Review by Piers Beagley & Geoffrey McDonnell
"Of all the time and places to rip my pants!" Elvis - Memphis, June 10 1975
Elvis only performed seven concerts in Memphis during the 1970s. Five of these were in March 1974, the last one being recorded by RCA for yet another live album. When you hear the roar of his adoring crowd at the 1974 shows, you wonder why Elvis never chose to play Memphis as one of his first seventies’ concerts. The matinée performance of March 16 1974, Elvis’ first Memphis concert since 1961, recorded on soundboard has always been a popular bootleg.
Now FTD at last brings us a previously unreleased soundboard of Elvis’ March 17 1974 evening show, along with the first official release of Elvis’ only Memphis show from the following year, June 10 1975.
The Packaging
The fold-out cover disappointingly features only four colour photos of Elvis with the 1974 images taken at the March 17 afternoon concert, not the featured evening show - and sadly there is no booklet. The CDs both feature a 1975 black and white concert photo with only “See inlay for complete track listings” and not even the dates of the concerts, while behind each disc both photos show Elvis in his 1974 red “Fire” jumpsuit. Why FTD did not put a 1974 image on the 1974 disc with a 1974 photo behind it - and the same for the 1975 concert - beggars belief! The front cover features Elvis in his 1975 “Indian Feather” jumpsuit with “Hometown Shows ELVIS” logo, while the back cover tracklists also have NO DATED information.
Inside the tracklistings are repeated with Disc 1 having 24 tracks and Disc 2, 22 tracks – with the dates and venue listed.
However, the second concert is noted as an “Afternoon Show” which is incorrect as both shows were evening performances starting @ 8.30pm on 17 March 1974 and 8.30pm on 10 June 1975! There was no afternoon show on June 10 1975! Also included are four ticket stubs, with the first ticket from the March 17 afternoon show, as well as a half ticket stub for the March 20 1974 show - neither show featured in this package. And then most surprisingly two ticket stubs for the CANCELLED August 27 and 28 1977 Memphis shows. These might be interesting if they came as part of a booklet with some history and photos about Elvis performing at the Memphis Mid-South Coliseum, but why these are included with no relevance to the two concerts here I cannot say!
The Music
The real treat for collectors is the sensational sound quality of the March 17 1974 concert, in excellent mono sound. Presumably recorded on reel-to-reel (not cassette), the audio has a crisp top-end and lots of bass with a great orchestra mix, and James Burton and the band perfectly placed. It sounds great played loud on speakers. In comparison, Forty-Eight Hours To Memphis had too much added reverb whereas this is very clean - and also sounds much better than the March 1 1974 concert of FTD’s Sold Out and much better than the famous bootleg from Memphis the day before.
The oft-bootlegged June 1975 concert is again very good mono sound but definitely taken from cassette. The audio quality here is more focused that the 2013 FTD Elvis In Florida - April 1975 and much better than the Las Vegas 1975 recent release. It is also without the added reverb heard on previous unofficial releases.
The March 17 performance has never been released before - with the exception of ‘Johnny B Goode’ and ‘That’s All Right’ as bonus tracks on the FTD Forty Eight-Hours To Memphis release.
Disc 1 (60 minutes)
Memphis - March 17 1974 Evening Show 8.30pm, with Elvis wearing his Blue Starburst / Original Belt suit.
The ‘2001’ intro sounds great and you can feel the excitement building for this evening show and the appreciation of his adoring fans.
Elvis bursts on stage to ‘C.C. Rider’ and he is obviously in good voice and high energy with a few extra “see, see, see, see”s added near the end.
Obviously enjoying playing to the home crowd, Elvis puts more energy into ‘I Got A Woman’/‘Amen’ than usual and changes the line to “way across Georgia”! At the end Elvis, sounding very focused, explains that J.D’s voice is “lower than a whale’s belly at the bottom of the ocean”, most other times he wouldn’t bother to explain this joke properly, but tonight he takes the time. Elvis does get J.D. to repeat the deep-bass ending “Whoo, Oh Lord” but this time it is cute compared to the later dreadfully drawn-out versions! This is an energetic Elvis, focused and ready for fun - you know it is going to be a great performance.
Then Elvis introduces himself as “Wayne Newton” and comments to bassist Duke Bardwell “Don’t I always turn round Duke?” before ‘Love Me’, which is a fair version.
Elvis then hears something funny from the crowd, “Same to you!” he comments, which starts him laughing.
‘Tryin' To Get To You’ is the first concert highlight and with the added fun of Elvis trying to stop his giggles - it’s great.
‘All Shook Up’ is not as rushed as it would be by August 1974 and ‘Steamroller Blues’ is fine, but not as outstanding as the following night’s performance in Richmond.
Elvis is still really digging it though, and sings along throughout the solos. Sound throughout is extremely good, with nice piano work from Glen Hardin, but it seems to favour J.D’s low bass-voice.
‘(Let Me Be Your) Teddy Bear / Don’t be Cruel’ is the “scarf around your neck” version and easily dismissible. There are lots more laughs from Elvis which also infects his next song ‘Love Me Tender’.
‘Johnny B. Goode’ however, is a great version, clearly sung with great Chuck Berry guitar from James Burton. For some reason Elvis would drop this song at the Memphis RCA recorded performance.
‘Hound Dog’ is the routine crowd-pleaser with Elvis perhaps putting in more energy than usual, while ‘Fever’ breaks down with lots more laughter and “he’s just a monkey” references. Afterwards, Elvis thanks the crowd noting, “You’re a good audience, because I’m supposed to be real serious but I’m laughing my whole career away”!
‘Polk Salad Annie’ is fine for 1974 and before the solos he notes, “Play it James” and “sneak up on him, Ronnie”.
‘Why Me Lord’ is first-rate, simply because it’s taken seriously for a change and comes across very sincerely tonight. “I like that” notes Elvis afterwards, as he pushes them to a nice reprise of the ending where you can hear Elvis singing his heart out with The Stamps.
Although a crowd-pleaser, ‘Suspicious Minds’ is pretty routine. Not surprisingly, it would be dropped from Elvis’ set-list after August 1974 and so does not feature on Disc 2 of this release.
The very average ‘Introductions’ are next and luckily brief (only just over two minutes!) mentioning all the usual members of the band but tonight he introduces George Klein as “My old school buddy, all the way back to the eighth grade” and then changes more band-members‘ names to George for fun afterwards. After John Wilkinson’s intro, Elvis adds that “You still don’t trust me, I don’t blame you!”
‘I Can’t Stop Loving You’ features an amusing false start “Do it again, I still can’t do it!” but Elvis is distracted and still has the giggles. The following ‘Help Me’ “the new song we just recorded, I hope you like it” is very good indeed and a very sincere version.
‘An American Trilogy’ is also very fin. The crowd cheer at “In Dixieland where I was born” – and includes a fine flute solo. ‘Let Me Be There’, introduced for Elvis’ January ‘74 Vegas season, similarly exudes enthusiasm! It also gets the regular reprise. “Whoo, yeah!” Elvis notes afterwards.
A routine ‘Funny How Time Slips Away’ makes reference mid-song to the fact he’ll be back in Memphis again in three days’ time - “Wednesday night, I think it is”. When a fan screams loudly towards the end Elvis jokes, “That’s the wrong key, honey!”
‘That’s All Right’ is in the style of the Madison Square Garden full band version and a real highlight. Elvis asks, "This is the first record I ever recorded, I just want to do it right now, ok?" Never performed in 1973 this is likely to be Elvis' second only version since June 1972! With The Sweet Inspirations call-and–response this has the feel of later versions but Elvis is obviously having ball singing along all the way with James Burton’s guitar solo. Did the fans realise that was a special one-off performance for his hometown crowd?
Elvis then wishes the audience “Until the next time back in Memphis, an affectionate Adios” and closes with ‘Can’t Help Falling In Love’.
Overall, this is a thoroughly enjoyable show and if only Elvis hadn’t laughed just a little bit too much I would have rated it as one of the top 1974 performances. However, with his enthusiastic singing, good voice and a great sound mix by Jan Eliasson, I can thoroughly recommend this show to anyone for enjoyment - it’s a great experience and mastering by FTD. Newspaper reviews mention that Linda Thompson was sitting with Elvis’ father during this show and were all very positive.
Disc 2 (68 minutes)
Memphis - June 10 1975 8.30pm, with Elvis wearing his Indian Feather Jumpsuit.
A year later, Elvis has weathered his Desert Storm period and is back doing top-notch performances once again - and back in Memphis, but this time for a one-night stand. And while fans often think that Elvis didn't vary his concert setlists, tonight he would do seven songs not performed in the previous year‘s concert. This is the concert that gave us the great cover photo for the From Elvis Presley Boulevard album, so you know Elvis was up for a good time!
The ‘2001’ intro starts with its somewhat bass sound, into the opening vamp and a strong 'C.C. Rider' with a playful, soulful ending that shows Elvis firing from the start. Of course being an evening concert Elvis doesn't need to “wake-up”. Noticeable from past releases the excessive reverb is gone, but in mastering Vic Anesini has kept it comparable to the first disc.
'I Got A Woman‘/‘Amen' is a good version (no J.D. bass reprise tonight) and Elvis is having fun. Throwing off his guitar, Charlie Hodge misses catching it and so the band then repeats the very end part. Elvis teases, "That's the first time he missed that" and asks if he’s “rattled” (drunk?).
Similarly to his last concert in Memphis, from the year before, Elvis then mentions his fans with binoculars looking like frogs.
It's during a kiss-the-girls 'Love Me' that Elvis leans over too far, "I think I ripped my suit," he comments mid-song and afterwards, bending towards a woman in the audience, noting "That's a far as I can go, honey!" It is a great theme that Elvis keeps mentioning throughout the concert to much amusement, making this Memphis show even more memorable.
‘If You Love Me (Let Me Know)’ (the first new song introduced since the previous year) is a regular version, with ‘Love Me Tender’ just a scarf-giving song (after Elvis’ 1975 usual joke of mentioning he won’t sing it but just said he’d like to).
The crowd-pleasing ‘All Shook Up’ is ok for a 1975 version, and afterwards he tells the audience, "I gotta confess that when I bent over earlier I ripped the seat out of this suit!" Elvis then jokes with Glen D. Hardin, "It's not that bad is it, Glen? - But it did go!"
After the audience-pleasing tear through the oldies, Elvis gets into the serious part of the concert, including two songs from his new album, plus 'Burning Love' is back on the setlist.
Elvis mentions for the third time about his ripped jumpsuit - "Of all the time and places to rip my pants!" and announces 'Fairytale' as being "From my new album that's been out two or three weeks” which is a concert highlight.
Obviously with ripped pants ‘Polk Salad Annie’ couldn’t be performed - so we get a decent version of ‘Burning Love’ instead. This classic hit had been dropped from Elvis' set-list since January 1973 and this was the only time Elvis would ever sing it on stage in Memphis. It is another enthusiastic version with a good power-ending; plus this soundboard has a good bass mix and by now Jerry Scheff was back in the band.
Then it’s the ‘Introductions’, but they are vastly different from 1974. These have now been expanded to fill up nine minutes - with such time-fillers as a complete J.D and Stamps Quartet intro, a few solos on bass, and drums. And whilst ‘Johnny B. Goode’ is performed during the band intros, compared to 1974 version it is absolute rubbish version - and clearly shows how the show has changed and lost its momentum.
Also when Kathy Westmoreland gets introduced as “not with him and the band when they filmed That’s The Way It Is” Elvis hurtfully adds that Kathy “may never be with me again - ever”. NOT NICE at all!
Vernon had suffered a heart-attack earlier in the year, but was there to see Elvis perform. After ‘School Day’ (’Hail, Hail Rock ‘n’ Roll’) Elvis shows his gentler feelings by telling the audience, "My father was very ill, but he's up and about and here tonight." He then even introduces "My father's doctor, Dr Nick" - both to great applause.
“We have a new record out” Elvis announces before 'T-R-O-U-B-L-E.' which is a cracker, rocking version with Elvis having no troubles over the "lotta words" - another concert highlight.
‘Why Me Lord’ is an attempt for Elvis to kid and be funny with J.D. Sumner, but on this religious song it totally destroys the emotion and it pales when compared to his serious 1974 version. Maybe Elvis’ funniest ever versions come from August 1975 in Vegas, but somehow it doesn’t seem right NOT to take this song seriously.
Fortunately ‘How Great Thou Art’ that follows is a truly majestic performance for Memphis and he gets huge applause - as he modestly notes, "That makes it all worthwhile". Elvis also reprises the last part which the press picked up on in their concert review.
After 'Let Me Be There' (still “ok” but nowhere near featuring the kind of energy of the previous year, even with the reprise), Elvis asks for the house-lights to be turned up, "My goodness gracious!" he comments on seeing the packed crowd.
After some more great kissing moments - "Don't go crazy, Don't go completely nuts!" - a worried Elvis notes, "Oh God. There goes the pants leg!" He also includes the funny 1975 summer “Creeping Crud” joke. (As if ANY performer would kiss random audience members on the lips in 2016!)
‘Funny How Time Slips Away’ is not as good as 1974, but this time Elvis reprises the ending line so that J.D. can hit "A low flat", which is then followed by the silly fun of 'Little Darlin'.
Then for the last three songs FTD substituted part of the previous day’s soundboard recording, (June 9, Jackson) because the Memphis show wasn’t completely recorded.
‘An American Trilogy’ in 1975 is still “good” but now features the trumpet solo. Also, the emotional impact of this song is slightly lessened by Elvis still laughing with the crowd.
However, all is forgiven with a fine 'Mystery Train‘/’Tiger Man' (brand new to this tour and not used since 1973) - and finally 'Can't Help Falling In Love‘.
For 1975 this was still a very nice show and with some good highlights but compared to the previous year, notably slower and with less energy. Sadly, it was also filled out with the longer introductions and I suspect some fans’ memories might be a bit over-rated because of the surprise Diamond Anniversary Editions bootleg release some twenty-one years ago, which was so enjoyable.
Overall Verdict
This Hometown Shows release beautifully showcases these two important tours with two great quality soundboards. Even better, the previously unreleased March 17 1974 concert has exceptional sound quality. Both concerts have a great song line-up, with Elvis performing tightly-packed concerts and with plenty of highlights that showcase Elvis in fine humour singing to his hometown crowd. The only real let down is the packaging and lack of photos from the two concerts. As a double-pack, however, Hometown Shows is great value and in great sound. I recommend you play it loud and often, as it’s a highly enjoyable experience.
