloha. In 'Madison Square Garden' recorded just six months earlier whilst Aloha is quite tame and sedate this 10 June 1972 evening show is full of power, energy and electricity with Elvis in fine voice throughout.
The second comparison is to be found in a show recorded fourteen months later in his home town of Memphis, Tennessee on 20 March 1974. This show originally released in a heavily edited form includes a grammy winning performance of 'How Great Thou Art and even despite Elvis' already having a heavy reliance of prescribed medication his speech is completely clear and the show is lots of fun and Elvis is fully engaged with both the audience and music throughout.
None of this is meant to suggest that 'Aloha From Hawaii' is a bad show but more to suggest that it's historical significance far outweighs it's actual content. - Discuss................
One of the songs synonymous with 'Aloha' is 'What Now My Love' which is one of the big ballads of the type Elvis loved to sing in the later years. Never recorded in the studio by Elvis it's most famous pre-Elvis recording is probably the Shirley Bassey version although it has been covered quite extensively since.
Before 'Aloha From Hawaii' Elvis had been performing the song in his live show for four months since introducing it in Las Vegas during the opening show on 4 August 1972. This first version is sung at a very slightly faster tempo and is given an intimate reading by Elvis at times almost speaking the words - at times in the future he would speak the entire song - adding to the songs intimacy.
An officially released soundboard recording including a performance of 'What Now My Love' is available on the FTD label from later in this Las Vegas Season, from the 12 August Dinner show on the album 3000 Paradise Road, the address of the Las Vegas Hilton, now called the 'Westgate Casino and Resort'.
Taken in isolation however, the actual concert itself is not Elvis best - not by a long way. By Elvis' own high standards the 14 January 1973 concert itself pales in comparison even with the aforementioned show from 12 January. It should also be added that every song in the show, 'An American Trilogy' and 'I'll Remember You' apart, had been performed better by Elvis at other shows. With the constant release of bootleg concerts both audience and soundboard and now with concerts being officially released both in mainstream and on the FTD label this view it could be argued is made purely in hindsight, Whilst there may be some truth in that argument the merits of the actual concert with other Elvis shows with a fair comparison could be made as far back as Summer 1974 - a mere eighteen months after the event.
Within the main Aloha concert Elvis seems somehow disconnected with both the audience and the music and at points within the show his speech is somewhat slurred. This is particularly in evidence before 'Something' where he welcomes the audience and after 'Hound Dog' where he remarks 'I'm lying like a rug!'. It is likely that this is the effects of medication probably taken to combat the high tension and nerves that would be felt quite naturally with what was at stake that evening.
In order to make a reasonable comparison to this show it is necessary to take two shows both recorded and released around the same time. For this purpose we can take the two live albums released by RCA on either side of Aloha. In 'Madison Square Garden' recorded just six months earlier whilst Aloha is quite tame and sedate this 10 June 1972 evening show is full of power, energy and electricity with Elvis in fine voice throughout.
The second comparison is to be found in a show recorded fourteen months later in his home town of Memphis, Tennessee on 20 March 1974. This show originally released in a heavily edited form includes a grammy winning performance of 'How Great Thou Art and even despite Elvis' already having a heavy reliance of prescribed medication his speech is completely clear and the show is lots of fun and Elvis is fully engaged with both the audience and music throughout.
None of this is meant to suggest that 'Aloha From Hawaii' is a bad show but more to suggest that it's historical significance far outweighs it's actual content. - Discuss................
One of the songs synonymous with 'Aloha' is 'What Now My Love' which is one of the big ballads of the type Elvis loved to sing in the later years. Never recorded in the studio by Elvis it's most famous pre-Elvis recording is probably the Shirley Bassey version although it has been covered quite extensively since.
Before 'Aloha From Hawaii' Elvis had been performing the song in his live show for four months since introducing it in Las Vegas during the opening show on 4 August 1972. This first version is sung at a very slightly faster tempo and is given an intimate reading by Elvis at times almost speaking the words - at times in the future he would speak the entire song - adding to the songs intimacy.
An officially released soundboard recording including a performance of 'What Now My Love' is available on the FTD label from later in this Las Vegas Season, from the 12 August Dinner show on the album 3000 Paradise Road, the address of the Las Vegas Hilton, now called the 'Westgate Casino and Resort'.
Tuesday, 19 May 2015
Bridge Over Troubled Water - 9 June 1972
If it wasn't for the satellite broadcast which accompanied the two show engagement at the Honoloulu International Center in Hawaii in January 1973 and the subsequent historical significance of that event it could be argued that the four show engagement in New York was the biggest of Elvis' career.
Those four shows at Madison Square Garden over three days with every show sold out to it's 20,000 capacity and was the only time that Elvis would perform in 'The Big Apple'. That New York engagement was only the first four shows of a twelve day, fourteen show tour which would conclude on 20 June in Tulsa, Oklahoma at the Civic Assembly Center.
With Elvis in fine form throughout, the four shows had a pretty rigid setlist with just the odd song being interchanged from show to show. Only three songs were performed just once over the three shows, 'Reconsider Baby', which would be performed again in the first show after MSG in Fort Wayne, 'The Impossible Dream' at the 10 June Evening show which would the final time that Elvis would sing it live and 'Bridge Over Troubled Water'.
'Bridge Over Troubled Water' was sung for the only time at MSG during the 9 June opening show and since RCA only recorded the two middle shows on 10 June we only have an audience recording of the first show. That being said it is an astonishing performance and that more than makes up for the lack of a soundboard recording.
Not only did Elvis perform the song just once at MSG he would only sing it a further three times during this fourteen show tour at Fort Wayne, Indiana on 12 June, Milwaukee, Wisconsin on 14 June and on 19 June at the Henry Levitt Arena in Wichita, Kansas. It would almost a year taking in two Las Vegas engagements and three tours including Aloha before he would perform the song again in Lake Tahoe at the Midnight Show on 6 May.
Those four shows at Madison Square Garden over three days with every show sold out to it's 20,000 capacity and was the only time that Elvis would perform in 'The Big Apple'. That New York engagement was only the first four shows of a twelve day, fourteen show tour which would conclude on 20 June in Tulsa, Oklahoma at the Civic Assembly Center.
With Elvis in fine form throughout, the four shows had a pretty rigid setlist with just the odd song being interchanged from show to show. Only three songs were performed just once over the three shows, 'Reconsider Baby', which would be performed again in the first show after MSG in Fort Wayne, 'The Impossible Dream' at the 10 June Evening show which would the final time that Elvis would sing it live and 'Bridge Over Troubled Water'.
'Bridge Over Troubled Water' was sung for the only time at MSG during the 9 June opening show and since RCA only recorded the two middle shows on 10 June we only have an audience recording of the first show. That being said it is an astonishing performance and that more than makes up for the lack of a soundboard recording.
Not only did Elvis perform the song just once at MSG he would only sing it a further three times during this fourteen show tour at Fort Wayne, Indiana on 12 June, Milwaukee, Wisconsin on 14 June and on 19 June at the Henry Levitt Arena in Wichita, Kansas. It would almost a year taking in two Las Vegas engagements and three tours including Aloha before he would perform the song again in Lake Tahoe at the Midnight Show on 6 May.
Monday, 18 May 2015
Let It Be Me - 26 January 1970 Opening Show
Elvis' return to live performances in Las Vegas went better than he could ever have imagined. On the crest of a wave after the huge success of the TV special and then a highly satisfying recording session at American Sound Studios in his home town of Memphis followed by 57 consecutive sold out shows at the International Hotel all to critical acclaim.
Whilst the August 69 season relied heavily on rock 'n' roll he would change the setlist adding a more contemporay flavour with some covers and even added some more recent hits of his own.
One of the covers that Elvis chose was the Everly Brothers 1960 hit 'Let It Be Me'. Originally written by French duo Pierre Delanoë (lyrics) and Gilbert Bécaud (music) and titled 'Je t'appartiens' it was given English lyrics by Mann Curtis and called 'Let It Be Me'.
In the ten years between the Everly Brothers hit and Elvis including it in his live stage show it wa covered by many different acts and perfromers Nancy Sinatra, Bobby Gentry and Tom Jones amongst them. It is perhaps the version recorded by The Sweet Inspirations in 1967 which resonated most with Elvis as they had incorporated a gospel feel into their version and this is certainly evident in the Elvis version.
The version which would become the RCA master and would subsequently be released on the 1970 'On Stage' album was recorded almost three weeks later than this version on 17 February at the Midnight show.
Whilst the August 69 season relied heavily on rock 'n' roll he would change the setlist adding a more contemporay flavour with some covers and even added some more recent hits of his own.
One of the covers that Elvis chose was the Everly Brothers 1960 hit 'Let It Be Me'. Originally written by French duo Pierre Delanoë (lyrics) and Gilbert Bécaud (music) and titled 'Je t'appartiens' it was given English lyrics by Mann Curtis and called 'Let It Be Me'.
In the ten years between the Everly Brothers hit and Elvis including it in his live stage show it wa covered by many different acts and perfromers Nancy Sinatra, Bobby Gentry and Tom Jones amongst them. It is perhaps the version recorded by The Sweet Inspirations in 1967 which resonated most with Elvis as they had incorporated a gospel feel into their version and this is certainly evident in the Elvis version.
The version which would become the RCA master and would subsequently be released on the 1970 'On Stage' album was recorded almost three weeks later than this version on 17 February at the Midnight show.
Saturday, 16 May 2015
Rags To Riches - New Years Eve 1976 Pittsburgh PA
In the main 1976 had been a very poor year for Elvis. His reluctance to enter a recording studio had made it necessary for RCA to move it's mobile recording unit 'Big Red' into the grounds of Graceland and Elvis' den, what was to become known as 'The Jungle Room', became a makeshift studio in order for Elvis to fulfil his contractual obligations.
The live shows of 1976 were amongst the poorest of Elvis' career with the setlist probably at it's most rigid since 1969 but still the venues sold out but even stuck in this malaise Elvis still sometimes managed to produce an excellent show within a below par tour or even a moment of genius within a mediocre show although in 76 this had become more the exception rather than the norm.
Elvis only appeared in Las Vegas once during 76 and this was the shortest full Vegas engagement of the 70's with just 15 shows over 11 nights and the standard of show was generally high. After closing in Vegas on 12 December Elvis had a fornight off before emabrking on a short five show tour which began in Wichita on 27 December and would finish in Pittsburgh during the early hours of New Years Day.
Perhaps bouyed by the fact that he had performed his final Las Vegas show as no extension had been signed, Elvis' next five concerts were unquestionably the best of Elvis' shows in 1976 and there is footage of most of the show in Birmingham, Alabama on 29 December concert, a show which was a bootleg favourite for many years and has since been released officially on FTD in a two disc set with the previous nights show in Dallas - both excellent shows. The New Years Eve show at the Civic Center Arena was probably the best of the five with Elvis on stage for almost two hours!
On a Friday evening,16,409 people in Pittsburgh saw in 1977 with 'The King' and after three opening acts and a lengthy intermission Elvis walked on stage at 23.35 to a mass of flashbulbs and screams - you would have been forgiven for thinking it was already twelve!
When twelve did arrive the house lights went up and Elvis lead the audience in a rousing rendition of Rabbie Burns' 'Auld Lang Syne' wished the audience and band members 'Happy New Year' before resuming the show but nor before introducing his father, daughter and sound engineers!
By this stage the Elvis Presley shows' penultimate number was usually 'Funny How Time Slips Away' but on this particular evening he had sang this just before midnight and so since he was already at the piano having sung 'Unchained Melody' he decided to give the only live performance of 'Rags To Riches'.
The master of this song was recorded in RCA's studio B in Nashville on 22 September 1970 in an additional session to create some extra cuts to compliment the June sessions. In addition to 'Rags to Riches' Elvis also recorded 'Snowbird', 'Where Did They Go, Lord' and 'Whole Lotta Shakin' Goin' On' at this session.
The original audience recording of this New Years Eve show was for many years one of the most sought after bootlegs and after the introduction of the FTD label they quickly bought the original recording from fan John Herman who had recorded it that evening, how much RCA paid is anyone's guess and it remains the only audience recorded show in the FTD catalouge. Released officially by FTD in 2003 it was titled simply - New Years Eve 1976. This however must only bring one to the natural conclusion that a soundboard version does not exist.
The live shows of 1976 were amongst the poorest of Elvis' career with the setlist probably at it's most rigid since 1969 but still the venues sold out but even stuck in this malaise Elvis still sometimes managed to produce an excellent show within a below par tour or even a moment of genius within a mediocre show although in 76 this had become more the exception rather than the norm.
Elvis only appeared in Las Vegas once during 76 and this was the shortest full Vegas engagement of the 70's with just 15 shows over 11 nights and the standard of show was generally high. After closing in Vegas on 12 December Elvis had a fornight off before emabrking on a short five show tour which began in Wichita on 27 December and would finish in Pittsburgh during the early hours of New Years Day.
Perhaps bouyed by the fact that he had performed his final Las Vegas show as no extension had been signed, Elvis' next five concerts were unquestionably the best of Elvis' shows in 1976 and there is footage of most of the show in Birmingham, Alabama on 29 December concert, a show which was a bootleg favourite for many years and has since been released officially on FTD in a two disc set with the previous nights show in Dallas - both excellent shows. The New Years Eve show at the Civic Center Arena was probably the best of the five with Elvis on stage for almost two hours!
On a Friday evening,16,409 people in Pittsburgh saw in 1977 with 'The King' and after three opening acts and a lengthy intermission Elvis walked on stage at 23.35 to a mass of flashbulbs and screams - you would have been forgiven for thinking it was already twelve!
When twelve did arrive the house lights went up and Elvis lead the audience in a rousing rendition of Rabbie Burns' 'Auld Lang Syne' wished the audience and band members 'Happy New Year' before resuming the show but nor before introducing his father, daughter and sound engineers!
By this stage the Elvis Presley shows' penultimate number was usually 'Funny How Time Slips Away' but on this particular evening he had sang this just before midnight and so since he was already at the piano having sung 'Unchained Melody' he decided to give the only live performance of 'Rags To Riches'.
The master of this song was recorded in RCA's studio B in Nashville on 22 September 1970 in an additional session to create some extra cuts to compliment the June sessions. In addition to 'Rags to Riches' Elvis also recorded 'Snowbird', 'Where Did They Go, Lord' and 'Whole Lotta Shakin' Goin' On' at this session.
The original audience recording of this New Years Eve show was for many years one of the most sought after bootlegs and after the introduction of the FTD label they quickly bought the original recording from fan John Herman who had recorded it that evening, how much RCA paid is anyone's guess and it remains the only audience recorded show in the FTD catalouge. Released officially by FTD in 2003 it was titled simply - New Years Eve 1976. This however must only bring one to the natural conclusion that a soundboard version does not exist.
Wednesday, 13 May 2015
Bridge Over Troubled Water - 11 August 1970 Dinner Show
By August 1970 Elvis was back on top, not just the king of rock 'n' roll but now arguably the King of entertainment. The six shows filmed by MGM for TTWII show Elvis at the height of his powers. he had managed to combine the theatrics and bombast of Vegas and incorporate them in his show which resulted in a performance that was almost as much Broadway as Las Vegas. Now Elvis had finally found a way in which to integrate all of his musical influences and country music for example finally had a place within the Elvis repertoire.
Probably the biggest influence on Elvis and that closest to his heart was gospel music and in 'Bridge Over Troubled Water' he found a song in which that influence could shine through. Wheras the original recording by Simon (the song's composer) and Garfunkel is somewhat subdued Elvis turns it into a powerful showpiece.
This performance from 11 August 1970 Dinner Show, only the second time that he had sung it live, is Elvis Presley at his absolute peak and anyone who hears this cannot possibly have any doubts as to his vocal prowess or to the magnificent entertainer that he had become. Many fans point to the performance at Greensboro Coliseum almost two years later, the rendition included in the 'On Tour' movie as their favourite. Whilst acknowledging that it is a fabulous performance it seems to lack the freshness of those from August 1970 and now by this time, three Vegas seasons, one Tahoe Season and three tours later it almost feels like a routine performance.
In his book 'Heartbreak Hotel' author and music critic Robert Matthew Walker writes of this performance:
'Presley's outstanding singing is not disguised; this is a fabulous version, burning with sincerity and power, and finding depths not revealed by it's composers'
It was widely written around this time that after after witnessing an August 70 rendition of the song in Vegas that Paul Simon said
'That's it we might as well all give up now'
although he has since denied saying those exact words.
However in Rolling Stone magazine interview:
Paul Simon later noted that Presley's rendition of his song was a "touch on the dramatic side." "But so was the song," he added. "When I first heard Elvis perform 'Bridge Over Troubled Water' it was unbelievable. I thought to myself, 'How the hell can I compete with that?'"
So now, put on you headphones turn the volume up full and witness Elvis at his absolute best!!!
The audio in this video has been replaced with audio from disc#3 of Sony's TTWII Deluxe Edition which contains the entire 11 August DS from which this performance originates.
Probably the biggest influence on Elvis and that closest to his heart was gospel music and in 'Bridge Over Troubled Water' he found a song in which that influence could shine through. Wheras the original recording by Simon (the song's composer) and Garfunkel is somewhat subdued Elvis turns it into a powerful showpiece.
This performance from 11 August 1970 Dinner Show, only the second time that he had sung it live, is Elvis Presley at his absolute peak and anyone who hears this cannot possibly have any doubts as to his vocal prowess or to the magnificent entertainer that he had become. Many fans point to the performance at Greensboro Coliseum almost two years later, the rendition included in the 'On Tour' movie as their favourite. Whilst acknowledging that it is a fabulous performance it seems to lack the freshness of those from August 1970 and now by this time, three Vegas seasons, one Tahoe Season and three tours later it almost feels like a routine performance.
In his book 'Heartbreak Hotel' author and music critic Robert Matthew Walker writes of this performance:
'Presley's outstanding singing is not disguised; this is a fabulous version, burning with sincerity and power, and finding depths not revealed by it's composers'
It was widely written around this time that after after witnessing an August 70 rendition of the song in Vegas that Paul Simon said
'That's it we might as well all give up now'
although he has since denied saying those exact words.
However in Rolling Stone magazine interview:
Paul Simon later noted that Presley's rendition of his song was a "touch on the dramatic side." "But so was the song," he added. "When I first heard Elvis perform 'Bridge Over Troubled Water' it was unbelievable. I thought to myself, 'How the hell can I compete with that?'"
So now, put on you headphones turn the volume up full and witness Elvis at his absolute best!!!
The audio in this video has been replaced with audio from disc#3 of Sony's TTWII Deluxe Edition which contains the entire 11 August DS from which this performance originates.
Monday, 11 May 2015
Inherit The Wind - 26 August 1969 Dinner Show
The only live recording of the song first appeared on the 1991 RCA/BMG box set Collectors Gold on disc #3 which was titled 'Live In Las Vegas' and also featured the first official releases of the only live performances of 'This Is The Story' and 'Rubberneckin'.
In 2005 FTD released the entire 26 August 1969 Dinner Show, titled 'Live In Las Vegas 1969', from which this song was performed and finally placed the song into it's proper context.
26 August 1969 was a strange night as far as the setlist was concerned as that evening also produced the only live performances of Rubberneckin' and 'This Is The Story' at the Midnight show. Considering August 69 probably had the most rigid setlist that Elvis would employ with rarities at a premium those in attendance at these shows probably didn't appreciate how lucky they were that evening.
Considering this was Elvis' first live performance in eight and a half years the rigid setlist was understandable with band and singers all new and a tight setlist keeps any problems with unfamiliarity at a minimum and creates a comfort zone. As Elvis' confidence increased the rarities appeared,and as such this track was performed a full four weeks into the engagement.
The actual reason for performing this 'Memphis trio' was actually for inclusion in what would become 'Elvis In Person' a fact Elvis tells the audience before singing 'Inherit The Wind' at the Dinner Show, odd therefore that all three were ommited from the album and were only officially released 24 years later!
You'll Never Walk Alone - 19 July 1975
Although Elvis won three grammy awards and another posthoumously it is little known that he was also nominated for a further eleven including one in the Best Sacred Performance category in 1968 for the studio master of this song.
'You'll Never Walk Alone' was written by Rodgers and Hammerstein for their 1945 musical 'Carousel' and Elvis recorded his version on 11 September 1967. It was in fact the last of seven songs recorded that night at RCA's Studio B in Nashville, Tennessee.
Despite being released as a single and achieving a grammy nomination it would take over three years before it would make it onto an album and even then RCA released it only on their budget label, Camden,
This, with Elvis at the piano and recorded during the evening show in the Nassau Veteran Coliseum, Uniondale, NY on 19 July 1975 is the only known live performance of 'You'll Never Walk Alone' by Elvis. Listening to this performance and Elvis' vocal it doesn't seem like eight years between this and the original studio master!
'You'll Never Walk Alone' was written by Rodgers and Hammerstein for their 1945 musical 'Carousel' and Elvis recorded his version on 11 September 1967. It was in fact the last of seven songs recorded that night at RCA's Studio B in Nashville, Tennessee.
Despite being released as a single and achieving a grammy nomination it would take over three years before it would make it onto an album and even then RCA released it only on their budget label, Camden,
This, with Elvis at the piano and recorded during the evening show in the Nassau Veteran Coliseum, Uniondale, NY on 19 July 1975 is the only known live performance of 'You'll Never Walk Alone' by Elvis. Listening to this performance and Elvis' vocal it doesn't seem like eight years between this and the original studio master!
Don't Cry Daddy / In The Ghetto - 13 August 1970 Dinner Show
When the Lost Performances was released on home video in 1992 we all sat with mouths wide open at what we were seeing. Here in front of us, salvaged from an MGM vault contained within a disused salt line in Kansas and found during a routine inspection in 1986, was footage from TWII and On Tour that many suspected but never knew for ceratin existed. As the DVD sets 'TTWII - The Complete Works' and 'On Tour - behind the scenes' proved, it was only the tip of the iceberg.
The highlight of these new performances was regarded by many as being the back to back renditions of 'Don't Cry Daddy' and 'In The Ghetto' from the dinner show on 13 Auhust and seamlessly fused together almost as one.
Both songs were composed by Mac Davis and both recorded by Elvis at American Sound Studios in Memphis, Tennessee in 1969. 'Don't Cry Daddy' was the first to be recorded on 15 January and it is a song with a powerful narrative. The song tells the story from the mind of the protaganist and how he is struggling to cope with the loss of his wife or partner, whether through death or divorce is open to interpretaion, but it seems only the pleas of his young son are helping him to continue on.
'Don't Cry Daddy' was introduced to the setlist during the opening show of the previous Vegas engagement and almost always the fourth song sung during these shows. It was sung at every show at the Houston Astrodome but was sung only once during the August 1970 Vegas engagement and this would also be the final time it would be sung live by Elvis.
'In The Ghetto' on the other hand was a song with a completely different premise and one which was completely out of the 'Elvis comfort zone' in that it was a protest song dealing with social injustice and not an area Elvis would normally venture.
In spite of these reservations, Elvis recorded it on 20 January 1969 in American Sound Studios and it was a worldwide hit and reamains one of his most critically acclaimed recordings. It was included in the Elvis live show from the first Vegas show on 31 July 1969 and would be sung at virtually every show for the next year, which incorporated the six shows at the Houston Astrodome and the Jan/Feb 70 Vegas engagement. It would only be performed a further six times thereafter, this solo appearance during August 70, at five shows during the September 70 tour and finally in Vegas at the midnight show on 19 February 1971.
Here are the words of the song's composer Mac Davis on the song's inception and how it was originallly titled 'The Vicious Circle' :
'I never really dreamed of pitching that song to Elvis. I had been working on In the Ghetto for several years. I grew up playing with a little boy in Lubbock, Texas, whose family lived in a dirt street ghetto. His dad and my dad worked in construction together. So that little boy and I sort of grew up together. I never understood why his family had to live where they lived while my family lived where we lived. Of course back in those days, the word 'ghetto' hadn't come along yet. But I always wanted to write a song about that situation and title it 'The Vicious Circle.
I thought that if you were born in that place and that situation, then you grow up there and one day you die there, and another kid is born there that kind of replaces you. And later I started thinking about the ghetto as a title for the song. In the meantime, Freddy Weller had showed me a guitar lick he had been playing. I liked the lick and went home one night and used that guitar lick and wrote that song'. 'I didn't write the song for anyone in particular, but later while I was working on an album in Memphis, Chips Moman called me and said Elvis was recording and asked me if I had any songs for him. So I sent him a tape with 19 songs on it and Elvis recorded the first three songs on the tape, In the Ghetto, Don't Cry Daddy and another song they never released titled Poor Man's Gold. A lot of people have asked me about Elvis talking to me about In the Ghetto. I don't think we ever had a conversation about that song ... either before or after he recorded it'.
The audio in this video has been replaced with superior audio from Sony's TTWII Deluxe Edition's disc #7 containing this performance and the show from which it was performed.
The highlight of these new performances was regarded by many as being the back to back renditions of 'Don't Cry Daddy' and 'In The Ghetto' from the dinner show on 13 Auhust and seamlessly fused together almost as one.
Both songs were composed by Mac Davis and both recorded by Elvis at American Sound Studios in Memphis, Tennessee in 1969. 'Don't Cry Daddy' was the first to be recorded on 15 January and it is a song with a powerful narrative. The song tells the story from the mind of the protaganist and how he is struggling to cope with the loss of his wife or partner, whether through death or divorce is open to interpretaion, but it seems only the pleas of his young son are helping him to continue on.
'Don't Cry Daddy' was introduced to the setlist during the opening show of the previous Vegas engagement and almost always the fourth song sung during these shows. It was sung at every show at the Houston Astrodome but was sung only once during the August 1970 Vegas engagement and this would also be the final time it would be sung live by Elvis.
'In The Ghetto' on the other hand was a song with a completely different premise and one which was completely out of the 'Elvis comfort zone' in that it was a protest song dealing with social injustice and not an area Elvis would normally venture.
In spite of these reservations, Elvis recorded it on 20 January 1969 in American Sound Studios and it was a worldwide hit and reamains one of his most critically acclaimed recordings. It was included in the Elvis live show from the first Vegas show on 31 July 1969 and would be sung at virtually every show for the next year, which incorporated the six shows at the Houston Astrodome and the Jan/Feb 70 Vegas engagement. It would only be performed a further six times thereafter, this solo appearance during August 70, at five shows during the September 70 tour and finally in Vegas at the midnight show on 19 February 1971.
Here are the words of the song's composer Mac Davis on the song's inception and how it was originallly titled 'The Vicious Circle' :
'I never really dreamed of pitching that song to Elvis. I had been working on In the Ghetto for several years. I grew up playing with a little boy in Lubbock, Texas, whose family lived in a dirt street ghetto. His dad and my dad worked in construction together. So that little boy and I sort of grew up together. I never understood why his family had to live where they lived while my family lived where we lived. Of course back in those days, the word 'ghetto' hadn't come along yet. But I always wanted to write a song about that situation and title it 'The Vicious Circle.
I thought that if you were born in that place and that situation, then you grow up there and one day you die there, and another kid is born there that kind of replaces you. And later I started thinking about the ghetto as a title for the song. In the meantime, Freddy Weller had showed me a guitar lick he had been playing. I liked the lick and went home one night and used that guitar lick and wrote that song'. 'I didn't write the song for anyone in particular, but later while I was working on an album in Memphis, Chips Moman called me and said Elvis was recording and asked me if I had any songs for him. So I sent him a tape with 19 songs on it and Elvis recorded the first three songs on the tape, In the Ghetto, Don't Cry Daddy and another song they never released titled Poor Man's Gold. A lot of people have asked me about Elvis talking to me about In the Ghetto. I don't think we ever had a conversation about that song ... either before or after he recorded it'.
The audio in this video has been replaced with superior audio from Sony's TTWII Deluxe Edition's disc #7 containing this performance and the show from which it was performed.
Words - 12 August 1970 Midnight Show
As if to compliment the new varied setlist Elvis of August 1970 reintroduced one of the few comtemporary covers that he had included in his setlist for his return to live performing a year earlier, the Bee Gees' self penned hit - Words, which had been dropped for the January/February 1970 engagement.
At present there is only evidence to suggest that it been used five times in that comeback Vegas run - on 23 Aug DS, on 24 Aug MS, both shows on the 25th and at the Dinner Show on the 26th.
One of the first things that we heard in the original TTWII movie, during Culver City rehearsals, was that he was unhappy with the arrangement, the ending in particular and this would possibly explain it's limited use in August 69 and it's complete disappearance for the next engagement. Whether it was brought back because they thought they had fixed the problem or that it was performed purely for the MGM cameras is pure conjecture as he only sang it twice in August 70, on opening night and this performance from the Midnight Show on 12 August and then apparantly dropped it completely.
Despite filming both versions in August, neither made it into the final cut of either the 1970 or 2001 versions of the movie although both films contain rehearsal sequences of the song. The latter movie used 'Words' as a link to advance the movie from the International's Convention Room rehearsals to the stage rehearsals by switching half way through the song.
This live performance was first heard on Disc #2 of the 2001 TTWII special edition CD boxset amongst the entire show from 12 August Midnight Show. The original audio in this video has been replaced by audio taken from disc #6 of Sony's excellent TTWII Deluxe Edition which contains that 12 August 1970 midnight show.
At present there is only evidence to suggest that it been used five times in that comeback Vegas run - on 23 Aug DS, on 24 Aug MS, both shows on the 25th and at the Dinner Show on the 26th.
One of the first things that we heard in the original TTWII movie, during Culver City rehearsals, was that he was unhappy with the arrangement, the ending in particular and this would possibly explain it's limited use in August 69 and it's complete disappearance for the next engagement. Whether it was brought back because they thought they had fixed the problem or that it was performed purely for the MGM cameras is pure conjecture as he only sang it twice in August 70, on opening night and this performance from the Midnight Show on 12 August and then apparantly dropped it completely.
Despite filming both versions in August, neither made it into the final cut of either the 1970 or 2001 versions of the movie although both films contain rehearsal sequences of the song. The latter movie used 'Words' as a link to advance the movie from the International's Convention Room rehearsals to the stage rehearsals by switching half way through the song.
This live performance was first heard on Disc #2 of the 2001 TTWII special edition CD boxset amongst the entire show from 12 August Midnight Show. The original audio in this video has been replaced by audio taken from disc #6 of Sony's excellent TTWII Deluxe Edition which contains that 12 August 1970 midnight show.
Saturday, 9 May 2015
Shake A Hand - 22 July 1975 (Asheville)
On 10 March 1975 Elvis entered RCA's Studio C in Hollywood, California and over four days would record the ten songs that would make up his next studio album 'Today'. The album would suffer from an uninspiring, unimaginative front cover which was typical of RCA's lazy attitude towards Elvis' albums in the 70's and the on stage still of Elvis bears no resemblence to the album's content.
Despite the ridiculously poor marketing and publicising of the album by the record company Elvis performed six of the ten tracks live during Spring/Summer 1975 and of those six 'And I Love You So' and 'Fairytale' would become setlist regulars until the end. The albums opening number 'T-R-O-U-B-L-E' would be a crowd favourite throughout the tours of the south in Spring/Summer 75 and the album's closing number 'Green Green Grass of Home' would be sung only three times and all in Las Vegas during 75. The two remaining songs would only be performed in Asheville in July, 'Pieces of my Life' would make it's solo live appearance on 24 July with 'Shake A Hand' performed three times on 22, 23 and 24 July.
This highly underrated and almost forgotten album was remastered and released by FTD as part of their 'classic albums' series in 2005 although the remastering of this album is probably one of the poorest efforts since the FTD label was established. Now hopefully Sony will give the album the respect it deserves as they have announced that they will be re-releasing it in their legacy range later this year. It will be a two disc set comprising of the original album, some alternate takes and live recordings of songs on tour in May and June 1975.
Despite the ridiculously poor marketing and publicising of the album by the record company Elvis performed six of the ten tracks live during Spring/Summer 1975 and of those six 'And I Love You So' and 'Fairytale' would become setlist regulars until the end. The albums opening number 'T-R-O-U-B-L-E' would be a crowd favourite throughout the tours of the south in Spring/Summer 75 and the album's closing number 'Green Green Grass of Home' would be sung only three times and all in Las Vegas during 75. The two remaining songs would only be performed in Asheville in July, 'Pieces of my Life' would make it's solo live appearance on 24 July with 'Shake A Hand' performed three times on 22, 23 and 24 July.
This highly underrated and almost forgotten album was remastered and released by FTD as part of their 'classic albums' series in 2005 although the remastering of this album is probably one of the poorest efforts since the FTD label was established. Now hopefully Sony will give the album the respect it deserves as they have announced that they will be re-releasing it in their legacy range later this year. It will be a two disc set comprising of the original album, some alternate takes and live recordings of songs on tour in May and June 1975.
You've Lost That Loving Feeling - 12 August 1970 MS with reprise
In 2001 Turner Entertainment undertook a project to update Elvis - That's The Way It Is and in the main did an excellent job. There are however some major flaws two such being the ommitting of a pair of the finest live performances Elvis ever gave in 'I Just Can't Help Believing' and 'Bridge Over Troubled Water' both in the original movie and both from the 11 August Dinner show. Obviously running time constraints mean that some things had to be left out and you can't please everyone so the movie is what it is.
As RCA did in 1970 their succcessor BMG released an album to tie in with the cinematic release of TTWII, in 1970 the original TTWII album and in 2001 the 3CD TTWII Special Edition boxset. Whilst the original album would become a critically acclaimed classic the 2001 version featured some of the best live stuff to be released at that point.
2001 saw the release of three of the six TTWII shows recorded by RCA, 10 August Opening Show on FTD's 'One Night In Vegas', 11 August Midnight Show as CD#2 on the wonderful 'Live In Las Vegas' 4 CD box set and 12 August Midnight Show on the TTWII Special Edition.
The first disc of the new TTWII set was an expanded version of the original album and Disc 3 was a combination of a selection of unreleased live songs from the six shows but it was the second disc that was getting everyone excited as it was the much anticipated 12 August MS especially with FTD just a fledgling label live Elvis material was still at a premium.
On purchasing the new set on the morning of it's release I was straight home to put disc#2 into my CD player and my jaw dropped to the floor. In amongst this live show was the version of 'You've Lost That Lovin' Feelin' from the original album - with a twist, it didn't end where we had believed it did - there was a reprise. Elvis started again just after the bridge, initially uncertain of his intentions the band realise that Elvis is singing the second half of the song again - what a treat! This video contains that complete performance reprise et al!
Originally recorded by The Righteous Brothers and produced by Phil Spector, their version is widely regarded as probably the greatest and most famous love pop song of the 60's and as a true masterpiece.
Elvis however seems to take the song to an entirely new level, ever the master interpretor of a song he takes this composition and does something wonderful with it.
Firstly it is given a new arrangement starting off with some gentle bass from Jerry Scheff whilst Elvis creates just the right atmosphere by having the lights brought right down and starting his vocal with his back to the audience almost in complete darkness before turning round with his voice using most of it's power just as the lights come back on and the result is astonishing. It is amost as much great theatre as it a great piece of musicwhilst Elvis shows that he is totally in command of his audience and has them in the palm of his hand!
Just to add to compund an already magnificent performance and perhaps something to do with the fact that this is 12 August Midnight Show and Elvis seemed to feed of the electricity in the room tha night, he gives the audience a real thrill by reprising the final verse.
This was the version selected for the TTWII original album (with the reprise edited out) but strangely not for the movie itself. This is for me without doubt the piece de resistence of Elvis versions at least................
The audio has been replaced with that from disc #6 of the excellent TTWII Deluxe Edition which contains the complete 12 August Midnight Show with wonderful sound.
As RCA did in 1970 their succcessor BMG released an album to tie in with the cinematic release of TTWII, in 1970 the original TTWII album and in 2001 the 3CD TTWII Special Edition boxset. Whilst the original album would become a critically acclaimed classic the 2001 version featured some of the best live stuff to be released at that point.
2001 saw the release of three of the six TTWII shows recorded by RCA, 10 August Opening Show on FTD's 'One Night In Vegas', 11 August Midnight Show as CD#2 on the wonderful 'Live In Las Vegas' 4 CD box set and 12 August Midnight Show on the TTWII Special Edition.
The first disc of the new TTWII set was an expanded version of the original album and Disc 3 was a combination of a selection of unreleased live songs from the six shows but it was the second disc that was getting everyone excited as it was the much anticipated 12 August MS especially with FTD just a fledgling label live Elvis material was still at a premium.
On purchasing the new set on the morning of it's release I was straight home to put disc#2 into my CD player and my jaw dropped to the floor. In amongst this live show was the version of 'You've Lost That Lovin' Feelin' from the original album - with a twist, it didn't end where we had believed it did - there was a reprise. Elvis started again just after the bridge, initially uncertain of his intentions the band realise that Elvis is singing the second half of the song again - what a treat! This video contains that complete performance reprise et al!
Originally recorded by The Righteous Brothers and produced by Phil Spector, their version is widely regarded as probably the greatest and most famous love pop song of the 60's and as a true masterpiece.
Elvis however seems to take the song to an entirely new level, ever the master interpretor of a song he takes this composition and does something wonderful with it.
Firstly it is given a new arrangement starting off with some gentle bass from Jerry Scheff whilst Elvis creates just the right atmosphere by having the lights brought right down and starting his vocal with his back to the audience almost in complete darkness before turning round with his voice using most of it's power just as the lights come back on and the result is astonishing. It is amost as much great theatre as it a great piece of musicwhilst Elvis shows that he is totally in command of his audience and has them in the palm of his hand!
Just to add to compund an already magnificent performance and perhaps something to do with the fact that this is 12 August Midnight Show and Elvis seemed to feed of the electricity in the room tha night, he gives the audience a real thrill by reprising the final verse.
This was the version selected for the TTWII original album (with the reprise edited out) but strangely not for the movie itself. This is for me without doubt the piece de resistence of Elvis versions at least................
The audio has been replaced with that from disc #6 of the excellent TTWII Deluxe Edition which contains the complete 12 August Midnight Show with wonderful sound.
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