Title: A Capital Performance (released in 2002)

Label: Madison CWP 07

Date: June 8, 1975, Jackson, MI (evening show) (first part from June 10, 1975, Memphis, Tennessee, closing show)

Sound Quality: * * * * * / * * * * * +

Concert Rating: * * * * / * * * * * +

Tracks: 1.2001 Theme 2.C. C. Rider 3.I Got A Woman / Amen 4.Love Me 5.If You Love Me (Let Me Know) 6.Love Me Tender 7.All Shook Up (Tracks 1-7 recorded Memphis, TN June 10, 1975) 8.Teddy Bear / Don't Be Cruel 9.Hound Dog 10.The Wonder Of You 11.Polk Salad Annie 13.Group Introductions 14.Guitar solo 15.Drum solo 16.Bass solo 17.Piano solo 18.More Group Introductions 19.Orchestra solo 20.T-R-O-U-B-L-E (incomplete) 21.Why Me Lord? 22.How Great Thou Art (with reprise) 23.Let Me Be There 24.American Trilogy 25.Funny How Time Slips Away (with reprise) 26.Little Darlin' 27.Mystery Train/Tiger Man 27. Funny How Time Slips Away 28.Can't Help Falling In Love 29.Closing Vamp (Duration: 72 min 06 sec)

Package: As usual for the Madison releases the package is professionally done with many Elvis photos from the actual show.

Elvis: He gives out a great, but quite usual show with no new songs comparing to the previous shows. Show is full of joy spirit and jokes (see below). The highlight is no doubt Polk Salad Annie, which is more rocking than Burning Love, usually performed on this place of the show. This is one of the best releases from Madison label and in surely deserves it's place in every real live Elvis fan collection.

Highlights: This CD is 1/2 consists from June 10, 1975 closing show. Jackson show starts only from track # 7. As many other shows from this fantastic tour, this one is incomplete. Moreover, How Great Thou Art is incomplete too. However, sound quality is almost excellent.

Review by Christopher Brown (witness of the show). The review is taken from his book On Tour With Elvis: The long intermission finally ends. The souvenirs have been purchased now, at the risk of not being available following the show. However, there always seems to be an abundance as the fans exit. Someone asks for the houselights to come down and the coliseum quickly turns to darkness except for a single, white, spotlight focused on the lone microphone, standing center stage.

The orchestra and band begin the familiar and always exciting ALSO SPRACH ZARATHUSTRA, better known as the theme from "2001: A Space Odyssey." This ends a minute later in a tremendous climax. I am full of wonderful anticipation again as Elvis' opening number finally begins. What would Elvis be wearing tonight? What would he sing? Something new? You never knew. Whatever fancy Elvis took, the show would take.

As Elvis emerges onto the stage, acknowledging the fans with a smile or slight bow, I turn the cassette recorder on just as he begins crossing the stage. Tonight, Elvis is wearing the dark blue jumpsuit, with the silver eagle. The same suit he was wearing when I shook his hand yesterday!

But tonight, Elvis seems to be holding something in his right hand, tucked under his right arm. What is it? It looks like a -- a fly swatter? Yes, a fly swatter! Oh, I remember now!

At the afternoon show, Elvis and the band were really bothered by a lot of flies, and during 'If You Love Me, Let Me Know,' Elvis made a comment about needing a fly swatter. And here he is with one. He takes the fly swatter, and flails it through the air, trying to hit as many flies as possible. From where I'm sitting, I'm not sure whether the flies this evening are real or imaginary.

While all of this is going on, the entire coliseum has turned into a giant strobe light as hundreds of fans take flash pictures. Some will be good, many will show pictures of a man who appears to be the size of a needle -- but it will unmistakenly be Elvis.

Walking over to Charlie, Elvis hands him the fly swatter, and takes the guitar that is offered him. Stepping up to the lone microphone perched atop its stand, Elvis pulls the microphone up to his mouth, and opens the show with an excellent version of SEE SEE RIDER. At the instrumental break Elvis yells out "... wooh ..." as he steps back from the microphone, and feigns playing his guitar.

Having completed this number, Elvis has his first chance to really look at the crowd, though he most likely can only see the first few rows due to the blinding spotlights. "Good evening. Ladies and Gentlemen ..." he says, and then begins the familiar " ... well, what do you want?, well well well well well, well well well well well, well well, that's all folks. Thank you. Ladies and Gentlemen ..." Elvis says as he bows, pretending that the show is over.

Quickly Elvis is into I GOT A WOMAN and tacks on a short verse of AMEN. Stopping halfway through the last 'Amen,' Elvis begins his gyration to the drumming by Ronnie. Having 'woken himself up,' Elvis says, "... go get it, J.D. ..."

Elvis lets go of his microphone, and steps back to stand in front of the drums. He tightly holds his guitar pick in his left hand, extending only his index finger. With his legs apart, Elvis raises both arms and appears almost to slowly flap them as J.D. takes the last syllable of 'Amen' off the keyboard.

Stepping back to the microphone, Elvis says "... thank you very much, Ladies and Gentlemen ... he's the lowest bass singer in the world, and he can do better than that ..." or at least Elvis hopes so. Elvis sings a very fast verse of 'Amen' to get the key right, and J.D. takes it down again.

Elvis repeats the arm flapping motion, and, appearing satisfied at J.D.'s effort, gives him the A-OK sign with his left hand, while standing with one leg raised in the air. Elvis returns to the microphone, jerks it toward his mouth, and completes the tag ending of 'I Got A Woman.' As the music ends, Elvis flings his guitar over his shoulder to Charlie, who quickly takes it and the microphone stand away.

"Thank you very much. Good evening. Good afternoon! Enjoy yourselves ... we're gonna do a lot of songs, old ones, new ones, in-between ..." Fooling with the audience a little, Elvis begins LOVE ME. In the midst of the song, both a pair of black panties and a black bra are thrown onto the stage. Elvis carefully picks them up, and examines them. He holds the panties up, and peering over his back-up singers, tries to figure out who could fit into them. This version is highlighted by a good, strong ending.

"Thank you very much. Take it on ... you came when I was happy in your sunshine, I grew to love you more each passing day, before too long I built my world around, and I PRAYED YOU'D LOVE enough of me to stay, IF YOU LOVE ME, LET ME KNOW ..." This song really grew on me. I couldn't recall if I had heard Olivia's version before seeing Elvis perform it, but it certainly became Elvis' song in mind. (And he would perform it regularly -- right up until his very last concert.)

"Thank you. I'd like to do a little bit of 'Love Me Tender' for you ..." and in a high-pitched, fast talking voice, Elvis rings off about four lines of the song in two seconds. With the crowd laughing, Elvis asks, "... wanta hear it again? ..."

Finally, Elvis begins the full, usual version of LOVE ME TENDER. Elvis manages to kiss a girl at the foot of the stage, and the crowd responds wildly to his efforts. This is a really short version. The band finishes the song, but Elvis seems a bit confused, and blames them for the quick finish, and so he instructs them to repeat the ending. "We can do better than that ... for my darling I love you and I always will ... " Eivis sings, conducting the proper conclusion of this classic.

Satisfied, Elvis rips into a fast version of ALL SHOOK UP. "Thank you very much." Elvis manages to kiss another girl, and after getting up, says, "I kissed somebody in Shreveport, and caught the Creeping Crud, so if I got it, you got it ... you don't care?" The crowd laughs loudly at Elvis' joke, and his relaying of the fan's comment.

Elvis then begins the familiar medley of TEDDY BEAR and DON'T BE CRUEL, singing it fairly straight.

With 'Don't Be Cruel' just barely ending, James strikes the chord to ignite 'Hound Dog.' Elvis sings, "You ain't ..." pausing for several seconds, but continues, "... nothin' but a HOUND DOG ..." A very fast version, with Elvis really involved in the extended, chanting ending, gyrating as the band really kicks.

"Thank you very much. This next song is a song that we did about three years ago, it's called THE WONDER OF YOU ..." Elvis is greeted with very warm applause for this gold record from 1970. At the instrumental break, Elvis 'ohs' and 'ahs' with the music. Good, strong finish.

"Thank you. Ladies and Gentlemen." Immediately, some low-down swamp music begins, and Elvis is again performing POLK SALAD ANNIE in the spot usually set aside for 'Burning Love.' I could never decide which I liked better in this particular spot, so I was more than pleased that he offered this song several times during the tour. This was one of the highlights of the show, as Elvis seems to really get 'into' this song. Lots of arm movement, along with some leg movement, including a karate stance and kick at the end of the song. Great!

Following lengthy applause, Elvis says, "Wooh! Thank you very much, Ladies and Gentlemen. I'd like to ah, walk around and get my breath back. I'd like to introduce the members of my band. First of all, the young ladies that you met earlier in the show tonight, I think they're fantastic. The Sweet Inspirations."

"The gentlemen behind back there, are one of the finest gospel quartets in the nation, J.D. Sumner and the Stamps Quartet. The little girl that does our high-voiced singing, she's from Los Angeles, her name is Kathy Westmoreland."

"On the rhythm guitar from Springfield, Missouri, is John Wilkinson." Laughing, Elvis says something to John slightly off-mic.

"On the lead guitar, from Shreveport, Louisiana is James Burton. Play something ..." which prompts James to begin a great solo of JOHNNY B. GOODE. Elvis joins in on a short verse of this classic rocker.

"Thank you, James. On the drums from Dallas, Texas, is hard-working Ronnie Tutt." Elvis steps back, allowing Ronnie to be featured, centre stage. A spotlight is shone on both Ronnie and Elvis, and so I am able to keep my eyes focused on Elyis.

Elvis introduces Jerry Scheff, on bass, and Glenn Hardin, on piano, who perform solos.

"The fellow that gives me my scarves and water, and sings harmony with me, he's from Decatur, Alabama, his name is Charlie Hodge."

"The fellas that opened our show tonight, they're from Nashville, Tennessee, I call them Voice. Our conductor, ha ha, our conductor from Las Vegas is Mr. Joe Guercio. The fantastic Joe Guercio Orchestra ..." which prompts Joe to direct the Orchestra in a rousing version of HAIL HAIL ROCK AND ROLL. Elvis sings several lines, unfortunately, mostly off-mic.

Looking at the Orchestra, Elvis acknowledges their efforts by saying "... thank you very much ..." and, turning to the audience, says "... we have out a new record, it's called T-R-0-U-B-L-E ..."

Immediately, the crowd responds, giving Elvis one of the best responses on the tour. Perhaps, as the tour went on, the single was being played more frequently on the radio stations, particularly in the South where Elvis was more popular. Without further comment, Elvis and company begin. A super, hard-rock version is delivered.

"Thank you. Ladies and Gentlemen. Thank you. I'd like to ask the Stamps to do a song for me, what is that, WHY ME, LORD? ..." He again quips "... not much ..." to J.D.'s sung question of, 'what did I ever do.' Following the first chorus, with Elvis joining in with the Stamps, Elvis uses his high 'Geraldine* voice to say, "... sing it, J.D. ..."

As J.D. begins singing, Elvis takes the blue scarf he's wearing, and puts it around his head, holding the ends of the scarf together under his chin. He walks over to J.D., and rests his left arm on the shoulder of one of The Sweet Inspirations. Elvis looks a little like Red Riding Hood -- but only in blue!

Elvis tries to break J.D. up -- and succeeds. J.D. begins laughing so much, that Elvis has to help him finish the last line, before joining in on the chorus a second time.

"I'd like to do a gospel song that we did ... this features the Stamps, HOW GREAT THOU ART ..." and the audience responds favourably as Elvis begins one of the highlights of the-show. Following the Stamps' singing of the second verse, Elvis turns back to face the audience, and sings, "... then I shall bow, in humble adoration, and there proclaim, OH MY GOOOOOODDDD HOW GREEEATTT THOU ART ..."

As Elvis hits this line, his grip on the microphone in his left hand is very tight and he is slightly bent over, trying to hit the notes for all he can. His left hand is held high in the air for effect (or balance?). This sends shivers up and down my spine as Elvis' voice fills the huge coliseum. The climax of the song is reached, with Elvis hitting the top notes of his range,”

"Thank you ..." Elvis says, and following a lengthy round of applause, the band begins LET ME BE THERE. Elvis delivers a wonderfully spirited version of a song that he appears to really enjoy performing. Elvis spits out the line, "... YEAH, let me TAKE YOU to that WONDERland ..." As the song is concluding, Elvis sings out "yeah" three times as the singers echo with 'let me be there.'

Thanking the audience, Eivis motions to the band to begin AN AMERICAN TRILOGY. "Look away, look away, look away, Disneyland, Dixieland ..." Elvis sings quickly, trying to 'correct' himself. As the Stamps sing 'oh I wish I was in Dixie,' Elvis responds with, "... you are ...," generating a good, patriotic reaction.

The audience begins applauding after the first verse of 'Battle Hymn of the Republic,' perhaps not realizing that this is a medley of three songs, and that there is more. Following the gentle, sensitive singing of 'All My Trials,' Elvis bows his head as the trumpeter plays. The band then kicks in, the trumpets blare, and Elvis sings the last few lines of this classic medley. Elvis hits the last note strongly. Tremendous applause, screaming and whistling.

"Thank you very much." Turning to the band, Elvis instructs them to begin LITTLE DARLIN'. He seems to have so much fun playing with the lyrics, particularly the spoken part, wherein he sings, "... to hold in mine, your little foot, ah hand ..."

Finishing this classic '50's song, Elvis comments about the silliness of it, "... do you realize what that song says? I've done a lot of silly songs, like 'Hound Dog', but la la la la, ahoopa hoopa hoopa hoopa, no a-wella ..." However, Elvis destroys his case about how silly this song is, when he begins the next song*

A great version of my favourite medley, MYSTERY TRAIN/TIGER MAN follows. The strobe lights accentuate the shaking of Elvis' head and hips. Great guitar riffs as James really flies on this version.

"Thank you. Thank you. I'd like to turn the houselights up. Ladies and Gentlemen so I can have a chance to look at you." Elvis comments about the building and the banners, and begins a rendition of FUNNY HOW TIME SLIPS AWAY. How appropriate!

The concert is almost over, and yet the passing of time has seemed little more than a few minutes. However, Elvis has been on stage for almost an hour, and soon he will be gone. "Never know when I'll be back in town ..." he sings, to which he replies to himself in a high-pitched voice, "... tomorrow night, you fool!"

"Thank you very much." Elvis tells the audience he has another show here tomorrow night, and wishes us a safe trip home. "Wise men say only fools, only fools rush in, but I, but I CAN'T HELP FALLING IN LOVE ..."

Towards the end of the song, as the crowd presses closer and closer to the stage, Elvis shows his concern for the crowd's safety by saying, "... don't get hurt!" Hitting the last note, Elvis extends his arm up in the air to conduct the conclusion of the final song of the evening. Walking from side to side, Elvis acknowledges and thanks the crowd.

Returning to centre stage, Elvis gives one last wave, and quickly exits on the right side, into the waiting arms of his bodyguards. I watch intently as Elvis makes his way down the stairs, trying to see him as long as possible. But he's gone. In a few seconds, the announcer proclaims, 'Elvis has left the building."

I sit back in my seat, and reflect. It's Sunday night, about ten to eleven, and many many fans have just seen Elvis for the first time. For me, this was my fifteenth show, and now there were only two more. He performed a good show, but it seemed a little short for an evening performance. Could this wonderful dream of seeing Elvis everyday actually be soon coming to an end. I fear so. I know so.

Leaving the arena, we returned to our motel. It was good to be able to stay another night in the same town, and not have to immediately leave for the next city. (Although I certainly wish there were many more cities on this tour to travel to, to see Elvis perform.)

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