1. All Shook Up: The “Opening Vamp” is heard and then the show begins with Elvis stepping onto the stage. In the setlist since October 1969, the 1957 hit appears here for the first time as the show opener.
Although this is a good‑quality soundboard, some of the fidelity has been lost over time, and not even FTD’s masterful tape restoration could fix issues such as distorted sound and the limited presence of instruments in the mix. The rendition follows the 1957 single’s standard arrangement for the era.
2. That’s All Right: Elvis performs his first hit for the first time since returning to the stage in October 1969. Last sung live on March 25, 1961, Elvis’s first professional recording sounds excellent here in a short but vibrant version. The song would only return to the setlist on August 10, 1970, as the official show opener, a position it held until mid‑1972.
3. Proud Mary: The Creedence Clearwater Revival hit makes its debut this night. Elvis delivers it in the style of Ike & Tina Turner’s version—an excellent choice for a more rocking feel. Though well received by the audience, the song was performed only a handful of times in 1970 before becoming a setlist staple over the next two years.
4. Don’t Cry Daddy: Another debut in this show, performed very similarly to the master of the November 1969 single.
5. (Let Me Be Your) Teddy Bear / Don’t Be Cruel: “A couple of songs I recorded about 1929.” Elvis launches into one of his most famous medleys for the first time. While “Don’t Be Cruel” had appeared in October 1969 paired with “Jailhouse Rock,” “Teddy Bear” also debuts here.
This version became the standard in the years to follow, lasting until 1977, and provided one of the earliest moments of direct audience interaction in his shows.
6. Long Tall Sally: Another debut night highlight—Elvis revisits the Little Richard classic he sang live in the 1950s. Short, but excellent.
7. Let It Be Me: Also new to the repertoire, performed only during this season. A good version, though not as strong as the February 17, 1970 midnight show rendition heard on the On Stage LP.
8. I Can’t Stop Loving You: Focused and committed, Elvis gives his all in this excellent take on the Ray Charles classic. The mix improves significantly here, allowing Bobby Morris’s orchestra to be clearly heard.
9. Walk a Mile in My Shoes: Another debut, Joe South & The Believers’ hit is delivered sensationally.
10. In the Ghetto: The end of the previous song flows directly into the April 1969 single. Although FTD oddly split them into separate tracks, this is the first version of the rare medley. Elvis offers a powerful interpretation of two songs with strong messages.
11. True Love Travels on a Gravel Road: Released on From Elvis in Memphis, this song makes its first and only live appearance. Elvis stumbles at the start and has to restart, but it’s still a very good version to hear.
12. Sweet Caroline: After interacting with the audience, Elvis performs Neil Diamond’s hit with mastery. The song sounds magnificent, with the orchestra prominent in the mix. As the musicians move toward the ending, Elvis gets tangled and orders a restart. He makes another mistake and restarts again, finally finishing as rehearsed. “Well, that’s four mistakes for tonight.”
13. Polk Salad Annie: “Let’s go down to Louisiana.” Performed a bit slower than usual compared to the previous year, this version is good but ends somewhat abruptly.
14. Introductions: Elvis introduces The Sweet Inspirations, The Imperials, James Burton, John Wilkinson, Bob Lanning, Jerry Scheff, Charlie Hodge, Glen Hardin, conductor Bobby Morris, and his orchestra.
15. Kentucky Rain: Making its setlist debut, Elvis’s latest RCA single is the next highlight of the night. The version is good and aligned with the master, but like his other renditions, it doesn’t surpass the February 15, 1970 midnight show performance.
16. Suspicious Minds: The 1969 hit signals the show’s finale. Elvis delivers a high‑energy version that ends phenomenally, earning a standing ovation from the audience.
17. Can’t Help Falling in Love: The show closes with the standard rendition of the 1961 classic.
