Produced by Ernst Mikael Jørgensen and Roger Semon / Mastered by Jan Eliasson.

Both CDs run approximately 1.5% too slow, although 'It's Now Or Never' on CD1 runs 1.5% too fast.

'Tryin' To Get To You', 'Introducing Jackie Wilson' and 'Heartbreak Hotel' from the midnight show, were previously released on FTD's From Sunset To Las Vegas in September 2009 (see here).

Unfortunately, the ending of "(Let Me Be Your) Teddy Bear / Don't Be Cruel', all of 'Bridge Over Troubled Water' and the first part of 'Hawaiian Wedding Song' weren't recorded on tape by the sound engineer at the dinner show (CD2).

The bonus songs on CD2 are incorrectly listed as being from September 2 dinner show on the inner cover, although they are correctly listed as being from August 28 dinner show on the back cover!

Reviews of these two shows in Elvis News Service Weekly, issue 169 (September 25 1974) show that FTD have these shows reversed on this set. What is listed as being the dinner show (CD1) is actually the midnight show, and what is listed as being the midnight show (CD2) is actually the dinner show.

August 20 1974 Dinner Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

His father, Dee and Linda were there - Elvis wore the jumpsuit with a rainbow of different blues in a broad stripe down his back and front and down the side of each leg. This suit has a matching belt. This belt had a weak chain loop to Elvis' left, and only minutes after he came on there was a long loose bit of chain swinging down by his side instead of a neat loop. He held up the chain for a while but soon took the belt off to the appreciative cries of the audience. A girl tied a sash round him while he was singing 'Love Me' (an audience-contact song) but it had a large square label on it saying ELVIS and this she left dangling down in front of him, probably on purpose. Elvis looked a bit sheepish for a moment and headed in mock bashfulness for the wings, but turned back and let the audience appreciate the joke for a little while. Then back came his proper belt, either an identical one, or mended by a minion in the wings - Elvis just stood and raised his arms slightly while it was put on him. He didn't put it on himself.

He received many more gifts this show. The Hilton Gift Shops were selling little soft round hats with a brim with Elvis' name and picture all over them. He was given one of these and wore it all through a song looking very child-like and sweet. He wore the brim up at the front, and then down all the way round. It seems Elvis will always wear a hat if you give him one. He received quite a variety as the engagement progressed, and wore them all.

He was given a white necklace which stuck on his nose for a while when he put it on, a green scarf which he also wore (he doesn't wear all these things at the same time, I should point out!). and a large white toy ram, very handsome. He hands over all these presents to Charlie, and when he had given Charlie the ram, Charlie held it under his arm while trying to put a new scarf over Elvis head, but Elvis kept shying away as if he didn't want to be given one by Charlie. "You got my goat", he explained.

His hair was very beautiful this show. When he shook his head, his hair would always fall back into place. It still parts naturally in the middle, but falls across his forehead in an unintended fringe. It looks about the length it was in Elvis On Tour, but more layered in out. He would begin each show with it neatly combed back in the typical Elvis style, but even when he had been shaking his head around in the course of the show, it never looked untidy.

Elvis was in a very good mood this show, and seemed energetic, as he did in fact for the whole of the time I saw him. This engagement he seemed very happy and talkative and sometimes he just, literally, quivered and vibrated with energy and well-being. When he's in a state of mind and body like this, it's easy to see the reason why he has had such phenomenal appeal over the years. The magnetism of this energy and enthusiasm is terrific. You can feel the show and the mood of the audience take off and soar. This must have been what the lady in That's The Way It Is, meant when she said, "You could just feel the love in the room". Elvis Presley is some fantastic kind of man, but when he's like this, the result and feeling of happiness and affection between him and his audience is almost beyond description. Clearly this is why he's the most fascinating and adored entertainer ever! I took a glance at his Father at the height of this wave of whatever it is he generates and he was sitting there, head on one side smiling at Elvis, apparently ag absorbed as any other member of the audience.

Sometimes in this kind of mood, I sense that Elvis is beginning to puzzle the audience slightly - or those of them unfamiliar with his sense of humour. They begin to quieten down, not quite sure what's going on, but this show Elvis sensed it too and became more business-like until the audience knew where they were again! Sometimes he's too quick for them and speaks and acts so fast that the audience gets lost, and just wonders what's going on between Elvis and his musicians and a few cognoscenti near the front. It's curious how this idea has developed that Elvis isn't bright. Frequently he was a couple of steps ahead of everyone else in response to what was happening around him, and one found oneself thinking quite hard to keep up with him.

When he was given the white chain and got It stuck on his nose, the people who gave it to him must have said to each other, "It don't fit", because Elvis suddenly sprang onto a "caught you!" posture leaning forward pointing his finger at them and said, in "triumph," "HA! It don't fit!". They stared back in surprise and Elvis held his pose, still triumphant for some reason at over-hearing them, and said by way of a warning to be careful what they said, "I have ears like a deer!" I'm still not sure what that was all about, but Elvis seemed very pleased with the efficiency of his ears.

He was given a crown with red jewels which he put on Charlie's head saying, "I crown you.." but got no further, so pretended to knee him, and at this one of the jewels fell out of the crown.

This show he sang the 'Hawaiian Wedding Song' for the first time, and seemed to want it to be a surprise to the audience, as he didn't say its title, but mouthed it mysteriously to Glen Hardin a couple of times before Glen could guess what he meant. The song improved as he did it during succeeding shows and the band and singers gradually understood what they were meant to be doing during the song. Elvis used to get rather exasperated at various peoples' failure to come in at the right time. I wonder when they rehearsed it. Still, he stuck to it every show and it always received great applause. He walked over to Kathy at the end and they alternated the final lines "I do," I do," "'Love you", "'Love you," "with all my heart" only Elvis sang the few Hawaiian words at the end instead of "heart" while Kathy sang "heart". The lights went off on the last notes, and Elvis would kiss Kathy while they were off, responding nicely to the mood of the song. In later shows, this became a quiet audience-contact song. Audiences always seemed to love hearing the old romantic songs. He also received great applause for 'It's Now or Never', and 'Spanish Eyes', when it occurred to him on odd occasions to do those too.

Elvis moved energetically in many of the songs this season, particularly in 'Fever' where, towards the end of the song, he seemed to pretend that his knees were completely out of control, and he would whack at them and cry, "Quit! Quit!" and end up with a comic spasm of wriggling. Is this what they mean by sending himself up? Anyway, this show when he finally controlled his knees and stood straight-up with a blank face and then a laugh, the audience gave him a round of applause and so prevented him singing the last little bit of the song.

He pretended to have his hand stuck in the loop of his belt. When they sang 'Let me be There', he and Estelle would always give each other a victory sign on the line, "only two can share". and then Elvis would try variations, such as the showing three fingers, or four, or putting up his little finger and fore-finger to make the two - This is like the Hawaiian peace sign he gives at the end of Aloha. Sometimes Elvia would do a variation and Estelle didn't notice, but I expect a good many others were taking it all in.

In this show, he began his habit of trying to make JD laugh when he sang 'Why Me Lord'. This show Elvis and Charlie were talking together tete a tete in the dark as if plotting something while JD sang, but Elvis only made irreverent comments and laughed into the microphone to put JD off. He thought of other methods later....

A little boy of about ten got onto the stage, for a scarf, I think, and then didn't seem able to find his way off again and had to go back to Elvis to ask how to get off. Elvis said, "Get off the way you got on - just go and jump off the stage." He didn't sound quite his usual indulgent self! I think he was just joking. Sometimes when he gave a scarf to a child sitting by the stage, he would dangle it down by the child's head and whip it round go that it wrapped loosely round the child's eyes, as he did this show.

Two little girls gave him a toy cement mixer lorry, and said something about it to him, and he said, "oh yes", nodding as if he quite understood.

When they were doing 'Why Me Lord', Elvis had to talk right over to the Stamps so that his spotlight illuminated them too, to show the light-man that they should be lit up when they sang. He was slightly annoyed that this had been forgotten, and sand, "The lights are in your hand", instead of "My soul's in your hand." During a later show, he did this too for Charlie in 'Bridge'.

He held JD's hand very affectionately when he was introducing him. There is clearly an affinity and respect between the two of them.

He balanced the towel over his face twice, as in Elvis On Tour, holding his head back and seeming to relax like that for a second.

This show resumed the use of '2001', the guitar and the usual 'C.C. Rider' and 'I Got A Woman' opening, and in consequence, seemed more natural and impressive than the opening show. There were standing ovations for 'Bridge', 'Softly As I Leave You', and at the end of the show.

 

August 20 1974 Midnight Show
Review by Christine Colclough - Elvis News Service Weekly, Issue 169 (September 25 1974)

Elvis wore a white jumpsuit with a pale-silvery phoenix design on the front and back, with a white belt with stripes of the same silvery-blue. The suit has recently been on the cover of an American Movie Magazine, but in that picture he's wearing a different belt. He also wore the diamond studded Maltese cross.

When he opened his mouth for the first words of 'C.C. Rider', there was no sound on the microphone, and in disgust he threw it and its stand back towards Charlie. He used a hand microphone, therefore, right from the start of the show, and this meant that he wasn't able to use his guitar at all although, he was wearing it. This annoyed him - He is always irritated if something goes wrong when it ought not to. He muttered something sarcastic about the show being very professional.
He received many little presents from Japanese fans, including a little lantern he spent ages trying to fix to his belt, but ended up breaking it - He was given many single roses, some wilting already.

Often he would draw out the start of 'I Got A Woman', reacting to the screams or sighs that came from the audience when he did the slow "Well, well, well," beginning. He would stare in surprise in the direction where the sound came from and would always make the audience laugh by his reaction to the girls' reactions. Then he would swing his left knee round and Ronnie would make the appropriate accompanying sound on the drums. Elvis would do the other knee, then one after the other, until he worked himself into a rhythmic swivelling movement, rather like a loose-limbed marching on the spot, accompanied still by Ronnie on the drums. The audience would respond with screams until it all broke up with Elvis and everyone else laughing. Then he'd go back to 'I Got A Woman'! JD still does his long bass groan at the end, and Elvis still loves to hear it, and pretends JD didn't do it well enough the first time and makes him do it again. Elvis would stand back from the microphone, still wearing the guitar, and would hold his arms out on either side and bend his knees with his feet wide apart, as if he were pretending to be an aeroplane, and he'd yell ''Wo!" in appreciation - sounding small and different because he was off the microphone. Then he'd pull towards him on an imaginary joy stick and fly his aeroplane upwards with JD's rising voice his face expressing extreme tension, until he was upright again. He would smile in real appreciation at JD. When JD's voice became hoarse, perhaps with a touch of the flue they all had, Elvis would say, "JD's lost one of his engines."

When he introduced JD, he again took his hand. Introducing Charlie he puts his right arm out horizontally and rests his wrist on Charlie's head, and in this show Charlie looked up at him with an expression of devotion.

A girl in the audience pulled down Elvis' head to speak to him or he kissed, by pulling down on both ends of his scarf. This time all the scarves were white or pale blue and were just like the ones available at Colonel's Souvenir stand. They had Elvis' autograph embroidered on them. I think he also had some dark blue ones to wear with different coloured suits.

Elvis gave an irritable flick at the microphone cord to get the loose yards of it out of his way. He gave a meaningful look towards the wings. "I take it there is someone there responsible for keeping in all the slack chord when it's not needed"?

On 'If You Talk In Your Sleep', for this and every show, he would start off but putting his chin on his chest and bending his knees and doing very slow slithering sideways steps across the stage to create a brooding sort of atmosphere to suit the song. Just before beginning the song he would look up from this and grin at one of the members of his back-up groups as if to say he knew it was faintly humorous to start off like that.

in 'Polk Salad Annie' he would do violent sideways kicks to the rhythm not always at the same point, but where he felt it appropriate on that particular day. On the lines "Sock a little Polk Salad to me", he would do three different kinds of karate blow to the rhythm, with his elbow and with his fist facing palm up and then palm down.

He was given a very long loop of white heads and was examining them and was about to put them round his neck when he thought of something, smiled at the audience and changed his mind.

This was one of the best of Elvis' shows I've ever seen. He sang hard and well, was energetic, didn't puzzle the audience by fooling around in a way they couldn't follow, and maintained a happy and good-natured control throughout. It was one of those shows where the whole thing went over beautifully and there was that wonderful warm rapport between Elvis and his audience. At the end of the show, there was an almost complete standing ovation. Not only did the people at the front and round the ramp stand, but everyone all the way to the back and everyone in the balcony. The feeling produced by this kind of show is a unique and quite moving experience. Elvis gave out many scarves and ended the show in a very happy mood, full of self-confidence as he acknowledged the audience fixing and thanking the audience to both sides of the ramp as well as in the body of the room and in the balcony. It's very gratifying to see him make the audience happy in a show like this, and to go away so happy himself. This show worked just perfectly and Elvis was inspired. He ended very chuffed by it all that night.

Review by Piers Beagley & Geoffrey McDonnell

Elvis' 1974 summer Las Vegas season was a roller-coaster of emotional performances. This was his sixth season singing to the Las Vegas casino audiences, still doing two shows a night, and he was really feeling the loss of Priscilla. The dinner shows were beginning to bore him - and with people rattling cutlery who could blame him?

Yet Elvis' inner turmoil helped produce the most fascinating and turbulent season of his career. Elvis gave some of his longest performances and started to include some lengthy and personal rambles. However with an incredibly varied set-list, the season actually started with some exceptionally good shows.

FTD has already released several concerts from this fascinating Las Vegas season. The first official release was in 2002 with It's Midnight (August 24 1974 midnight show), 2009's Nevada Nights (August 19 opening show and August 21 1974 midnight show), with Elvis' 1974 rehearsals plus a selection of "best" live tracks on From Sunset To Vegas in 2010.

On opening night (August 19) Elvis introduced some contemporary songs such as 'It's Midnight' and 'If You Talk In Your Sleep' and used 'Proud Mary' as the key second song has also dropped audience favourites like '(Let Me Be Your) Teddy Bear', 'All Shook Up', 'I Got A Woman' and even the regular start of ‘C.C. Rider’ off his set list. This was a fascinating new set list that sadly the audience didn't enthusiastically respond too. Perhaps Elvis would have had more success had he tried the set to a stronger fan-based crowd rather than the more media invited opening night audience.

One of the fascinations of this new double-pack is that it presents Elvis' second and third concerts from the following night by which time Elvis was back once again to the old regular routine of the 'C.C. Rider', 'I Got A Woman', 'Love Me' formula.
Whatever the reason for Elvis' backwards step this would basically fix his concert routine through to the very end of his life - and one can consider whether these concerts capture Elvis' happiness at being back pleasing his audience with the regular set-list.

The Design
This is a double FTD digi-pack release with no booklet but featuring some fine photos (all dated) that help represent the two shows Elvis gave on August 20 1974 in Las Vegas.
The Blue Swirl suit that Elvis wore at the dinner show is not shown and nearly all the photos here are of the Turquoise Phoenix suit with Sandy Pichon’s photo from August 27 1974 representing the 20th midnight show, with others from June 20 and May 13 1974.

The digipack has the tracklisting and times on inside cover however the ''Bonus Songs'' on Disc 2 are incorrectly noted as being from September 2 - the back cover is correct however stating that they are from the August 28 dinner show.

The inside sleeve features some fine photos, one photo of Elvis in his Beige Leather jumpsuit from the August 28 dinner show (''bonus songs'') plus the two celebrities Elvis introduces at the August 20 midnight show, Jeanette and Freddie Cannon plus Elvis with Lynn Crochet and the great Jackie Wilson.

Once again the two CDs have NO DATE LABELLING, simply 'Disc 1 + 2' stating ''see inlay card for details''. While this indicates another rushed production from FTD, it is also interesting as FTD have got the dates wrong in any case! The two shows are reversed from what the FTD cover indicates.

Disc 1 is in fact the Midnight Show, while Disc 2 is the Dinner Show - and it is interesting to compare the set-lists from the same evening.

At the dinner show, the first concert where Elvis moved back to his usual set-list, Elvis still sang ‘Proud Mary’ and ‘Promised Land’ but sadly both would then be dropped from the season’s set-list after this. At the midnight show Elvis would throw in a spontaneous ‘Heartbreak Hotel’ a rarity in this summer season.

The karate-funk of ‘If You Talk In Your Sleep’ would still be sung at every concert but would never re-appear in his set-list after this season.
'Tryin' to Get To You' would be surprisingly performed at both shows this night but then not at any other time in this summer season and only returning as a regular number in the December 1975 Vegas season.
‘Hawaiian Wedding Song’ was also be added as a new set-list regular at this season and the versions are some of the best being not so ''over-the-top'' as later ones.
‘Big Boss Man’, which kicked off the opening show would stay as regular number though to mid-1975 while the charming ‘I’m Leavin’’ would basically be dropped after the end of this season.

Note that while ‘Bridge Over Troubled Water’ was sung at the dinner show it was not recorded on soundboard. Both songs either side, '(Let Me Be Your) Teddy Bear / Don't Be Cruel' and 'Hawaiian Wedding Song' are similarly incomplete.

Audio-quality
Two of the best tracks from the midnight show, ‘Tryin' To Get To You’ and ‘Heartbreak Hotel’ have been previously released on FTD’s From Sunset To Vegas and the good news is that they sound so much better here. They have much more top-end presence – albeit now having more cassette tape hiss – and much richer bass.
The audio has been remastered by Jan Eliasson and he has obviously done good work considering the cassette source.
The mix of orchestra, backing vocals and band is very fine for a soundboard.

Ernst obviously chose the August 24 concert as one of FTD’s earliest releases, It’s Midnight in 2001, due to the audio quality as well as the performance and the audio quality here is as good - perhaps better due to being mastered over 15 years later. (Would be great to have Jan Eliasson re-work that first FTD release)

Comparing the two shows, the audio quality of the dinner show (Disc 2) it is somewhat muffled / muted at times, whereas the midnight show, although starting a little muffled, really improves at ‘It’s Midnight’ to a much better ''depth'' and brighter / fuller sound. This makes the midnight show my favourite for re-playing.

DISC 2 – The Dinner Show
The dinner show starts with the Opening Riff going into ‘C.C. Rider’ which is ''ok'' but definitely not as power-packed as sometimes. A rather low-energy 'I Got a Woman/Amen' follows but with only one 'Amen' ending (not a bad thing) where JD's voice sounds like a growling dog!

Elvis introduced himself as Wayne Newton and says “Good Evening” to his loving audience. 'Love Me' is back again in the set-list tonight but, along with 'If You Love Me' - with a little too much JD vocal, both are fairly routine and low-energy. In hindsight Elvis really doesn’t sound enthused being back to the old set-list.

'It's Midnight' was one of Elvis’ up-coming single releases “My next record is coming out, uh, I don’t know when it will be” (it would be released in October 1974) and as always is a fine version, check Elvis’ added “Lord, God and I miss you”.

'Proud Mary' was a nice addition (again with a little too much ‘JD’) but honestly compared to power-house 1972 versions is rubbish. It was also, having rehearsed it for opening night, the last time Elvis would ever sing the song onstage!

Before 'Tryin' To Get To You' Elvis jokes with the crowd, tries a hat on, and notes “I have ears like a deer.” This is the first time in the show that Elvis sounds happy and has some genuine laughter in his voice. In fact 'Tryin' To Get To You' is the first real excitement of the evening.

There is a tape cut into ‘Big Boss Man’ where once again Elvis seems to have woken-up to the enthusiasm of the show.
'Fever' is again ok - “Cut the while-lights a shade and give us some mood up here”, and then Charlie Hodge calls out ‘Promised Land’ which is actually THE first highlight tonight.

The arrangement highlights Glen Hardin’s driving piano intro over Burton’s guitar and it’s another fine performance.
Charlie Hodge is clearly heard in the mix but what a shame that Elvis would then drop this classic which still hadn’t come out as a single. The crowd would never have heard Elvis do this great Chuck Berry song before, except perhaps at opening night, did they realise what a treat they were getting!

'Love Me Tender' is decent while the crowd-pleasing 'All Shook Up' gets the usual throw-away rushed treatment.

'I'm Leavin' is another real highlight – what a shame this was never captured live on multi-track – and is delicately performed with a real longing in Elvis’ voice. The mix of orchestra is very well placed.

'Softly As I Leave You', featured throughout this season is sincere. This is only Elvis’ second attempt (not including the 1973 closing night oddity).

Afterwards 'Hound Dog' is inevitably a throwaway while 'You Gave me a Mountain' is a good-sincere version after which Elvis notes, "I like that song”.

'Polk Salad Annie' is a regular 1974 version, I am sure great to see live but nothing particularly memorable.

The ‘Introductions' are nice and quick with Elvis mentioning in fun that “On the piano is Glen Campbell, Glen Hardin” and that John Wilkinson “You can trust me”. In the middle Elvis isn’t happy with the jazzed-up backing noting, “Hey, cool it on then jazz, just play it straight, Remember rock’n’roll fellas!”

‘If You Talk in Your Sleep’ – only Elvis’ second live version - is very fine and nicely led by a soulful funky organ and brass section. Later versions would get even funkier.

‘Why Me Lord’ has Elvis as usual crack up J.D which unfortunately takes away any of the sincerity of the song.

‘(Let Me Be Your) Teddy Bear/Don't Be Cruel’ is incomplete - but that doesn't matter on this routine version. The start of a delightfully gentle ‘Hawaiian Wedding Song’ is also incomplete ('Bridge Over Troubled Water' also missed here).

The show’s penultimate song ‘Let Me Be There’ is sung very enthusiastically – but no reprise - and then the performance ends with messy kiss-the girls ‘Can't Help Falling in Love’.

All in all it is a passable 1974 Summer Season show but after the opening night it really was a fairly routine performance with Elvis showing little excitement in going back to the older set-list. It is not a show that I will play again in a rush.

However after this 66 minute show does come with three great Bonus Tracks all from the 28 August dinner show and all in fine sound. All three are a very welcome addition to this 75 minute CD.

‘Help Me’ is touching and features a clean piano / violins mix. It was only performed a few times in this season.
‘My Boy’ was the only time Elvis sang it 1974 at all. For being a little unrehearsed it is a very strong performance with Elvis delightfully holding back on the verses. The ending is cute for the band not knowing when Elvis was going to stop!
How Great Thou Art’ – Elvis for some reason had not sung this at all this season until this performance but then would include it for the next three nights. Another very fine performance.

DISC 1 – The Midnight Show
As noted CD1 is the real midnight show and about 69 minutes long, unsurprisingly it is also a far better performance, Elvis doesn’t have to worry about cutlery rattling and is ready to rock. Of course the set-list is pretty similar, but this time Elvis performs with notable more enthusiasm and energy.

Kicking off with ‘C.C. Rider’ the song gets an extended intro before Elvis starts and then he’s already laughing and having fun. Immediately you can tell this is going to be the better show. (The audio has some slight background distortion but it soon improves).
Then Elvis jokingly introduces himself as “Jackie Wilson” with the crowd clapping as Jackie Wilson is actually in the audience!

Elvis’ good humour shows as he plays to the crowd more than normal with the “Well, Well” with some fun added echo.

‘I Got a Woman / Amen’ is again full of energy and this time Elvis gets JD to repeat the dive-bomber ending with Elvis adding “J.D is the lowest guy I know”. Elvis jokes about mispronouncing “chance” in exactly same way as he did at the Memphis 20th March show.

‘Love Me’ and 'If You Love Me (Let Me Know)' both sound more enthusiastic than at the dinner show – and so do the girls that are kissing him!

‘It’s Midnight’ is a delightful version again and even better as the sound quality brightens up.

‘Big Boss Man’ rocks with some clean maracas and brass in the mix as well as some deep JD.

A cool ‘Fever’ with Elvis throwing in some fine growls also includes a shout-out to someone screaming - “Is that you Jackie?” with the audience sounding really ''wild'' in the background.

‘Tryin' To Get To You’ added to Elvis set-list in January 1974 “One of my first songs” is a very fine version but it is the familiar “streakin' all the way” version from previous compilations including the ‘'general public'’ Live In Las Vegas box-set.

Both ‘Love Me Tender’ and ‘All Shook Up’ get the crowd-pleaser throwaway treatment.

‘I'm Leavin’ however is another winner and very beautifully sung, as well as having a great audio mix. Here it receives appreciative audience applause at the start which was notably absent from the earlier dinner crowd.

‘Softly As I Leave You’ has the usual introduction and is performed better than at the dinner show. It gets a great crowd reception afterwards.

‘Hound Dog’ gets the crowd rocking before a decent ‘You Gave Me a Mountain’.

‘Polk Salad Annie’ however is fairly routine – again on the night it would have been fabulous to see but this isn’t 1970 – even if Elvis throws in some karate work-outs at the end for the crowd.

The group ‘Introductions’ are however Elvis introducing “somebody in the audience that I’d like you to meet” of both Freddy Cannon as well as Jackie Wilson “He’s a great entertainer” with Elvis singing one line of 'Higher and Higher'! Obviously Elvis had met them before the show.

‘If You Talk in Your Sleep’ that follows is for some reason not quite as good as the dinner show with Elvis sounding a little hesitant, although The Sweet Inspirations do provide some great call and responses.

The gospel feeling of ‘Why Me Lord’ is, as always, ruined by Elvis breaking J.D. Sumner up laughing.

‘(Let Me Be Your) Teddy Bear / Don't Be Cruel’ is routine before the audience ‘Heartbreak Hotel’ request which is interesting for being such a rarity this season – was he showcasing his classic Number One for Jackie perhaps?

‘Bridge Over Troubled Water’ is an excellent version (for 1974) and a very good highlight with Elvis performing it with sensitivity.

The ‘Hawaiian Wedding Song’ which had only just been added to the set-list for the earlier dinner show is a real highlight as it is very tenderly performed and without the OTT Kathy Westmoreland backing that would later be used. A delight.

‘Let Me Be There’ is again enthusiastically performed and demonstrating Elvis’ fondness and energy for midnight shows – it does get a reprise!

The closing ‘Can't Help Falling in Love’ is also better performed than in the low-key dinner show.

Bonus Song
At Elvis’ Desert Storm closing show from September 2, Elvis was in a crazy mood and decided to do ‘It's Now Or Never’ twice. This was because performer Vikki Carr - who Elvis notes “knows how to sing from the gut out – both of us” – who was in the audience tells Elvis that she did not hear it earlier in the set-list. Elvis, sounding annoyed, says, “Oh, God. I’ve got to do it again”!

This intro is not included here, but it helps explain why Elvis is trying to impress everyone with this second very strange version with Elvis notably playing around with his vocal and varying the usual delivery. With a powerful “Ole” ending it is a true oddity.

Overall Verdict:
Presuming that these will be the last two shows that FTD will release from this Summer Season they do capture an interesting moment as Elvis moves back from his off-beat opening show set-list to business-as-usual.

In hindsight you can feel Elvis’ mood changing from the low-key at the dinner show back to a happier higher energy midnight show (Just a shame that they are labelled incorrectly). Summer Season 1974 was a great time to see Elvis in concert, so I have quite enjoyed these two CDs despite the (at times) not-outstanding sound, listing errors and some tracks released before. The Bonus Songs are a great edition to this set.

There isn't too much to criticize in Elvis’ performances - except to say that the dinner show is a little dull. The midnight show is better in sound and performance and is very enjoyable, worthy of several spins.

So thanks FTD for adding a couple more decent summer 1974 Vegas shows to our collection. A newly mastered official release of the closing night show would surely wrap this season up.