Follow That Dream Records first documented Elvis' third engagement at Del Webb's Sahara Tahoe Hotel in 2010 with a cd called "High Sierra". It featured the midnight show from May 21, 1974 plus a few bonus tracks. Unfortunately the label used a picture from the fall of 1974 on the cover, but the photo on the back as well as the pics in the booklet (yes, from time to time even FTD manages to include booklets) are from this season. At the time the engineer didn't record "Also Sprach Zarathustra" and the "Opening Riff", but that's no big loss and the audio quality of the soundboard recording is solid.

The tape was started shortly before the king opened his mouth. His rendition of "See See Rider" is ok, comparable to what could be seen on tv the previous year.

The Ray Charles classic is delivered well, too. As usual Elvis throws in a few lines of "Amen". At the end of the gospel JD Sumner produces some very low notes, the king even repeats the finale to give him another opportunity to display his voice. After a short reprise of "I Got A Woman" Elvis gives his guitar back to Charlie Hodge (from whom he had received the instrument after entering the stage) and introduces himself as Flip Wilson. At the time such a joke was considered to be especially funny, because, in contrast to Mr. Presley, Mr. Wilson was a person of color.

Elvis uses the ballad more or less as background music for the distribution of scarfs. The ladies are completely in awe.

Vocally the old SUN tune is a real surprise. For the first time this evening the king works up a sweat and runs at full throttle. When he leaves his comfort zone, he's just as great as he always was. 

His mega seller "All Shook Up" is sung for barely sixty seconds and not with too much commitment. However, the fans love it.

The title song of his first movie is used to hand out more scarfs and to kiss some of the females, too.

For the first time this evening Elvis turns to more recent material. OK, the single was released back in November 1970, but still one and a half decades later than the other ones he presented. He doesn't reach the class of his studio recording, but after "Trying To Get To You" this is the king's best performance so far.

However, "Hound Dog" is delivered with too much routine. But the ladies are delighted to see their idol shaking his body to the brass sounds of the orchestra.

While the previous one seemed to bore the king, he obviously enjoys to make the females scream just by moving his legs. In 1974 the trick works just as well as back in 1954. Well, it would take him another six years to record "Fever", but you know what I mean.

Now the king leaves the oldie universe and moves on with "Polk Salad Annie". Compared to the movie "That's The Way It Is" the body action has gotten tamer, but he still displays some impressive karate moves.

As a kid Elvis wanted to be a member of a gospel group. At the age of 39 he fulfills his dream, has JD Sumner doing the lead vocals and joins The Stamps during the chorus. He's a little more up in the mix than the members of the gospel group, so you can hear his emotional and heartfelt singing.

Just like "Polk Salad Annie" this song has gotten tamer over the years. Well, not the song itself, but the king's gymnastics. It's still a good performance, but not as wild as a few years before.

Elvis introduces the members of his vocal groups and the band.

While his performance on the "Aloha" show was somewhat lame, he now invests quite a bit of energy and obviously likes the song very much.

Elvis sings a warm and emotional version of the gospel (or relegious country tune, whatever you wanna call it). I also like the string arrangement of the Al Tronti Orchestra.

Another highlight is "Bridge Over Troubled Water". The king masters the quiet parts as well as the louder ones and the performance also displays the skills of the orchestra and the harmony singers. Great stuff!

Elvis picks up the tempo with "Let Me Be There". He certainly feels at home with material like this and delivers another very good performance.

Similar to "Bridge Over Troubled Water" this one is a show off for everyone on stage. Once again they all prove, what great professionals they are. It's a wall of sound! At the end Elvis says "I like that song". 

With "Big Boss Man" the king rocks the house. Once again it's clear, that he likes the tune and his 1967 single certainly is a great addition to the set list.

The king closes the show with very few words and the mandatory "Can't Help Falling In Love". His band takes over with the "Closing Riff", Elvis shakes a few hands, gives away his final scarf and disappears behind the curtains of the showroom.

Elvis sings the classic rock'n'roll song with more zest than "Hound Dog", but still it's too little effort to make anyone believe, he once had been called the king of this style.

His previous years' top 20 hit is presented well, maybe even a tad better than on the single.

Elvis rarely sang "Spanish Eyes" after his Vegas stint in early 1974. Here in Stateline he just performed it twice, a final rendition would follow during the "Elvis Summer Festival 1974" in Las Vegas. He does the song very well and it's a pity, that he didn't keep it in the show for a while.

Today's rendition of the gospel hymn sounds very similar to the one on the forthcoming album "Elvis Recorded Live On Stage In Memphis". In other words: It's nothing but great!

Even though "It's Now Or Never" is Elvis' biggest commercial success, he rarely sings it live. Maybe that's why the music sounds somewhat sparse and the king doesn't go all the way vocally. But it's a charming rendition for sure.

The song wasn't on the set list in early 1974, but it obviously had been rehearsed for this engagement. The orchestra, the choire and Elvis himselvis know exactly what to do. For me this is one of the highlights of this album.

The singer was one of the king's favorites and so it was a pleasure for him to welcome him to his show.