The album was recorded on two C120 compact cassettes by superfan, police officer John Herman, who placed two tape decks on top of the stage, which explained the high quality audio, even though John’s original plan was to plug his tape recorders into the the sound system, with the help of sound engineer Bill Porter, to create a soundboard recording, that didn't work out as planned. Looking at the album jacket today, it's still a stunning piece of cover art that at the time put RCA firmly in the shade. Not only did it feature 16 great photos shot by John, and Bob Heiss, from the actual show, but also included the kind of insightful sleeve note that we never had on any officially released live product. Printed on a bright blue background, the overall design was exceptional, and considering the fact that it was an audience recording, the sound quality was equally out of this world for its time. It’s no wonder that it sold out so quickly, and resulted in multiple reprints over the years since its original 1977 release. If there were any awards for bootleg records, this one would have walked away with every one for sound, design and marketing, and due to its popularity would have, by today's standards, easily earned itself a certified gold or platinum status.
Saturday 6 June 2020
Elvis' Most Historic Live Audience Recording
It is the early part of 1977 and I am standing outside a small independent record store in Shoreditch staring at an Elvis album displayed in the window that I had not seen before! That album was a 2 record set bootleg that has since been tagged as Elvis' most historic live audience recording that was simply light years ahead of anything that had been released during his lifetime! Even the sleeve notes were light years ahead of anything that RCA had given the Elvis fan! It was obvious that this was no ordinary live album! It was an attention grabber, the likes of which we had never seen before! My thoughts now, as back then, were how come, it took a bootleg record label to deliver the kind of live album, both in sound and packaging, that Elvis fans at that time, had craved to see released for years!
The whole thing was perfectly summed up in the sleeve note by J.J.R... Whatever
it is that Elvis Presley has when it comes to generating excitement
in a live audience, he has always had. Early on it was evident.
Pandemonium. Chaos. If you would ask HIM what it is, he would
probably say, “Beats me Jack.” But the fact remains almost from
the first time he stepped on stage, audiences have been caught in the
magnetism, charisma, (or whatever the hell you want to call it) of
the man.
The
screams, the yells, the shouts. It had never happened before. True,
Sinatra had generated an incredible excitement, but they swooned for
“Frankie boy.” The screams and shouts that accompanied Elvis
were in keeping with the unleashing of the raw power being generated
by Tupelo, Mississippi’s favourite son.
Then
for a long time the screams and shouts were silenced.
I
mean who can scream to HE’S YOUR UNCLE NOT YOUR DAD and the rest
that those of us who dug Presley were forced to sit through in the
movie houses?
And
just then, when most of the civilized world had counted Elvis Aron
down and out, he unleashed the raw power once again, and about ten
years ago the screams and shouts, this time accomapnied by swoons and
shrieks, made a comeback. The man was working ‘live’ again. And
when you refer to a Presley concert as ‘live’ you can bet your
Sun 78’s that ‘live’ takes on a whole new meaning.
A
Presley audience is special. Watching them is part of the show. But
then watching them is impossible, because if you’re watching them
it means you’re in the same room. And if you’re in the same room,
it means you’re one of them. It’s that kind of vicious circle.
Which
brings us to this record.
Why
another live recording? Well one of the disadvantages of Elvis’
re-emergence as a live artist was the lack of originality on the
part of his record company and management people with regard to
record releases. The Presley-record buying public was a victim of
over-kill. One live recording after another was released, and the
Elvis fans like dutiful collectors they are, bought one package
after another. Until finally it’s to the point, where even the
die-hard collectors are thumbing their collective noses at the little
pooch listening attentively to the gramaphone. We’ve had it. I mean
how many versions of CAN’T HELP FALLING IN LOVE does one need
before the message comes across?
Alright,
now granted CAN’T HELP FALLING IN LOVE is included in this
recording, as are many of the other songs Elvis continually does in
his act night after night. That can’t be helped. After all, it’s
what the people pay to see. But here for the the first time on
record, is the excitement of an Elvis Presley concert in its
totality.
December
31, 1976. The hands of the clock nearly straight up approaching
midnight and a new year. Within these album jackets are the moments
as they happened. Nothing deleted. Not just the high’s but also the
quieter moments – which in their strange ways are as exciting as
the fever-pitch moments. A man being called to the stage by Elvis,
and then presenting Presley with an appropriate Bicentennial gift of
a “Liberty Bell”. (The man is Jim Curtin, a long time Presley
afficiando from Derby, Pa.) Elvis introducing his “daddy” and
little Lisa. And then there’s his introduction of the song FAIRYTALE, which he describes as “the story of my life.” Most
astonishing is his compliance with spontaeneous requests from the
audience.
He
was having a good time, and wanted everyone to be happy. It was like
the man was entertaining the 16,409 people in the Pittsburgh Civic
Arena that night in his own living room. You know how you get when
you have a bunch of friends over on New Year’s Eve to celebrate –
their wishes are your commands. You wait on them hand and foot. You
mingle with them, talk with them, and by the time everyone splits
half-gassed with lamp shades on their heads, everyone had a hell of a
good time. And you as the host are the one responsible.
Well,
that’s the feeling one gets after listening to this recording. It
was like, everyone was invited to Graceland, and Elvis threw this
unbelievable bash, and a good time was had by all.
Not
that the evening didn’t have it’s musical highlights. It
assuredly did. Some of the songs are here for the first time on a
live recording. BIG BOSS MAN, FAIRYTALE, HURT, RECONSIDER BABY, the
beautiful EARLY MORNING RAIN, LOVE LETTERS, two surprise ‘oldies’
LITTLE SISTER and IT’S NOW OR NEVER. And the whole evening is
capped off by Elvis sitting at the piano and performing RAGS TO
RICHES and the haunting UNCHAINED MELODY.
No
shortcuts here. Ninety minutes of non-stop Presley. No edits. No
hype, No canned connection. Back to the days of the one-night stands
down South. Audiences saw him then for the first time. Not quite sure
what he made happen, but enjoying whatever it was.
If
throughout the rest of the year there was a Presley drought,
listening to the man belt them out as ‘76 gave way to ‘77, one
could stop, ponder, and say “it was a very good year!”
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Thanks for another great read Nigel. I can see why this album was such a favorite to so many. It was indeed one of the best live shows he ever gave. The raw power you mention was certainly present that night in Pittsburgh. He once again proved even though he had nothing to prove, that he was forever the King.
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