Omitting "Also Sprach Zarathustra" the recording starts after Elvis has entered the stage and picked up his guitar from Charlie. The usual opener is presented with zest.

Elvis sings the word "well" in different keys, toys with the reaction of the fans and suddenly says "Thank you very much, I hope you've enjoyed the show". Of course he doesn't leave, but sings "I Got A Woman", a track from his first album. He sings with a lot of drive and includes a few bars of the gospel "Amen". Its used as a tool to demonstrate a few of his patented moves and to give JD Sumner an opportunity to present his impressive bass voice. He even pretends to be unhappy with his efforts, so Mr. Sumner can produce even lower notes. Afterwards Elvis returns to "I Got A Woman" and throws his guitar back to Charlie. Then the crowd is welcomed.

From his first album Mr. Presley moves to his second longplayer and intones "Love Me". He uses the ballad, which is done much faster now, to make contact with the females and to throw his scarf into the audience.

Now Elvis announces one of his first songs. The SUN classic "Trying To Get To You" gets the full Presley-treatment. He belts out the chorus like only he can do and even finds time to adlip "I kept streaking all the way" (instead of "running").

Without a break he continues with "All Shook Up", one of his early mega sellers. The tempo is high and the king sings it well, albeit not with as much commitment as the previous song.

The title song of his first motion picture is used to kiss some of the eager females at the edge of the stage. The vocals suffer, but that's not the point. The whole thing is about being touchable and creating a sensation.

On May 19th Elvis had sung "Steamroller Blues" at this point of the show, now he's switched to "You Don't Have To Say You Love Me". He sings it as emotional and tight as four years ago on the "That's The Way It Is" album. Great stuff!

One cannot say that about "Hound Dog". Elvis mubles through the rock'n'roll tune and shakes to the brass sounds of the Al Tronti Orchestra. Today he even exceeds this absurd procedure. The ladies love it, but to everyone else it's a piss-poor performance with cringe-factor 100.

The good ole' "Fever" is presented much better. Once again the king shakes his body to the ladies' delight, but this time he does it in an entertaining way. Besides that, he doesn't forget to sing.

Now Elvis leaves the oldies behind and performs "Polk Salad Annie", known from the movies "That's The Way It Is" (1970) and "Elvis On Tour" (1972). While "Fever" showed a rather catoonish version of the classic Presley moves, this song offers the real thing. The king is not as wild as two or three years ago, but he still moves to the music in impressive and natural style, using the finale to demonstrate a knee bend and other karate figures. Afterwards he's a bit out of breath and flirts with a lady. She wants a towel, a scarf and a kiss, which Mr. Presley delivers in the requested order! The audience is in uproar and even the people on stage are having a ball. Ironically Elvis remarks "That's showbiz".

To get his breath back the king hands the lead vocals over to JD Sumner, who sings the gospel "Why Me Lord". Elvis joins The Stamps on the chorus and obviously enjoys to be part of the gospel group. He even repeats the last verse and requests to put the light on the female singers, who support The Stamps with high notes.

Just like "Polk Salad Annie" this song gives Elvis an opportunity to move a bit to the music. He knows, that the audience comes to watch him doing so. And besides that, "Suspicious Minds" is a great song. It's also his last number one hit and it's already five years old. In 1972 Elvis came close with "Burning Love", but unfortunately it stalled at number two.

Now it's time to introduce the band and harmony singers. Here and there Elvis jokes a bit, calling his female vocal group "The Sometimes Sweet Inspirations" and pretending not to know the exact names of his rhythm guitarist and bass player.

The question "You know what I can't do?" leads into "I Can't Stop Loving You". Elvis obviously loves the song, sings with full power and jokingly ad-libs in-between.

Shortly interrupted by an overIy zealous female the king introduces his new song "Help Me". What follows is a beautiful, heartfelt rendition of the religious country ballad.

On May 19th Mr. Presley had followed "Help Me" with "Spanish Eyes", but today he opts for "Bridge Over Troubled Water". For a quarter of a second he looses the control of his voice, but I am pretty sure that nobody in the High Sierra Showroom noticed it. This minor glitch aside it's a great rendition. Elvis sings very well and the orchestra and the harmony singers also get an opportunity to shine. If you don't know what the expression "wall of sound" is all about, just listen to this.

Omitting "How Great Thou Art" Elvis moves on to "Let Me Be There", the Olivia Newton-John hit he's covering in his shows since January. To be honest, it almost fits him better than the original artist and one immediately hears, that the king sings it simply because he loves the song.

The next number really is a surprise. Instead of singing "Big Boss Man" Elvis performs "The Wonder Of You", his top10 hit from 1970. He rarely sang it since that very year, as far as I know he re-vived it a few times in the second half of 1972. However, now it's back and delivered very well. To include it in tonight's show obviously isn't a spontaneous idea, because the band and backup singers know their parts and the Al Tronti Orchestra is prepared, too.

Now the king sings "Big Boss Man" and does so with the usual zest.

Instead of bowing out with the usual "Can't Help Falling In Love" Elvis wants to do "Funny, How Time Slips Away". The band obviously is caught by surprise, because they fail to start in sync. The lead vocalist is amused by the situation and gives the country ballad another go. It's a nice rendition, at the end Elvis teases the band by toying around with the final "away".

But then it's time to go and Elvis launches into the famous ballad from his 1961 beach flick "Blue Hawaii". He parades across the stage, shakes some hands and leaves.