Atlanta Weekend '76 (CD - AudiRec, 2020)

Title:

Atlanta Weekend '76

Label:

AudiRec [AR 197606456-2]

Format:

3x CD

Number of tracks:

89

Running time:

225:00

Type of album:

Concert

Linked to:

Unofficial discography

Year:

2020

Recorded:

June 4-6, 1976

Released:

2020

Singles:

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Atlanta Weekend '76 was a bootleg CD released by AudiRec in 2020. It covers the three soldout concerts on June 4, 5 and 6, 1976 in Atlanta, Georgia, which ended his third tour that year.

1976 had been a year of more ups than downs and Elvis was happy with how things were going. His desire to record was still low, but the sessions at Graceland's Jungle Room in February were fun and very productive. He no longer seemed interested in Las Vegas—and Vegas was reciprocal—making the Colonel cast him for just one season from December 2 to 12 at the Hilton; this, as we know today, would be the last of his career in the city.

By April, it didn't look like Elvis had returned to his old form or that that was possible. His performances were still erratic, and he would be slow and sometimes confused at the start of the concerts, though nothing like the terrible performances of August 1975 in Las Vegas. In fact, the singer would greatly improve his performance starting in June, culminating in the great show of December 31, 1976 in Pittsburgh, but it was clear that he no longer had that flame that burned in his core.

A true sign of the times in 1976 was that from the April to August tour, Elvis basically wore his "Bicentennial Suit" to every show, certainly signaling a bored artist. The "New Haven '76" FTD with the July 30th performance is one such case in point. Released because of the excellent audio quality, Elvis sounds bored, medicated and lethargic, and overall it's a painful listening experience.

Back in May, instead of the dry air of the Nevada desert, the King of Rock chose to do just one more season in Lake Tahoe, where he had last performed two years earlier, between April 30 and May 9, 1976. As with everything about Elvis, there are always contradictions, changes and sometimes a light at the end of the tunnel. Even with the threat of "Elvis: What Happened?" in the horizon, there was a definite and positive change in the month leading up to the Lake Tahoe season.

After his final season in Tahoe, Elvis took a few days off before returning to the stage in Bloomington, Indiana, for his new tour. This time, he would perform in nine cities over a 12-day period—from May 27 to June 6, 1976—throughout the Northeast United States. Releases such as FTD's "Tucson '76" (2000) and "Elvis in West Texas" (2015), Audionics' "El Goes El Paso" (2005), and Madison's "Holding Down the Fort" (2006) serve as fine examples of Elvis' dedication to his fans, even though his performances on that tour were, at best, average.

In this work, AudiRec covers the final three shows of this tour—a sold-out event held from June 4 to 6, 1976, in Atlanta, Georgia. This marks the first time these concerts have been released together, despite their previous individual availability in releases such as 1998's "One Night at the Omni" (June 5), 2007's "Big Boss in Trouble" (June 6), and 2011's "Atlanta Bound" (June 4).

Below is our review of this work.

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CD 1 - JUNE 4, 1976

- 1. Also Sprach Zarathustra: As usual, the fanfare excites the crowd. The sound is very good for an audience recording.

- 2. See See Rider: More than a year after his equally sold-out three-day concert spree at The Omni, Elvis returned to Atlanta. Taking into account everything going on in his personal life, as well as the middling quality of his later performances on the tour, this is a remarkable version in which Elvis sings with a strong, clear voice.

- 3. I Got a Woman / Amen: After the well-known "well, well, well" routine, the rendition begins, and it's surprisingly good, especially considering that Elvis had been bored with the medley for several years by this point. His humor feels fresh tonight, which helps make the performance flow more smoothly and enjoyably. The ending features the usual jokes about JD's "average" dive bomb.

- 4. Love Me: Elvis interacts extensively with his fans and appears to be having a great deal of fun. The 1956 classic is more than just a "kiss and scarf" throwaway tonight; he delivers a surprisingly strong and engaging vocal performance.

- 5. If You Love Me (Let Me Know): Olivia Newton-John's hit comes next, and Elvis sings with passion. The band seems to pick up on his enthusiasm, matching his energy and putting forth their best effort to enhance the performance.

- 6. You Gave Me a Mountain: A true showstopper, this version is nothing short of phenomenal. Considering that Elvis wasn’t aiming to deliver his finest performances at that stage, it feels all the more extraordinary when you reflect on it.

- 7. All Shook Up: Focusing on his fans, Elvis delivers an above-average performance, showcasing genuine vocal effort and heartfelt engagement.

- 8. Teddy Bear / Don't Be Cruel: This performance is average overall, but Elvis maintains a strong connection with his fans throughout, delivering a full and consistent vocal effort.

- 9. Help Me: Elvis delivers an outstanding performance, as is consistently the case when he delves into Gospel music. His deep connection to the genre shines through, showcasing both his vocal mastery and heartfelt devotion.

- 10. Jailhouse Rock: Speaking of phenomenal renditions, Elvis' 1957 hit receives an especially remarkable performance tonight. He delivers the song with precision, singing every word clearly and without any slurring. He also extends the song slightly, adding a personal touch, and concludes it with an impressive and well-executed ending.

- 11. Fever: Hailing from "Elvis is Back!" (1960), the next song is undoubtedly one of the most sensual pieces performed in any Elvis concert since 1961. Elvis fully immerses himself in the moment, enjoying every second as he gyrates his pelvis and engages playfully with the audience, creating an electrifying atmosphere.

- 12. Polk Salad Annie: Elvis goes all out, delivering his best performance of the show so far. His vocals are solid, and he appears deeply engaged with the band, creating a dynamic synergy. To top it off, he treats the audience to an extended display of his intricate karate moves.

- 13. Band Introductions: Elvis engages with the audience for nearly three minutes before beginning the customary introductions. He starts with The Sweet Inspirations, JD Sumner and The Stamps, and Kathy Westmoreland. Then, he revisits The Stamps to introduce each member individually, concluding with Sherrill Nielsen.

- 14. Early Morning Rain: John Wilkinson follows with his solo and Elvis sings along.

- 15. What'd I Say: James Burton does his usual solo of Ray Charles' hit...

 - 16. Johnny B. Goode: ... followed by Chuck Berry's hit.

- 17. Drum Solo: Ronnie Tutt does his part.

- 18. Bass Solo: Jerry Scheff plays the Blues.

- 19. Piano Solo: Tony Brown does his solo.

- 20. Electric Piano Solo: David Briggs does his thing.

- 21. Love Letters: "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 that for you." It's a slow and sincere version, with no surprises or deviations from the usual performance. Elvis delivers it with a calm and heartfelt approach, staying true to the essence of the song.

- 22. School Day: Concluding the introductions, Elvis presents Charlie Hodge, followed by Joe Guercio and his orchestra.

- 23. Hurt #1: "We have a new record out, ladies and gentlemen." The audience erupts in excitement as Elvis' voice reverberates through The Omni. His rendition is beautifully romantic, perfectly paced, and stands out as one of the finest performances of the tour, captivating everyone in attendance.

- 24. Hurt #2: He misses the high note at the end of the song, but the audience doesn’t seem to mind. Encouraged by their enthusiasm, he tries again and delivers a second attempt that comes close to perfection, much to everyone's delight.

- 25. Burning Love: The 1972 hit receives an excellent rendition, with Elvis delivering a solid performance throughout. He truly shines in the final moments, surpassing expectations and leaving the audience in awe with his impressive finish.

- 26. Funny How Time Slips Away (Sherrill Nielsen): "Ladies and gentlemen, I'd like to turn the house lights up and take a look at you." As the concert reaches its final moments, Elvis resumes interacting with the audience, handing out kisses and scarves with his signature charm. Despite the lighthearted focus, he still delivers a solid and enjoyable rendition.

 - 27. Little Darlin': Elvis is prepared to bid farewell, but in an impromptu moment, he responds to an audience request for Del Shannon's hit. The rendition is short and relaxed, yet it brings great enjoyment to everyone, showcasing his spontaneity and connection with the crowd.

- 28. Can't Help Falling in Love: Elvis swiftly says his goodbyes and then enchants the audience with his 1961 hit as a parting gift. While performing, he continues to distribute his final scarves and kisses to the adoring fans, creating a memorable and heartfelt conclusion to the evening.

- 29. Closing Vamp: The final fanfare echoes through the venue, nearly drowned out by the deafening screams of fans desperate for just one more fleeting moment with Elvis. The sheer intensity of their adoration creates a poignant and electrifying end to the night, a testament to the unparalleled connection between the King and his audience.

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CD 2 - JUNE 5, 1976

- 1. Also Sprach Zarathustra: The fanfare makes the crowd go wild again. The sound is average, but we've heard far worse audience recordings.

- 2. See See Rider: It seems Elvis continues to be in the same good mood and voice as the night before. This version's tempo is a little faster than usual, but it adds to the amazement of hearing the King when he was at his best, both singing and speaking.

- 3. I Got a Woman / Amen: Elvis talks and jokes a little with the audience - even laughing loud - before a brief "well, well, well" routine. The rendition is standard, but done enthusiastically. The ending has the usual jokes and dive bombs from JD.

- 4. Monologue: "Good evening, ladies and gentlemen. I'm Jimmy Carter's smarter brother." Elvis gives his speech, telling the crowd to enjoy the show and to leave the work to the people on stage.

- 5. Love Me: Both Elvis' voice and his rendition are satisfying, even though he's actively engaging with his fans.

- 6. If You Love Me (Let Me Know): "This is a song that was recorded by Olivia Newtus-John - I mean, Olivia Newton-John." A good, sincere version.

- 7. You Gave Me a Mountain: An outstanding version.

- 8. All Shook Up: Elvis foxuses on his fans and interacts with the crowd while singing his 1957 classic.

- 9. Teddy Bear / Don't Be Cruel: Average, with an even more fan-centric approach.

- 10. Help Me: The King of Rock's 1973 recording gets a very good and emotional rendition, with Elvis' voice as strong as ever and with no signs of slurring.

- 11. America the Beautiful: "Ladies and gentlemen, since it's our bicentennial year, I'd like to do our version of 'America the Beautiful'." The United States' bicentennial was right around the corner and Elvis pays his homage. The audience listens in silence to a powerful version that showcases how the King of Rock could get turned on when he did something he believed in.

- 12. Jailhouse Rock: Elvis does a wonderful rendition of his 1957 classic.

- 13. Fever: Elvis sings lightly, gyrates his pelvis, and fans go wild.

- 14. Polk Salad Annie: One of the best renditions of 1976, with Jerry Scheff, James Burton and Ronnie Tutt working really well. Even Elvis does several elaborated karate moves.

- 15. Monologue: After the song, he reminisces about an incident during 'Polk Salad Annie' at the December 31, 1975, concert in Pontiac, Michigan: "I did that in Pontiac, Michigan, New Year's Eve night, and ripped my pants. It's a one-piece suit, it's hard to get out, you know? So, I was gonna put on a diaper and come in as the New Yeare baby."

- 16. Band Introductions: Elvis introduces The Sweet Inspirations, Sherrill Nielsen, JD Sumner and The Stamps, Sherril Nielsen and Kathy Westmoreland.

- 17. Early Morning Rain: John Wilkinson follows with his solo and Elvis sings along.

- 18. What'd I Say: James Burton does his usual solo of Ray Charles' hit...

 - 19. Johnny B. Goode: ... followed by Chuck Berry's hit.

- 20. Drum Solo: Ronnie Tutt does his part.

- 21. Bass Solo: Jerry Scheff plays the Blues.

- 22. Piano Solo: Tony Brown does his solo.

- 23. Electric Piano Solo: David Briggs does his psychodelic solo.

- 24. Love Letters: No news, it's a slow and sincere version.

- 25. School Days: Ending introductions, Elvis introduces Charlie Hodge, Joe Guercio and his orchestra.

- 26. Hurt #1: "We have a new record out, I'd like to sing it for you." The audience goes wild. Elvis' rendition is well-coordinated, though it falters slightly toward the end.

- 27. Hurt #2: "The audience's enthusiastic applause calls for another rendition, and Elvis delivers promptly. This time, the ending feels a bit more cohesive.

- 28. Burning Love: "Elvis begins the song, igniting the audience's excitement, though he stumbles slightly with the intro. His rendition is impressive, and it's evident he's testing his voice for more challenging pieces.

- 29. One Night: The King begins his customary speech before 'Funny How Time Slips Away,' but a fan's request for his 1957 recording inspires him to perform it instead. It's a heartfelt moment, despite Elvis skipping some parts of the song, seemingly either forgetting the lyrics or being too distracted by the enthusiastic fans to fully focus.

- 30. Dialogue: Elvis interacts with the fans, mentioning some of their requests, including 'Shake a Hand'. However, he wouldn't perform it until the following night.

- 31. Funny How Time Slips Away: Elvis performs a slow-paced rendition, delivering it with strong vocals while handing out kisses and scarves to the delighted audience.

- 32. Mystery Train / Tiger Man: Another fan request is promptly fulfilled. While his voice lacks the strength needed for this medley, he still delivers a commendable performance.

- 33. Can't Help Falling in Love: The 1961 hit concludes his performance as he hands out the last of his scarves and kisses to the adoring fans.

- 34. Closing Vamp: The final fanfare plays as Elvis disappears into the backstage.

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CD 3 - JUNE 6, 1976

- 1. Also Sprach Zarathustra: The usual fanfare echoes through The Omni. Unlike the previous two concerts, this is a matinée performance, specially arranged to accommodate fans who couldn’t secure tickets for the shows on June 4 and 5.

- 2. See See Rider: The place is packed, and the sound of the audience on the tape proves it. Elvis performed 12 concerts at The Omni during his career—this being the penultimate one—but these three concerts drew the largest crowds of them all: 17,540 people each.

The song is performed with much the same enthusiasm as on the previous two days, but we can clearly hear that Elvis is beginning to slur and lose his timing at times. The unusual concert time of 2:30 p.m. could explain this, as he was never accustomed to being awake and performing so early in the day.

- 3. I Got a Woman / Amen: Elvis sounds disinterested while greeting the audience and during his "well, well, well" routine. Despite this, the song is performed well, with "Amen" receiving an extra boost. The "striptease" routine is particularly entertaining, and JD's dive bombs at the end are equally impressive.

- 4. Love Me: The King takes his time engaging with fans, chatting and joking at length. While his voice and rendition are satisfying, he comes across as completely uninterested in the song.

- 5. If You Love Me (Let Me Know): Overall, this is a good version, but it doesn't offer any new information.

- 6. You Gave Me a Mountain: This version stands apart as Elvis lets his emotions flow freely. When he sings "Just tired..."—he truly means it. His voice nearly breaks in despair throughout the entire next verse. Despite this, it remains an incredible rendition.

- 7. All Shook Up: An average rendition, primarily used as an opportunity for Elvis to begin handing out scarves and kisses to the fans.

- 8. Teddy Bear / Don't Be Cruel: Another average performance, with Elvis sounding bored. However, James Burton's guitar work stands out, clearly audible and truly remarkable.

- 9. Help Me: The King of Rock delivers a heartfelt rendition of the song, which was released as a single in May 1974 and later included in the "Promised Land" LP early the following year.

- 10. Jailhouse Rock: A solid rendition, though it feels like it's missing a certain spark to truly elevate it.

- 11. Fever: It’s time for kisses, scarves, gyrating hips, and full-blown fan hysteria. Beyond that, it’s an average rendition with nothing particularly new to offer.

- 12. America the Beautiful: The song, commemorating the United States' bicentennial, is performed in a deeply reverential manner. The audience responds with enthusiastic applause, appreciating both Elvis' patriotism and his heartfelt rendition.

- 13. Band Introductions: Elvis tells the crowd at The Omni that they’re the best audience he’s ever had before proceeding with the usual band introductions, featuring The Sweet Inspirations, JD Sumner and The Stamps, Sherrill Nielsen, and Kathy Westmoreland. Unfortunately, the rest of the band solos were not recorded.

- 14. Love Letters: A slow and heartfelt rendition, but nothing particularly groundbreaking to note.

- 15. School Day: To conclude the introductions, Elvis presents Charlie Hodge, Joe Guercio, and his orchestra to the audience.

- 16. Hurt #1: "We have a new record, ladies and gentlemen. I'd like to sing it for you." The audience erupts with excitement as Elvis delivers his rendition at the same tempo as the studio recording. While romantic and well-coordinated, it feels slightly slow for a live concert setting.

- 17. Hurt #2: The audience's enthusiastic applause demands an encore, and Elvis swiftly obliges, delivering another rendition just as he had on the previous evenings.

- 18. Burning Love: Elvis kicks off the song, igniting a wild reaction from the audience. His performance is strong, and any signs of fatigue seem to have completely vanished, leaving a refreshed and compelling rendition.

- 19. Big Boss Man: A fan request is quickly fulfilled. The beginning of the song feels a bit off, with even Elvis momentarily losing the rhythm. This is entirely understandable, given that the song hadn't been performed in over seven months. However, they soon regain their footing and, while it continues to sound a bit unusual, they manage to deliver an enjoyable rendition.

- 20. Shake a Hand: Another fan request is honored, and Elvis takes on a song he had performed only three times before—all in Asheville, back in July 1975. He stumbles with the pace at the start and laughs at his mistake, bringing a touch of charm to the moment. Despite the rocky beginning, the rendition turns out to be endearing. Notably, this marks the song's final live performance ever.

- 21. Funny How Time Slips Away: As the show winds down, Elvis returns to his classic routine of handing out kisses and scarves, delighting the fans and creating a memorable farewell.

- 22. Mystery Train / Tiger Man: Another fan request is swiftly granted, and this rendition surpasses last night's performance by far.

- 23. Can't Help Falling in Love: Elvis wraps up the evening by expressing his gratitude to the audience, assuring them that all they need to do is call, and he'll return to Atlanta. True to his word, he would perform in the city once more—his final appearance there—on December 30 of that year. The show closes with his 1961 hit, as he bids farewell by handing out the last scarves and kisses to his adoring fans.

- 24. Closing Vamp / Announcements: The final fanfare rings out, accompanied by part of the customary announcements, bringing the show to a fitting close.