domingo, 11 de diciembre de 2011

November 28, On this day in Elvis history

November 28, 1954
Elvis was booked for 2 shows in Memphis, but was unable to get back from Houston in time.
November 28, 1955
Elvis went shopping in Memphis at the Wells Clothing Store.
November 28, 1956
Elvis went to the Loew's State Theater for the matinee performance of Love Me Tender.
November 28, 1957
Elvis went to see April Love at the Loew's Palace: the latest Pat Boone movie.
November 28,1964
Elvis Presley's song "Ask Me" hit #12 in the U.S.
November 28, 1967
Elvis was released from Stay Away Joe.
November 28, 1969
Elvis flew to Palm Springs for the weekend.
November 28, 1970
Elvis's single "You Don't Have To Say You Love Me" hit #11 in the U.S.
November 28, 1970
Elvis's single "I've Lost You" hit #9 in the U.K.
November 28, 1972
Elvis went to Las Vegas.
November 28, 1976
Elvis performed at the Cow Palace, San Francisco, California. Elvis called Ginger Alden to invite her to come over to the tour and he even sent the JetStar to bring her to him. At the same time Elvis suggested to Linda that she looked a little tired and maybe it would be a good idea to go to Memphis to have some time for herself.
Date:28 Nov 1976
Venue:San Francisco, CA. Cow Palace
Costume:King Of Spades suit
Track list:

Also Sprach Zarathustra See See Rider I Got A Woman/Amen Love Me If You Love Me You Gave Me A Mountain Jailhouse Rock It's Now Or Never All Shook Up Teddy Bear/Don't Be Cruel And I Love You So Fever America Polk Salad Annie [band introductions] Early Morning Rain What'd I Say Johnny B. Goode Love Letters School Days Hurt Hound Dog Hawaiian Wedding Song Blue Christmas That's All Right Can't Help Falling In Love

Recordings:America The Beautiful

© Sean Shaver © Sean Shaver © Sean Shaver
© Sean Shaver © Sean Shaver © Sean Shaver
© © ©

Tour Ref: On Tour number 26 - November 24th - November 30th 1976
Date: November 28 1976
Venue: Cow Palace
Location: San Francisco CA
Showtime: (8:30 pm)
Crowd: 14300
Article *:
Suit: 1974 Arabian
Belt: V-Neck suit belt

J. D. Sumner: Red Suit
Musicians: Black Suit

2001 Theme
C C Rider
I Got A Woman
- segued medley with -
Love Me
If You Love Me
You Gave Me A Mountain
Jailhouse Rock
Its Now Or Never
All Shook Up
Teddy Bear
- segued medley with -
Dont Be Cruel
And I Love You So
America The Beautiful
Polk Salad Annie
Band Introductions
Early Morning Rain
( featuring John Wilkinson )
Whatd I Say
( featuring James Burton )
Johnny B Goode
( featuring James Burton )
Drum Solo
( featuring Ronnie Tutt )
Bass Solo
( featuring Jerry Scheff )
Piano Solo
( featuring Tony Brown )
Electric Piano Solo
( featuring David Briggs )
Love Letters
School Day
Hound Dog
Hawaiian Wedding Song
Blue Christmas
( above song includes 1 false start )
Thats All Right
( above song includes 1 false start )
Cant Help Falling In Love
Closing Vamp
Import CD


© Sean Shaver © Sean Shaver © Sean Shaver

© Sean Shaver © Sean Shaver
© Sean Shaver
© © ©

Newspaper Articles

CONCERT DATE: November 28, 1976 (8:30 pm) San Francisco, CA.
Elvis' return: Triumphant, as always
by James Kelton
San Francisco Examiner
November 29, 1976

Elvis Presley returned to the Bay Area last night for his first concert in four years - the first of two sold-out shows at the Cow Palace.

It was, like all Elvis appearances, a triumph.

The Stamps Quartet, joined for one number by ultra-bass soloist J.D. Sumner, opened the show 10 minutes late at 8:40 after an unseen announcer had intoned:

"As you know, the Elvis show always starts on time. However, tonight we are having difficulty getting people into the arena so the show will be delayed a few minutes."

The Stamps and Sumner, backed by a rhythm section and the Hot Hilton Horns, a seven-man brass ensemble from Las Vegas, crisply belted put five songs before yielding to Canadian comic Jack Kahane.

The Sweet Inspirations, a trio of women soul stylists, added three precision numbers and it was time for a 30-minute intermission.

When the big moment came - with Elvis' band dressed all in black, the Stamps quartet and Sumner, the Sweet Inspirations, two specialty singers and the Hilton Horns all poised for the occasion - Presley sauntered onstage looking disinterested while the band pounded out the thunderous theme from the movie "2001" and the auditorium lit up with flashbulbs.

True to form, Elvis strapped on his guitar and opened with "C.C. Rider" and "I Got A Woman," just as he had at The Oakland Coliseum in 1972.

Dressed all in white and carrying a few extra pounds, the heaviest of rock and roll heavies seems to have little new to show his frantically loyal audience these days.

He began tossing scarves to his stage-front admirers during his third number ("Treat Me Like a Fool") and kept it up throughout the 70-minute performance as wailing fans raced forward periodically - almost on cue.

One woman presented him with a dozen roses, another with a plaque and another with a teddy bear while he was singing "Teddy Bear."

He accepted them all graciously, peeling scarves from around his neck and dropping them into the throng as quickly as his assistant could drape them over him. Three times he knelt to bestow kisses on a chosen few.

He sang a selection of his hits: "Jailhouse Rock," "It's Now Or Never," "All Shook Up," "Hawaiian Wedding Song" and "That's All Right, Mama" which was his first recording.

He did most of his singing, though, on "Lord, You Gave Me A Mountain" and "Hurst," which is his latest recording. He tossed off perhaps his best-known song, "Hound Dog," and breezed through several others with characteristic stirring of the lyrics.

But he was always in command. Elvis, even a distracted Elvis is still the man who founded rock and roll twenty years ago and a (by rock standards) flimsy sound system and methodical delivery don't count.

The crowd last night ranged from very young to elderly, but mostly they were middle-aged family folk who had brought their children and the show was for them.

Presley strutted around the stage incessantly but his showstopping gymnastics were mostly missing. He joked with the bad and occasionally quipped to the audience about its behavior, but always off-handedly

"Some people don't believe I can play the guitar," he said strumming into "That's All Right, Mama," "But I can. I know three chords."

He told the audience goodbye before the finale, "Fools Rush In" and the offstage announcer said as Presley stepped down onto the runaway to leave:

"Ladies and gentlemen, Elvis has left the building."

The vendors started their yowls again as the fans rushed past and many stopped to buy.

Presley is a money-making marvel, of course, but he can still drown out his momentous accompaniment when he feels like it. He's a first-rate singer.

His show now blends touches of the current fad - disco music - with the rockabilly style that carried him and rock and roll to fame. Everything about his show is polished and professional.

All that's missing is the ragged energy that helped inspire a generation of rebelliousness.

When he left the stage there were cries for more , but most of the costumers headed for their cars. They didn't seem to care�one way or the other.

Courtesy of Debbie

CONCERT DATE: December 28, 1976. Dallas, TX.

ELVIS: A Happening at Memorial Coliseum
Bob Porter
Dallas Times Herald
December 29, 1976

Call it an event, a happening, a carnival, a love fest. It is some and all of this when Elvis Presley ventures into town. It is almost least of all a musical concert.

If Presley's music was all there was to it, you would be better off in front of a good stereo set rather than jammed into a packed coliseum with a frenzied crowd of screeching fans grasping at scarves Elvis casually disposes of strolling along the edge of the stage singing "Hound Dog". You really can't hear that early-day hit too well for the squeals of delight from the lucky recipients or those of dismay from the girls who have missed so magical a treasure.

A Presley audience has grown to be almost as important if not as important as Presley himself, Like the one at Memorial Coliseum last night, an audience very much a part of the show itself, feeding off one answer, vibes shooting from one to next like electric currents cracking along a wire fence in a storm. Whether Elvis is the Elvis of old didn't seem to matter. He was Elvis the magician, Elvis the Pied Piper.

Elvis, make no mistake, is a phenomenon. No one else has gone 20 years perched at the peak. Alice Cooper and the vaudeville rockers may trail in the dust of Elvis' heels. He could probably even cause an alarming dip in the Nielsen rating playing opposite Charlie's Angels. Where superstars quickly burn themselves out, Elvis survives, spreading himself to new generations of fans. The audience ranges from the young of little kids, to the old of grandfatherly gray heads. He is a figure to adore or even make a bit of fun of - if you dare.

Presley himself seems at times to be poking a very large finger at the Elvis mystique twitching his body, emitting a weird sound , cracking a knee, playfully toying around with a song rather than giving it serious attention to trigger one of those squeals. His fans don't seem to mind this, another piece of evidence is more than music to a Presley show.

Presley's shows haven't really changed too much over the years. They are mainly a collection of his old record hits, going back to the earliest in the mid 50's. He makes a dramatic entrance to the strains of the theme to "2001" pouncing on "C.C. Rider" and grabbing his audience like the King of the jungle trapping his prey. Last night he did things like "Jailhouse Rock," "It's Now Or Never" "Blue Suede Shoes" (I remember that one, I had a pair. Wing tips. The coolest things on campus with yellow peg leg pants) "Poke Salad Annie," "Love Letters," "My Way" (reading the lyrics from a sheet of page of all things) winding up at the piano for a dramatic rendition of "Unchained Melody." At the risk of being a spoil sport, he was noticeably flat on that one at midpoint. No matter, there went the squeals again. It is difficult if impossible to deal with a Presley concert on simple musical grounds.

The Presley entrance is reserved until after intermission in traditional variety show manner. The audience warmup comes from the band, a gospel quartet, a comic and a trio of girl singers. They all good enough at what they do but the audience is there for one thing only, Elvis. Elvis edging into middle-age, admittedly, but losing none of that air of insouciance that must have much to do with his appeal. The voice when he put his mind to singing was sure and certain for the most part. He has always been better at ballads than in some of the vocal convolutions he gests twisted into on the up tunes. The band behind him was hard driving with perhaps drummer Ronnie Tutt, of Dallas, working harder than anyone on stage. The weight question remains something of a mystery high collar meting sideburns as it does, a belt of girdie proportions surrounding the midsection. The hips don't swivel as much as they once did. Elvis may have aged. To his fans he is not growing old. however.

CONCERT DATE: December 28, 1976. Dallas, TX.

Elvis And His Fans - A Parody All The Way
Maryln Schwartz
Dallas Morning News
December 30, 1976

Criticizing an Elvis Presley concert because the music was disappointing is like criticizing Christmas because there's no snow.
Christmas is an event! and so is an Elvis concert.

At Elvis' Dallas concert Tuesday night, it didn't make any difference that he was flat when singing his opening song, "C.C. Rider," because the fans were screaming so loud that you couldn't hear anyway.

From the minute he walked on the stage, the flashbulbs started going off like a psychedelic earthquake. From then on the fans were as much a part of the show as Elvis.

He wiggled his finger, they screamed. He started using his guitar like a machine gun, they collapsed. He did a parody of his famous gyrations, they hysterically tried to crawl on the stage. It didn't seem to matter that Elvis looked only half awake or that the gyrations remained a parody all night.

THE NEXT SONGS, "Love Me," "Blue Suede Shoes," "Love Letters," and "Fairytale" were almost secondary as the fans concentrated on the big event - trying to catch one of the scarves Elvis took from his neck and threw to the screaming audience.

There was a man who stood behind Elvis who did nothing but hand the singer scarves to put on for a second and then throw away.

In response, the grateful fans rushed up to the stage, with

long stemmed roses, flower leis, stuffed teddy bears and stuffed hound dogs.

They were not responses Elvis could ignore for long. About every 20 minutes, he walked up and down the stage holding out his arms as if he were pronouncing a benediction over the audience. The fans were practically weeping with joy.

There were times you couldn't be sure what was going on. Elvis would give a benediction and then he'd do his machine gun routine. Then he combined them. Then he picked up a sheet of paper and announced he hadn't quite learned the words to the song he was going to sing next.

In between, he managed to sing "Jailhouse Rock," "Now Or Never," "My Way," "Unchained Melody" and "Hurt."

IT WAS A COMBINATION that shouldn't have worked, but somehow it did. The air was electric.

The screams and the flashbulbs never stopped for the hour he was on stage. It continued right on after the concert as the salesmen selling "super Elvis souvenirs" plowed through the lobby hawking $5 Elvis tee-shirts and $10 Elvis posters.

It had 65 year old grandmothers weeping and their 6 year old granddaughters clapping. It was hardly ever music but whatever it was exciting.
I love it.

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