Dixieland Rocks
Label:
FTD [FTD 011] [74321 86138 2]
Format:
CD
Number of tracks:
24
Running time:
74:00
Type of album:
Concert
Linked to:
FTD discography
Year:
2001
Recording date:
May 6, 1975
Release date:
July 2001
Singles:
---
Below is a review of the show available on the CD.
- 1. Also Sprach Zarathustra: The fanfare common to the beginning of Elvis shows since 1971 starts strong and heralds a performance worthy of attention.
- 2. See See Rider: The feeling is intensified when the first chords of the song echo through the auditorium. Elvis' entrance on stage and his initial introduction to the audience is longer than usual, taking 52 seconds from his arrival to singing the first line. His voice is clear, without any hint of a drag, and very strong. The band accompanies him magnificently throughout the entire segment to an electrifying finale.
- 3. I Got a Woman / Amen: "This place looks familiar to me, I dont know what it is. Have we been here before?" Elvis had performed at the same venue 7 days earlier. The song is done quite energetically. "Good evening, ladies and gentlemen. I'm Johnny Cash!" When the women in the audience start screaming desperately, Elvis fires: "God, woman, I told you to wait until after the show!" (he would repeat this phrase in Rapid City in 1977).
- 4. Love Me: A standard rendition, but with Elvis having a great time with his female fans. "Y'all cut it short... This song is actually longer than that, you guys cut it short," he notes to the band.
- 5. If You Love Me (Let Me Know): Constant in most presentations since August 19, 1974, when it was a success in the voice of Olivia Newton-John, the song is interpreted in a way more similar to what would be heard in 1977. Elvis is happy and this is reflected in the quality of interpretation.
- 6. You Don't Have to Say You Love Me: Although it has appeared steadily since 1970, this year the song was a rarity appreciated by all. It's not a rendition worthy of the ones we hear at shows like TTWII or Madison Square Garden, but fans still go wild with the classic.
- 7. All Shook Up: Starting the medley of hits from the 1950s, the number one song from 1957 enlivens the audience, which is already waiting for the generous distribution of kisses and scarves common to this section of Elvis' performances.
- 8. (Let Me Be Your) Teddy Bear / Don't Be Cruel: The festival of kisses, scarves and hysterical women continues. Elvis is having a great time, laughing most of the time.
- 9. The Wonder of You: Another classic from the 1970 shows, it had its second biggest use this year. Although well done and infinitely well received by the audience, it doesn't have the same feel, but Elvis really puts his soul into the version.
- 10. Polk Salad Annie: There are those who remember the 1970 versions better, but Elvis only started to have fun and get carried away by the song in 1975, when the renditions became much more rocky and showing the instrumental qualities of James Burton and Jerry Scheff. Elvis' pelvic thrusts send women into hysterics.
- 11. Introduções: Tired with the previous performance, Elvis starts to present the members of his group to recover the form. The Sweet Inspirations, JD Sumner & The Stamps Quartet, Kathy Westmoreland and John Wilkinson are introduced as the King of Rock jokes with some fans. Solos by James Burton, Ronnie Tutt, Jerry Scheff and Glen Hardin follow. Finally, Elvis introduces Charlie Hodge, the Voice group and a solo by Joe Guercio and his orchestra.
- 12. My Boy: A hit in the August/September 1973 season in Vegas, the song returned to Elvis' repertoire earlier in the year. The rendition is one of the most beautiful of all the versions and the singer really puts his all into the performance.
- 13. T-R-O-U-B-L-E: "We have a new record out, it came out this past week and... I don't know all the words to it yet, I still don't know it. It's one of those real fast songs. If you get behind you might as well just forget it, 'cause you cant catch up." Despite his fears, Elvis does not miss the lyrics and makes a perfect rendition of the opening track for the "Today" LP.
- 14. I'll Remember You: "I's like to do a song that we did, from the 'Aloha Special' from Hawaii." The audience receives the music appreciatively. Apart from the different specificities of his voice at different times, the rendition is very reminiscent of the 1973 one.
- 15. Why Me, Lord: The Gospel present in the shows since January 28, 1974 was performed from time to time, but always with great mastery. Here, Elvis uses the lyrics to mess with JD and try to get him to lose focus and miss keyes. The experienced Mr. Sumner not only gets them all right, he also responds to the singer's banter.
- 16. Let Me Be There: Success for Tanya Tucker and Olivia Newton-John in 1973, it became a standard of Elvis performances the following year and remained so until the first half of 1976. There are much better versions in 1974, especially the one on March 20 in Memphis, but nothing that leaves something to be desired here.
- 17 - An American Trilogy: Sung since 1972, this song wins the audience of any concert. Created in 1971, it brought together excerpts from the songs "Dixie" (sung by Confederate minstrels), "The Battle Hymn of the Republic" (a classic by southerners in the US Civil War) and "All My Trials" (a song by enslaved blacks). This version is solid, with Elvis trying to outdo himself on vocals - and succeeding at times.
- 18. Fairytale: "Can we do 'Fairytale'?", he asks the band. After a few seconds, the song starts and it's a much slower version of what we're used to hearing even on the studio original. Despite this, a discount must be given for this being only the 15th performance of the song live. After the rendition, Elvis jokes with the audience a bit while kissing some lucky female fans. "See, I kissed somebody about a week ago and they gave me the 'creeping crud'. Whatever it is I got, honey, you got it."
- 19. Little Darlin': Due to the lack of the final part of the performance on tape, FTD replaced the final four tracks with the same ones from the next day. The mellow, goofy-tongued song is great for Elvis to relax and is well received by the crowd.
- 20. Funny How Time Slips Away: "Now that you've had the chance to see us, I'd like to turn the house lights up so we take a look at you, because we can't see out there - I can't see out there. Can we turn the house lights up, please? Now, wait a minute! They told me backstage that we could turn the house lights up. They lied like a rug and they can't turn them up? Can't do it. Okay, anyway." The routine is the same that the singer has done sporadically since 1969, with an emphasis on 1972, and served as another moment to hand outscarves and give kisses before the end of the concert.
- 21. Can't Help Falling in Love: "We have another show here tomorrow night, so until then may God bless you. Be careful. Thank you." The beginning of the song sends fans into total hysteria trying to get one more scarf or kiss.
- 22. Closing Vamp: The well-known fanfare announces that Elvis has already left the building.
BONUS
- 23. Bridge Over Troubled Water: Both of the following extras are from May 7, 1975. Rare in 1975 and later, the song was always welcomed by the audience - even in 1977. The rendition is not the best and is not remotely reminiscent of those of 1970 or 1972, but it shows that Elvis can still outdo himself vocally whenever he wants to.
- 24. Love Me Tender: Amid hysterical fans, Elvis tries to sing the lyrics without success. "Oh, you're beautiful! Oh God!" one of them screams into the microphone. After that, Elvis does not control the laughter until the end.
Dixieland Rocks is FTD's eleventh release. It contains the nearly complete show from May 6, 1975 in Murfreesboro, Tennessee, and extras from the following day at the same venue. The CD is currently out of print at the label.
By mid-1975, Elvis was back in good shape and enjoying himself on stage. Having slimmed down and looking great in his new jumpsuits, he looked rejuvenated and happy to be back on stage. The summer of 1975 was a positive comeback from the emotional rollercoaster of 1974 and by June Elvis was touring the South on a fantastic tour promoting his new albums - Promised Land and Today -, often surprising audiences with new material.
But as good as his shows were, there were some dark things going on between concerts and even on stage. Elvis was forty years old and potbellied, working more than he should have and in a mood as volatile as a hydrogen bomb. This combination often led to harsh words and big confrontations, ill-timed stage jokes and absurd events.
Even though Elvis' performances in 1975 varied according to his mood, his health and some other criteria around him, what stood out most at that time was that when his shows were good, they were exceptionally magnificent, full of rarities and surprises.
Here in Murfreesboro it is no different. We have a high-spirited Elvis who is really happy with what he does, talking and joking with the audience, recovering classics and presenting additions that would become commonplace in his performances.
Below is a review of the show available on the CD.
-----------------------------------------------------------------------
- 1. Also Sprach Zarathustra: The fanfare common to the beginning of Elvis shows since 1971 starts strong and heralds a performance worthy of attention.
- 2. See See Rider: The feeling is intensified when the first chords of the song echo through the auditorium. Elvis' entrance on stage and his initial introduction to the audience is longer than usual, taking 52 seconds from his arrival to singing the first line. His voice is clear, without any hint of a drag, and very strong. The band accompanies him magnificently throughout the entire segment to an electrifying finale.
- 3. I Got a Woman / Amen: "This place looks familiar to me, I dont know what it is. Have we been here before?" Elvis had performed at the same venue 7 days earlier. The song is done quite energetically. "Good evening, ladies and gentlemen. I'm Johnny Cash!" When the women in the audience start screaming desperately, Elvis fires: "God, woman, I told you to wait until after the show!" (he would repeat this phrase in Rapid City in 1977).
- 4. Love Me: A standard rendition, but with Elvis having a great time with his female fans. "Y'all cut it short... This song is actually longer than that, you guys cut it short," he notes to the band.
- 5. If You Love Me (Let Me Know): Constant in most presentations since August 19, 1974, when it was a success in the voice of Olivia Newton-John, the song is interpreted in a way more similar to what would be heard in 1977. Elvis is happy and this is reflected in the quality of interpretation.
- 6. You Don't Have to Say You Love Me: Although it has appeared steadily since 1970, this year the song was a rarity appreciated by all. It's not a rendition worthy of the ones we hear at shows like TTWII or Madison Square Garden, but fans still go wild with the classic.
- 7. All Shook Up: Starting the medley of hits from the 1950s, the number one song from 1957 enlivens the audience, which is already waiting for the generous distribution of kisses and scarves common to this section of Elvis' performances.
- 8. (Let Me Be Your) Teddy Bear / Don't Be Cruel: The festival of kisses, scarves and hysterical women continues. Elvis is having a great time, laughing most of the time.
- 9. The Wonder of You: Another classic from the 1970 shows, it had its second biggest use this year. Although well done and infinitely well received by the audience, it doesn't have the same feel, but Elvis really puts his soul into the version.
- 10. Polk Salad Annie: There are those who remember the 1970 versions better, but Elvis only started to have fun and get carried away by the song in 1975, when the renditions became much more rocky and showing the instrumental qualities of James Burton and Jerry Scheff. Elvis' pelvic thrusts send women into hysterics.
- 11. Introduções: Tired with the previous performance, Elvis starts to present the members of his group to recover the form. The Sweet Inspirations, JD Sumner & The Stamps Quartet, Kathy Westmoreland and John Wilkinson are introduced as the King of Rock jokes with some fans. Solos by James Burton, Ronnie Tutt, Jerry Scheff and Glen Hardin follow. Finally, Elvis introduces Charlie Hodge, the Voice group and a solo by Joe Guercio and his orchestra.
- 12. My Boy: A hit in the August/September 1973 season in Vegas, the song returned to Elvis' repertoire earlier in the year. The rendition is one of the most beautiful of all the versions and the singer really puts his all into the performance.
- 13. T-R-O-U-B-L-E: "We have a new record out, it came out this past week and... I don't know all the words to it yet, I still don't know it. It's one of those real fast songs. If you get behind you might as well just forget it, 'cause you cant catch up." Despite his fears, Elvis does not miss the lyrics and makes a perfect rendition of the opening track for the "Today" LP.
- 14. I'll Remember You: "I's like to do a song that we did, from the 'Aloha Special' from Hawaii." The audience receives the music appreciatively. Apart from the different specificities of his voice at different times, the rendition is very reminiscent of the 1973 one.
- 15. Why Me, Lord: The Gospel present in the shows since January 28, 1974 was performed from time to time, but always with great mastery. Here, Elvis uses the lyrics to mess with JD and try to get him to lose focus and miss keyes. The experienced Mr. Sumner not only gets them all right, he also responds to the singer's banter.
- 16. Let Me Be There: Success for Tanya Tucker and Olivia Newton-John in 1973, it became a standard of Elvis performances the following year and remained so until the first half of 1976. There are much better versions in 1974, especially the one on March 20 in Memphis, but nothing that leaves something to be desired here.
- 17 - An American Trilogy: Sung since 1972, this song wins the audience of any concert. Created in 1971, it brought together excerpts from the songs "Dixie" (sung by Confederate minstrels), "The Battle Hymn of the Republic" (a classic by southerners in the US Civil War) and "All My Trials" (a song by enslaved blacks). This version is solid, with Elvis trying to outdo himself on vocals - and succeeding at times.
- 18. Fairytale: "Can we do 'Fairytale'?", he asks the band. After a few seconds, the song starts and it's a much slower version of what we're used to hearing even on the studio original. Despite this, a discount must be given for this being only the 15th performance of the song live. After the rendition, Elvis jokes with the audience a bit while kissing some lucky female fans. "See, I kissed somebody about a week ago and they gave me the 'creeping crud'. Whatever it is I got, honey, you got it."
- 19. Little Darlin': Due to the lack of the final part of the performance on tape, FTD replaced the final four tracks with the same ones from the next day. The mellow, goofy-tongued song is great for Elvis to relax and is well received by the crowd.
- 20. Funny How Time Slips Away: "Now that you've had the chance to see us, I'd like to turn the house lights up so we take a look at you, because we can't see out there - I can't see out there. Can we turn the house lights up, please? Now, wait a minute! They told me backstage that we could turn the house lights up. They lied like a rug and they can't turn them up? Can't do it. Okay, anyway." The routine is the same that the singer has done sporadically since 1969, with an emphasis on 1972, and served as another moment to hand outscarves and give kisses before the end of the concert.
- 21. Can't Help Falling in Love: "We have another show here tomorrow night, so until then may God bless you. Be careful. Thank you." The beginning of the song sends fans into total hysteria trying to get one more scarf or kiss.
- 22. Closing Vamp: The well-known fanfare announces that Elvis has already left the building.
BONUS
- 23. Bridge Over Troubled Water: Both of the following extras are from May 7, 1975. Rare in 1975 and later, the song was always welcomed by the audience - even in 1977. The rendition is not the best and is not remotely reminiscent of those of 1970 or 1972, but it shows that Elvis can still outdo himself vocally whenever he wants to.
- 24. Love Me Tender: Amid hysterical fans, Elvis tries to sing the lyrics without success. "Oh, you're beautiful! Oh God!" one of them screams into the microphone. After that, Elvis does not control the laughter until the end.
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