Review by Piers Beagley & Geoffrey McDonnell - Elvis Information Network
Following on from the June 2019 release, From Georgia To Florida this new FTD ‘’soundboard’’ double-pack features two more concerts from Elvis' April - May 1975 tour #18.
Elvis’ 1975 Spring Tour was a true return to form – it was his first tour of 1975 and his first tour in six months - and so plenty of concerts have been previously released. It was a genuine positive comeback from the emotional roller-coaster of 1974 and before the slide of 1976.
Back in 2014 FTD released a 7" formatted Elvis In Florida April 1975 featuring the previously unheard Evening show from Lakeland Florida April 27 plus bonus songs from the early part of the same tour. Despite the "piano-heavy" audio-mix it was a fine compilation with an interesting selection of songs capturing the positive feel of the tour.
Can this new release provided anything new or be any better?
This FTD double-pack features another two concerts from Elvis' April - May 1975 tour #18.
Back in June 2017 FTD released a double-set of Elvis’ 1975 Atlanta performances – Elvis In Atlanta – and here we get the third show – and in June 2019 FTD released From Georgia To Florida including Elvis’ April 27th Sunday Afternoon show in Lakeland, and here we get the previous day’s Afternoon performance.
So it is hard to believe that collectors could be clamouring for yet more performances from the same tour – especially when the audio mix is known to be poor – but this sixth FTD soundboard package features yet another two shows with the bonus being that they are both previously unreleased soundboards.
Both CDs are again incomplete, starting with some dialogue before 'Love Me'. It would be nice if they were complete but missing out the all-too-routine 'I Got A Woman’ / ‘Amen' is unlikely to disappoint that many fans.
The Packaging
In this fold open 3-panel digi-pack the CDs are labelled to refer to the liner notes to identify each show and this time there are plenty of Elvis pictures, in two-piece suits, showing him in fine form.
There are six photos from the final Atlanta May 2nd show and five photos from the April 26, 1975 Tampa Afternoon Show.
The first disc is the Tampa Saturday Afternoon Show (April 26, 1975) and it is surprisingly good and in ‘’ok-ish’’ sound. The 2nd disc should have been included with the first two Atlanta shows (Elvis In Atlanta) but here it is at last and while it is yet another good show the audio quality disappoints.
The liner notes on the recent dvd Elvis Sold Out Vol 11 are by Mindi Miller who accompanied Elvis during his April tour and she gives a good back ground on what it was like - a tour with a sloppy start but which got better as it went on.
FTD selected the best of the spring 1975 soundboard selections for their excellent Southern Nights compilation.
AUDIO QUALITY:
All soundboards from the start of this tour have the same inherent 'problem' a HEAVY bias towards piano! No doubt due to the fact that a new piano-player might be needed to replace the disgruntled Glen D Hardin.
The real issue here is that the sound mix, especially on the Altanta show, is pretty awful. The rhythm section is missing and there is little or no orchestra to bolster the sound. The background vocalists are mixed high and there's too much Charlie Hodge.
While FTD's 2014 release of Elvis In Florida April 1975 was an interesting look at this tour with the odd audio mix offering "something different" - these two sides are similar but with the Atlanta final concert - obviously a fine performance - suffering the most.
The remastering is by Jan Eliasson but there is little he can do to improve on the original poor mono audio mix. Fans who bought the previous FTD releases know what to expect.
CD 1 - Tampa Afternoon Concert, 26th April 1975 - 58 minutes.
While you might expect identical set-lists from Elvis’ two weekend afternoon performances they differ more than you might imagine. Tampa includes the addition of ‘It’s Midnight’, 'I’ll Remember You', 'Funny How Time Slips Away', 'That’s All Right' and 'Heartbreak Hotel'.
The following day instead featured 'Help Me', 'Why Me Lord', 'Hawaiian Wedding Song' and 'Hound Dog'.
This soundboard starts with Elvis joking, “My name is Wayne Newton and it’s a pleasure to be back in Jacksonville.. I mean Tampa”.
He sounds tired and a little slurry as he ‘’Hopes everyone has a good time this afternoon’’,
‘Love Me’ is ‘routine’ but it’s a better balanced sound than feared with J.D. Sumner and backing vocals high in the mix - even if Glen D’s piano is still rather loud.
(Note that as in other spring 1975 soundboards James Burton, Ronnie Tutt and the orchestra are fairly low in the mix).
After Elvis says “You’re a good audience”, ‘If You Love Me (Let Me Know)’ is nice again with a rather prominent J.D. Sumner.
Picking up something from the stage (one presumes underwear or a room key) Elvis jokes that one of the Sweet Inspirations has lost something, “Which one is it, you might as well fess up?” – An audience member then screams “Meet me after the show!”
Elvis comments, “I feel like working” and follows with a delightful ‘Love Me Tender, tenderly sung while the oldies ‘(Let Me Be Your) Teddy Bear’ / ‘Don’t Be Cruel’ etc are the usual throwaway crowd-pleasers.
‘It’s Midnight’ is then introduced as “A recent record we had out” (it actually came out October 1974) and is a great version with strong Kathy Westmoreland backup vocals – the first show highlight despite a little too much Charlie Hodge in the choruses.
It’s obvious that Elvis is waking-up and ready-to-rock going straight into a fine ‘Burning Love’ (for 1975) along with a lengthy ‘’Hunka-Hunka’’ ending. While the story is that Elvis didn’t particularly enjoy recording this song he was truly up for it this Saturday even in an afternoon show.
The Introductions are next and are the regular 1975 run-through including ‘What’d I Say’ the solos and ‘School Day’. Elvis interestingly mentions a guy in Tampa that has made posters and promotional material for him “for the last 18 years” a Mr and Mrs Renaldi.
‘My Boy’ back in the set-list for 1975 is sincerely sung, although the mix could be better, piano driven and with a little too much Charlie Hodge harmony.
Elvis says he has a new record that came out two or three days ago “we don’t know the song that well.. there’s a lot of words and if I get behind I will have singing in Yiddish!” This would be the third live version ever of 'T-R-O-U-B-L-E' and it’s a spirited version if spoilt a little by way too much Charlie Hodge dominating Elvis’ vocal.
The pace changes for ‘I’ll Remember You’ “a song we did on the Aloha from Hawaii Special”, which is a fine and tender version, if not the best. Without the usual orchestration it does have a nice touch of poignancy.
Elvis is feeling good, noting “You really are a good audience” and there’s a nice touch of Elvis singing “umm-ba-ba-bom” as he kicks in to a rather J.D. Summer / Hodge dominated ‘Let Me Be There’.
‘An American Trilogy’ unfortunately includes the regular ‘'Disneyland'’ joke and his “sing it fellas” but once past this it becomes a sincere version and the higher vocal mix highlights Elvis’ true involvement. The audience are stunned and give a very lengthy applause and standing ovation. Elvis genuinely notes, ‘'Thank you very much, That makes it all worthwhile”.
A cool ‘Funny How Time Slips Away’ with nice Burton guitar follows. Elvis cleverly jokes, “Never know when I’ll be back in town.. ‘tonight’!”
The surprises follow with Elvis stating “I’d like to do the very first song that I ever recorded, ‘That’s All Right Mama’” and off-mic you can hear Elvis says “I wish you guys can do it”!
It’s a fine, spontaneous version. Elvis is not playing guitar, asking J.B to “play it” and with Elvis driving the band.. “Do it again, do it again, do it again” There is however a little too much Charlie in the mix in the ''Dee-Dee-Dee-Dee'' ending.
The treat of ‘Heartbreak Hotel’ is next – possibly only played three times this tour. More throw-away than ‘That’s All Right’ “Oh sing it, Supremes” it was still a neat extra that afternoon.
Elvis notes, “In all sincerity you’re really a fantastic audience. We have another show to do here tonight so be careful driving home – and we love you”
A routine ‘Can’t Help Falling in Love’ ends the concert – Elvis would head back to his hotel before getting ready for the evening show.
The Closing Vamp is very lengthy and unusually includes the full Al Dvorin announcements – 3.44 mins.
While collectors are right to be a little reticent about “Afternoon Shows” this soundboard is surprisingly enjoyable. Elvis is obviously having a great time even if it takes the early part of the show for him to warm up. The show runs smoothly and thankfully the sound is “ok” even if the backing vocals are too high at times.
The set-list was fine and there is no doubt that had you been at the show it would have been a blast. The closing announcements are an interesting addition as, after the usual monologue about ‘’be careful driving home and the souvenirs’’, Dvorin goes onto to describe future tour dates and it’s a real ‘’warm’’ feeling showing how well-suited he was as the announcer. A good solid show in Tampa and, from known reviews, also the better of the two shows performed that day.
After his two shows in Tampa, Florida, Elvis performed in Lakeland before moving through Murfreesboro and then on to his three sold out shows at the huge Omni Coliseum in Atlanta.
CD 2 Atlanta May 2, 1975 Evening show - 54 minutes.
The problem here is the sound quality which, like the other Atlanta 1975 soundboards, is VERY prominent Piano and backing-vocals but with everything else - drums, guitar, orchestra - way in the background.
This show starts with ‘Talk’ where Elvis as usual kids about where he is and it’s obvious he has a real enthusiasm being an Evening show and the last of his three Atlanta performances.
‘Love Me’ is first and pleasant enough but unfortunately again with annoyingly heavy piano.
‘If You Love Me (Let Me Know)’ is quite nice and strongly sung – at least James Burton is audible – but again ruined by the annoying piano mix. A like the other Atlanta soundboards it soon becomes obvious that this is going to be a good concert but recorded badly.
‘Love Me Tender’ is the regular scarf / kissing song while the usual “oldies” ‘(Let Me Be Your) Teddy Bear’ / ‘Don’t Be Cruel' etc follow, very pedestrian if crowd-pleasers.
During ‘All Shook Up’ Elvis starts laughing – he is obviously having a ball – and afterwards asks, “Who put the Heart up here? - This woman has gone berserk folks!” and then gives her “the loudest kiss in captivity”!
‘The Wonder of You’ – with way too much piano - is nice as it is without the usual '‘joke'’ lyric changes which often spoil it. This was the first time Elvis sang the song this season but would include it each night from now on. The guitar solo is thankfully up-front and it also includes a nice ‘'power'’ ending.
‘Burning Love’ was, of course, another great choice but without a full mix it sounds a bit ‘thin’ and piano heavy. This is a shame as otherwise Elvis was obviously enjoying it pushing for a great ‘’Hunka-Hunka’’ ending.
The very standard ‘Introductions’ start after Elvis’ regular “creeping crud” joke comment. He kisses loving female fan who states “I don’t care” with Elvis noting, “Well, if I’ve got it, now you’ve got it!"
‘Steamroller Blues’ follows and is a treat with Elvis putting in some real passion. It has been released before by FTD on the lovely 1975 spring compilation Southern Nights. Surprisingly ‘Steamroller Blues’ was a rarity in 1975 and only played a handful of times, so for the Atlanta crowd – and the band – this would have been a real highlight. Luckily the mix sounds ok.
‘My Boy’ is a real masterful performance, committed and moving with the high piano suiting the song. Similar to other tour soundboards the lack of OTT orchestra in the mix here is a plus.
‘T-R-O-U-B-L-E’ – this time Elvis’ tenth live performance - is again introduced noting that he has to read the complicated lyrics. Before he starts Elvis is side-tracked by a woman from the audience, “You’ve been waving your arms for two solid hours.. Don’t cry, don’t cry”. The song – of course very piano dominated – is a decent version but once featuring too much Charlie Hodge.
Continuing the fine set-list a gentle ‘I’ll Remember You’ is rather touching – Elvis adds a falsetto and kisses a fan to great applause - but still has that ‘'longing'’ and genuine feeling.
‘The Mickey Mouse Club March’ (again included on Southern Nights) is rather a neat addition, if only a one-line joke. You can hear Elvis saying to the fan’s suggestion, “You’ve got to be kidding me. There’s goes the career, boy. Twenty years down the drain right here” but he is still happy enough to sing the song. It does nicely demonstrate how Elvis could be truly spontaneous at times.
‘Let Me Be There’ is the usual solid and enthusiastic version – plus very quickly added reprise.
‘An American Trilogy’ is a very solid version. Near the start the audience already bursts into rapturous applause with Elvis noting, “Whooo, Lord, Lord”. Later Elvis adds, “sing it baby” as Kathy Westmoreland’s vocal soares. With little orchestra in the mix, the flute solo is very distant but it still comes across as a fine, no nonsense, sincere version. It is the final spring concert in Atlanta and of course it receives an ovation. Elvis says, “Fantastic. I gotta’ be honest with you - as many times as we have done that song I don’t think I have seen a better reaction to it than here tonight!”
After asking for the 17,000 seater Omni house-lights to be put up - “This place is big, jack, It’s a tough way to make a living”, then ‘Funny How Times Slips Away’ is fine if nothing special.
It’s the final night and so it is somewhat surprising that there’s no bonus additions of a ‘Heartbreak Hotel’, ‘That’s All Right’, ‘Help Me Make It Through The Night’, ‘Hound Dog’ or even ‘Little Darlin’’.
Elvis then genuinely tells the loving audience, “What a fantastic time we have had down here in Atlanta, the people are just great, some of the best audiences we have ever worked for, and if any time you want us back, just call us and we’ll come back”
Elvis would return to the Omni for three shows in June 1976 when he was in T-R-O-U-B-L-E, but then returned for an impressive final show on December 30 1976.
A nicely sung and sincere ‘Can’t Help Falling In Love’ takes the show to a close – ending with a piano-hammering Closing Vamp.
While the concert was a good show with some different song choices, sadly the audio mix does let it down.
Apart from the two Monroe shows, FTD really have this tour pretty well covered. It is just a pity that the unheard Jackson show (May 5th) is not available from this tour with the recent video evidence on the DVD Elvis Sold out Vol.1 showing Elvis in fine form for his Jackson Show.
Overall Verdict:
Elvis’ set-list was very good on this tour and there is no doubt that if you were a fan lucky enough to attend any of these shows, you would have gone away happy. The trouble with most of these soundboard recordings are the piano-heavy audio mix. FTD's Dixieland Rocks concert truly was the best of Elvis’ 1975 spring performances and in a much better audio mix - and does the average fan really need yet another similar set-list? Having said that, these two shows do capture Elvis having fun, performing very well to loving audiences and enjoying life. Featuring two previously unreleased soundboards from a top-notch tour these shows are a fine addition for collectors - well done FTD two ‘'Good'’ show choices.
Note that fans should also consider checking out the earlier FTD Elvis In Florida April 1975 as it features an excellent Lakeland performance – the evening show - plus a selection of interesting bonus songs including four other songs not featured here (‘Funny How Time Slips Away’, ‘That's All Right’, ‘Heartbreak Hotel’ and ‘Help Me Make It Through The Night’).
