Unchained Melody (CD - FTD, 2007)

Title:

Unchained Melody

Label:

FTD [FTD 060] [88697 03612 2]

Format:

CD

Number of tracks:

22

Running time:

64:00

Type of album:

Concert

Linked to:

FTD discography

Year:

2007

Recording date:

February 20, 1977

Release date:

January 2007

Singles:

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Unchained Melody was FTD's sixtieth CD. It covers the almost complete February 20, 1977 show in Charlotte, North Carolina, and exceptional versions from the same tour. The work is currently out of print.

In 1977, Elvis was at a low point. His setlist became quite stagnant and his shows were often superficial at best. After the excitement and newfound high energy of the December 1976 shows, in early 1977 he sunk rapidly and gained the weight he had recently lost.

In January, the singer showed little interest in finishing songs for his next album at Nashville's Creative Studios. Perhaps it was his concern over the tell-all book being written by his former bodyguards or perhaps the novelty of his new relationship with Ginger Alden had worn off.

Desperate for new music, Felton Jarvis, Elvis' producer, went on tour from March to May 1977 to try to record new material live. These recordings eventually provided three songs for the "Moody Blue" LP, as well as being used for FTD's "Spring Tours '77" compilation.

Elvis' first tour in 1977 had 10 shows, starting in Hollywood, Florida, on February 12th and ending in Charlotte, North Carolina, on the 21st of the same month. Unfortunately, with Elvis having gained weight and being exhausted, things would be much worse from now on.

When releasing the CD "Spring Tours '77" in 2002, FTD had the opportunity to select the best live recordings of Felton Jarvis in the spring of 1977, which created an interesting, if somewhat positivist, profile of Elvis in concert during those 3 months . When composing this new work, the label was smart to select another thirteen new songs that were not featured on the previous compilation, making it a worthy companion.

In fact, to date, no complete show from 1977 has been deemed worthy of official release, although many have emerged on bootlegs - and some of them from audience recordings. But here, finally, we have a "complete" show (as much as it was recorded by the sound engineer) and, even better, a completely unknown performance from Elvis' first show in Charlotte on February 20th. Knowing that Elvis wasn't at his best, there is a definite bonus in having a selection of 8 extra tracks to increase the CD's running time.

Many fans complained that the cover photo doesn't show Elvis in a good light. However, it is a candid photograph of the time. He looks a little sleepy, but he still has happiness in his smile. What people haven't noticed is that it also shows a glimpse of Elvis' sideburns as being naturally white next to his skin.

This is a CD for the fans, not the general public. This is the real Elvis, not the megastar boasted by RCA. The back cover also features many concert photos taken by Keith Alverson, showing Elvis looking overweight in some, happy in others - a fair representation of February 1977.

Below is our review of this spectacular CD.

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- 1. Love Me: For a soundboard recording, the quality is very good (even if only in mono) and the mixing is excellent with Elvis' voice well balanced between the band, backing musicians and orchestra.

Unfortunately, the sound engineer didn't record the first three numbers, but then again, Elvis often took some time to "warm up." And to be honest, there's no need for another extremely long version of "I Got a Woman / Amen". Elvis still doesn't sound fully engaged, although it's a typical 1977 version where he jokes with the audience.

- 2. Fairytale: "This next song is a song that we did in an album a couple of years ago. It's the story of my life, called 'Fairytale'." It's always great to hear this song live, and even though it doesn't have anything like the emotion of the 1975 versions, Elvis gives hs all to the rendition.

- 3. You Gave Me a Mountain: "Mountain, son!" Elvis seems more engaged and manages to ignore the feedback that often bothered him. He cares about his phrasing and when he sings "just tired, tired of being my wife" there is a particular resonance. The audience also really appreciates it.

- 4. Jailhouse Rock: "My third movie was 'Jailhouse Rock', so I'd like to do a lil' of that for you." The rendition is standard, with Elvis distributing kisses and scarves to the audience while he sings. It is worth noting Tony Brown's excellent piano.

- 5. O Sole Mio / It's Now or Never: As usual, Elvis asks Sherrill Nielsen to sing "O Sole Mio" in Italian and a cappella, jokingly calling him "smartalec". There is a very Latin touch to "It's Now or Never", with emphasis on the trumpet. Elvis laughs and has fun with the audience and the band during the rendition.

- 6. Little Sister: There is a fun interaction with the crowd before the rendition, with Elvis obviously in good spirits and commenting: "When they told me that this was 'Elvis territory', they weren't kidding, you know." After a fan gets too close while he is kneeling on stage, the singer reveals: "She just rang my bell!"

Always a welcome addition, the song performs well, even if you know it's driven by the band and not Elvis. Although quite rough, it is played at a better tempo and a little faster than on the spring tours.

- 7. Teddy Bear / Don't Be Cruel: Another throwaway in the performances, it features Elvis interacting with the audience more than singing. At the end, he then jokes: "You are wild!"

- 8. My Way: After picking up a sheet of lyrics for his upcoming rendition, Elvis says:v "I'd like to sing a song that Frank Sinatra did. I don't know the words to it, it's called 'My Way'." After drinking some water, he jokes: "It's very difficult to sing with ice in throat."

Reinforcing that he doesn't know the lyrics, the singer begins his rendition. Elvis adopted the "I don't know the words" bit from 1975 onwards, which was quite strange given the fact that he had sung the song regularly since 1973. To this day it is not known whether it was a joke that only a few understood or a message coded that he had been through a lot of trouble and that was a very personal lyric.

- 9. Moody Blue: "Our latest record is 'Moody Blue' and, uh... I don't know it either, I really don't. All kidding aside, you know, I recorded it but I never... No, I'll get the words, I can read it... So, if we make a mistake, you know, please excuse us, because we have never done it - except when I recorded it."

James plays the beginning of the song, but Elvis soon interrupts: "Wrong, wrong, wrong." After discussing the lyrics and keyes with the band, the singer decides: "To hell with 'Moody Blue'!"

- 10. How Great Thou Art: A Gospel classic, the rendition really seems to bring Elvis into the show. His voice accompanies the tempo and the backing vocals very well in this phenomenal version.

At this point in the concert, Elvis always took the opportunity to rest while introducing the band, but the sound engineer wisely did not record the long and unnecessarily section.

- 11. Hurt: So from one powerful number, we go straight to another with Elvis putting his all into a rousing rendition. If there's any track that demonstrates he was "awake and ready" that night, it's this extraordinary performance.

Elvis adds a very different extended ending to the song, sliding down the scale and then back again. A great version that also receives a powerful reprise.

- 12. Hound Dog: Of course the obligatory classic would be present.

After singing, Elvis interacts with the audience and greets a fan who brings a photo of him with his parents when he was two years old, commenting: "A picture of me with my mother and father, when I was two years old. I was a mere child... Had visions of singing on a Gospel quartet." He then sings a line from the 1957 classic "My Wish Came True".

- 13. Unchained Melody: "Ladies and gentlemen, I'd like to sit at the piano... Because we're recording this live, I'd like to do a favorite song of mine called 'Unchained Melody'." After discussing details with the band, Elvis sings the first verse before noticing that his voice sounds a little "dry". He starts the rendition again and does a good job, although he gets the ending wrong.

There were very good versions in the following days and months, but the one that would become the Master heard on the "Moody Blue" LP would only appear at the April 24th performance in Ann Arbor.

- 14. Can't Help Falling in Love: Elvis does a quick version that leads to the inevitable end of the show. Only a few seconds of the "Closing Vamp" were recorded by the sound engineer.

BONUS

- 15. Moody Blue [Charlotte, NC - February 21, 1977]: "I'd like to try to do my latest record. I tried it last night, but we didn't make it. I don't know the words to it, so I have to read it. If we goof it up, just, you know, plese forgive us." The CD's bonus section begins with the only complete live version of the song.

Elvis stumbles and laughs during the rendition, and it's obviously not a crowd favorite, but it's great to have this unique recording finally officially released.

- 16. Blueberry Hill [St. Petersburg, FL - February 14, 1977]: The rendition of this priceless rarity begins with Elvis teaching Tony Brown how to play it on the piano: "You're a fantastic piano player, but you are warped, son. I'm gonna show you how to do that."

The version is delicious and Elvis uses the same touches as Fats Domino, making us want to hear more than the two verses he sings.

- 17. Love Letters [St. Petersburg, FL - February 14, 1977]: "On the electric piano is David Briggs. The first time that David and I worked together, ladies and gentlemen, it was his first recording session and we did a song called 'Love Letters'. I'd like to sing a little bit of that for you."

This is a rare and fantastic addition to that Valentine's Day show. Elvis sets the tone for the night with a relaxed and romantic version.

- 18. Where No One Stands Alone [Montgomery, AL - February 16, 1977]: "Ladies and gentlemen, I'd like to do a song that I've never done on stage before in my life. We have never rehearsed it, we have never done it and I have never sang it with the group. It's a Gospel song called 'Where No One Stands Alone'. I have to play the piano because I know the chord changes. Fellas, 'Where No One Stands Alone'. This'll be the Stamps and Sherrill Nielsen."

Two minutes of purest Gospel follow. Perhaps the audience didn't realize the grandeur and importance of the moment, but Elvis and his backing vocals really stand out without having even rehearsed beforehand. This is the only live version.

- 19. Release Me [Columbia, SC - February 18, 1977]: "I want to do 'Please Release Me'." Elvis gives the cue for Tony Brown to play the beginning of the song, which doesn't happen and leads him to start it himself. This is the first of only three renditions of the song in 1977, having not been performed live since 1973. Elvis obviously likes the song and gives it his all.

- 20. Tryin' to Get to You [Columbia, SC - February 18, 1977]: "This gentleman down here said that I was here twenty yeas ago. And about that same time we did a song called 'Tryin' to Get to You'." The version that follows is one of the best of 1977, with a faster tempo than in the following months.

- 21. Reconsider Baby [Charlotte, NC - February 21, 1977]: "This is a Blues song that I did about a month and a half ago." A rarity on the setlist in 1977, with just two renditions, it features Elvis having fun and enjoying the music.

James and Elvis work well on their guitars, complementing each other well. With less than 10 live versions since 1969, it's a real pleasure to have this penultimate rendition in quality audio.

- 22. Why Me Lord [Charlotte, NC - February 21, 1977]: The last song on the CD is a very strange version of the Gospel classic that Elvis removed from his performances in 1975.

It starts at a higher key than normal and is an interesting addition because you can imagine Elvis scratching his head and wondering why it doesn't sound right. You can hear him start singing but then stop because it's in the wrong key. The singer is obviously happy when they get the right key, as he joins in to perform a very sweet, albeit short, version.