ON THIS DAY IN ELVIS HISTORY November 10

November 10, 1955

Although the deal to switch from Sun to RCA was not final yet , Elvis told it to everyone he met on the 4th annual Country Music Disc Jockey Convention In Nashville. In his hotel room he listened to a demo of Heartbreak Hotel.

November 10, 1956

At Jack Garns Men's Shop Elvis bought 2 pairs of slacks and 2 jackets.

November 10, 1957

Elvis performed at he Honolulu Stadium, at 3.00 and 8.15 p.m. The shows were attended by more then 14,000 fans.

November 10, 1970

Elvis performed at the Coliseum, Oakland, California. This was the opening show of the November tour. In general there can be said Elvis did more ballads on this tour and he would introduce How Great Thou Art as one of the highlights of the show. The Imperials returned as the backing vocals.

November 10, 1971

Elvis performed at the Boston Garden, Boston, Massachusetts.

CONCERT DETAILS: Tour Ref: On Tour number 4 - November 5th - November 16th 1971 Date: November 10 1971 Venue: Boston Garden Location: Boston MA Showtime: (8:30 pm) Crowd: 15509 REVIEWS: Article *: VIDEO INFORMATION: Release: Collectors Gold Vol.6 Length: ELVIS ATTIRE: Suit: Black Matador suit Belt: Gold Attendance belt Cape: Red cape GROUP ATTIRE: Musicians:White Suit TICKET STUBS: PICTURES FROM CONCERT: © © © © © © © © © ©

SONGS - TRACKLISTINGS: 2001 Theme Thats All Right I Got A Woman - segued medley with - Amen ( above song includes 1 false start ) Proud Mary You Dont Have To Say You Love Me Youve Lost That Loving Feeling Polk Salad Annie Come Home Baby ( above song is just an instrumental ) Love Me Heartbreak Hotel Blue Suede Shoes One Night Hound Dog How Great Thou Art Band Introductions Im Leavin Bridge Over Troubled Water ( followed by a reprise of above song ) I Cant Stop Loving You Love Me Tender Suspicious Minds Come Home Baby ( above song is just an instrumental ) Funny How Time Slips Away Cant Help Falling In Love Closing Vamp CDS FROM CONCERT: Import CD Import CD CDRS FROM CONCERT:

Newspaper Articles CONCERT DATE: November 10, 1971 (8.30 pm). Boston, MA. Boston Garden. BOSTON Rolling Stone In Praise of Elvis Presley By Jon Landau He stands there in a black jump suit with gold spangles and an orange cape. When he stretches out his hands the cape forms a half sun under his outstretched arms and he looks like the true king of rock 'n' roll. He parades in front of 15,000 people and waits for the applause to wash over him and it comes as it always does and as he knows it will. After strutting from one end of the stage to the other after waiting until he feels just right, and until the audience can't wait another second, he turns to a back-up musican who hands him his acoustic guitar. With the rhythm section churning, he stands in front of the mike, holds but does not play the guitar and sings, "That's alright mama, that's alright for you, just any way you do". It was his very first record and it doesn't sound quite the same as when he did it 17 years ago at the Sun studios in Memphis. But I am moved by the fact that he is doing it at all. Following a first half consisting of a wonderful performance by the Sweet Inspirations, a typically tasteless (but well received) attempt at humor on the part of a Las Vegas comedian, and an intermission, the offical Elvis Presley Tour MC called people back to their seats. When things had settled down, he announced from the darkened stage that, "There will be no congregating in the aisles of any kind. It is mandatory that everyone remain in their seats so that others can see. These rules will be strictly enforced by the security guards. Suddenly the sounds of "Theme from 2001," as the opening bars of "Thus Spa ke Zarathustra" are now called, filled rusty old Boston Garden to its hilt. The horns were quickly enhanced by the addition of what seemed like a full coterie of choral singers. Finally, as the horns eased their way out of the final notes, drummer Ronnie Tutt struck up a percussive pattern worthy of Gene Krupa. And then, after a beautifully planned, seemingly endless delay, he jumped up on stage (not descending from a helicopter through the ceiling, as a few of us had by now expected) and he was ready for action. The audience was dazed as they caught its first glimpse of him. As the stage lights went on they also saw for the first time the whole entourage - the six-man rhythm section, the nine back-up singers, the 20 horn players - all perfectly arranged and blocked out on stage to enhance the glory of Elvis Presley, or King El, as he now appeared to be. The magnificence of Presley's performance lies in its presentation of him as royality. He is the one entertainer in the world who doesn't have to take out any insurance on his fame, success, grandeur, or greatness. He is the one and only performer who can simply revel in it and us with him. On the stage itself, Presley surrounds himself with the best that money can buy. Tutt is the only true big-band rock drummer I have ever seen in action (one day Hal Blaine will go out on the road) and he is magnificent. But then too, it isn't every one who has James Burton himself for a lead guitarist and the Sweet Inspirations for a third of the background voices. Not everyone has a personal road manager alternating between playing acoustic guitar and singing backup parts, and handing the star his guitar, clothes, glasses of water, towels, or holding the microphone chord when he starts to move with it. Poor Charlie Hodge even gets introduced as "...the man who hands me my water and my scarves" (which latter Presley periodically throws into the audience). All of it is for the greater glory of Elvis himself. Every person on the stage, every article of clothing, every instrument, light, microphone, is a prop. When men solo it isn't for music but effect. The accumulation of effect is the core of Presley's art. His success at it makes him one of the few touring practitioners of the art of the American musical comedy. His 31 movies have given him enough training so that when we see him today we are watching a musical comedy actor first and a pure musician later. When he combines that talent with his projection of a very personal sort of regality, the result is a beautifully wrought modern-day pageant. Elvis Presley has lived through the greatest superstar trip of any performer and he has survived it in his own kind of way - with a sense of humor. The Beatles may have been more popular but they were a group. Elvis participates in a pure one- to-one relationship with his audience, and when he steps on stage it is he and he alone who is the subject of the manic, uncontrolled, irrational adulation which is the core of the American star system. Stardom, of whatever type and in whatever period, is the goal that turns into a burden. Personally, it is killing rock stars too young, crazy and blind to cope with it. And yet while the signs of self-destructiveness in the life style of the rock musician are increasingly obvious to those outside the arena, fans and the rock press continue to glorify it and musicans continue to live and die by it. Because stars grow into fixed entities in the public mind, stardom is frequently antithetical to the growth of personal art. The price of a large audience is the need to be continually satisfying it. Part of Dylan's greatness has been his constant flirtation with his audience, his capacity to reject it, his refusal to capitulate to its demands upon him   . When Dylan persisted in his rock 'n' roll after endless denunciations for showing up at Newport with the Butterfield Band backing him up, he ushered in a freer approach which assumed greater capacities on the part of the audience than in the past. Elvis, however, remains of the old school. He has his audience, they have him, he loves them, they love him, and his purpose is to please himself by pleasing them, never to please them by pleasing himself. Elvis is too old to imitate his own past. He will not pretend that he is some adolescent high-energy rocker straight out of the Delta. Nor can he cope with the continuing feelings so many people have about him with a straight face. He must un dercut their adulation of him just as he must undercut his own narcissism if for no other reason than to preserve his own sanity. If he really belived all the things they felt about him he would have risen up long ago. The one thing Elvis Presley obviously doesn't want at his concerts are uncontrolled displays of emotion. He has had them before, knows how to elicit them, could have them now if he wanted them, but controls his performance brilliantly to make sure that they don't occur. They frighten him and drive him farther back into a conception of himself that he cannot handle. He wants his people to have fun and he wants to have fun with them. But it's all middle-aged now and he wants them to have a middle-aged kind of fun. And so he does his balancing act between really singing and acting, and farce, burlesque, vaudeville. His brilliance is reflected in his control; he never moves too far in any one direction and therefore never loses his grip. When he finally exits the ovation is enormous but when the lights go on it ends instantly. People have a good time, they scream and they shout, but they never once move to get out of their seats. What surprised me at the concert was how much I did get involved with Elvis, how much I could relate to his need to be the way he is, and how much sheer artistry and talent manages to pour through the tightly drawn lines of his very stagey production. While he sings in a lower voice than ever, and what I liked about the early records was that beautifully vulnerable high voice he sang, "That's Alright Mama" with enough verve to scare the unsuspecting. He marched right into "I've Got A Woman" and then segued into a false ending built around "Amen", only to launch back into "Woman". Without coming up for air he was lost in "Proud Mary", and when he hit the chorus, he rolled his body right through "We're rolling, rol ling, rolling on the river", with a series of startling kneebends. He did it all in ten minutes and it was a tour de force of theatrics, professionalism, and, happily, music. For despite the refusal to put it all out, he sings so well, so naturally, so evenly, one hesitates to press him for more. He sings like an angel and moves like a ballerina, and he left me struck dumb. He was far from through, and after some cooler numbers de signed to let people settle down, he went into what I thought was the finale, "Suspicious Minds". Here, he did with an up- tempo song what he had earlier done with a slow one; he got everything out of it that is there. It is a beautiful song, the best Presley has done since he stopped making the movie sound track albums and by the time he finished you knew that underneath the control and the lightness of most of the evening's music there stood a man with more natural ability, talent, and soul than I expect to see on the stage at any rock consert. He finished it with yet another series of Karate moves, done to the accompaniment of Tutt's drumming. Not through yet, he moved like a locomotive through the last four numbers, all recent hits, climaxing with a fine version of "I Can't Help Falling In Love With You". When it was ove Charlie Hodge draped the cape over his shoulders, Elvis extended his arms so that the fiery orange formed that half-sun underneath him and he once again basked in his glory. He looked at the audience from every side of the stage and then he left. For one of the few times in my recent memory, I had witnessed a performance that had left me completly satisfied. On a recent Ed Sullivan show they showed some film clips of Presley doing "Hound Dog" in 1956. He looked great but the performance was laughable in its ineptitude and self-parody. Presley made greater records 17 years ago. But in his own way he has grown as an artist and any man who can do the show I saw him do last week doesn't have to apologize to any one for not singing the old songs or the songs someone else may want him to do. Presley hasn't looked back and he hasn't stopped growing. As much as he was 15 years ago, he is a pure reflection of American popular culture. He is, on the one hand, gross, excessive, vain, narcissistic, and violent. On the other, incredibly competent and professional, unpretentious, exhilaratingly visceral, innately physical, and talented in the most natural and personal sense possible. He is a different artist today than he was 15 years ago, but to me, no matter how frustrating the lapses in his career have been, he remains an artist; in fact, an American artist and one whom we should be proud to claim as our own. CONCERT DATE: November 10 1971 (8:30 pm). Boston MA.     15,000 Cheer Him On, Elvis Rocks The Garden by Ernie Santosuosso Boston Globe It wasn't exactly a rock opera but last night 15,506 at Boston Garden accorded "Elvis Presley superstar" a rave reception. The 36 year-old statesman of Rock made an easy conquest of the Sports Arena in a dazzling 52 minutes display of singing and body English. In the pop music context, the Elvis-the-Pelvis spectacular has to be ranked with the likes of the Beatles 1966 visit, the Rolling Stones invasion in 1969 and Tom Jones's first time around in Boston. He bumped and ground in the grand tradition of the Old Howard, flaided his arms, jerked his head in tempo, strutted about the stage like a pompous wrestler and postured outrageously throughout his wirlwind set to the shrieking delight of his fans. He sang in his bluesy, sometime surly, sometimes tender baritone but all times he seemed to be having the most fun of everyone. Backed up by his string group and a cued choral unit plus Joe Guercio and the Tony Bruno orchestra. Presley fired off a fussilade of his hits (in the million-selling record department Elvis is the champion with 24 gold discs; the Beatles and big Crosby are runners-up with 20 each) He arrived on stage after intermission in a deep blue sequined cape and flared pants outfit set off by a red scarf. He wore enough rings tp make Zsa Zsa envious. The ovation was ear-splitting and throughout, incessant screaming and cheers punctuated the darkened arena like bomb bursts. About the intro music - "The 2001 Theme" That was the tip-off that Elvis was doing a giant put-on, and it set the mood for his ingratiating act. One after another came the songs "That's All Right" with a tentative shake of the pelvis. "I Got A Woman", "Proud Mary" in which he simulated the rowing motion with some knee action. "You Don't Have To Say You Love Me," "You've Lost That Loving Feeling," "Polk Salad Annie," "Please Love Me" and the oldies "Heartbreak Hotel," Blue Suede Shoes," "Just One night With You," "Hound Dog," How Great Thou Art". Then he inserted a new tune, "I'm Leaving", an exciting rendition of "Bridge Over Troubled Waters," "Cant Stop Loving you," "Love Me Tender", "Suspicious Minds" with a very funny (....) "Ain't It Funny" and the finale "I Can't Help Falling In Love With You." At the end of the song he spread out his capefull width resembling a good-looking Dracula. The crowd of all ages exploded. Courtesy of Sebastiano Cecere Concerts Reviewed 1971 Boston, MA. November 10, 1971 by Stefan Koch November 1971, Elvis starts his third tour since 1970, the first and only one of 1971. During the last Vegas engagement it showed that Elvis had to cope with what they call "Vegas boredom". The shows were rather short (around 45 minutes) and he hardly gave it all during the shows. Still they were very enjoyable and entertaining, but something was missing. None of the shows was of the same height as in 69/70. Because this was only his third tour and he was going to the people instead of them coming to him it was a very different story during this tour. These tour shows were the best of 1971, together with the excellent Tahoe shows from July. The pre-program and the intermission are behind the crowd when the lights are dimmed. Everybody is hasty on their way to their seats. Slowly the orchestra begins to play the familiar 2001 Theme. At that time is was fairly new to the show. All the lights are out, except for one spot. The tension begins to grow and then finally Ronnie Tutt begins hitting the drums. Elvis comes on stage and looks around the auditorium. His eyes are almost closed as he is greeted with thousands of flashbulbs. He barely sees something of the 15.509 who are attending the show. He opens with a good version of That's All right Mamma. Without saying anything he goes on with a great rocking version of I Got A Woman. Right from the beginning the audience is very enthusiast. There is a very short Amen at the end of I Got A Woman, as opposite to the long, dragging versions of later years. Again without saying anything to the crowd he burst out in a very good version of Proud Mary. The versions of November 1971 are a mix between the slow versions of feb. 1970 and more familiar ones from 1972. A very relaxt version with great, aggressive guitar playing by James Burton. A somewhat slower version of You Don't Have To Say You Love me follows. What a great voice!! After this song it's time for, as usual, You've Lost That Loving Feeling. Something at the beginning of the song makes him laugh. What the audience gets is very powerful rendition of this beautiful song. After the applause Elvis continue the show with Polk Salad Annie. Probably for one of the last times he uses the spoken into the song. He has lost all of his nervousness by now and his having great fun with the intro: Some of you haven't been down south to much, I'll tell you a little story so that you will understand what I'm talking about. Bla bla bla bla, that's a little story. Ah, down there we have a plant that grows out in the woods and the fields, look something like a turnip green. EVERYBODY CALLS IT POLK SALD, yelling from the audience, you'll know a girl lived out there and picked her mess of it, a weird old chick, whooo, carried it home and cooked it for dinner. That's about all they had to eat�.I don't want you to say it�.but they did alright��After Polk Salad it's time for the 50�s songs. He starts with Love Me and goes on with good versions of Heartbreak Hotel, Blue Suede Shoes, One Night and Hound Dog. Hound Dog is the well known slow/fast version we also would get in New York the next year. An early version of How Great thou Art is next. These early versions are close to the studio version of 1966. Performed with great style and drama!! During the introductions of the band the only thing that has changed is that The Imperials are replaced by J.D.Sumner and The Stamps Quartet. This will remain so till the end. I have a record out called I'm leaving..ah I'm not gonna sing it, I'm gonna do it. I'm arriving. OK. This song is a real pearl. It never got the reaction it deserved. A very touching version. Only a short Bridge leads into a strong version of Bridge Over Troubled Water. After he has finished it a rare (for this song!) reprise follows. Only this version of Bridge is worth the ticket!!!! I Can't Stop Loving You is next before he starts Love Me Tender (For my darling I love you, cause you take the�..always will). Now It's time for the showstopper of the concert: A very good, rocking version of Suspicious Minds. A karate demonstration ends the song after about 5 minutes. In order to get his breath back he asks for the houselights to be turned on. After he has thanked the audience he performs a moving version of Funny How Time Slips Away. This version is also very close to the original studio version from the year before. It sounds more like a real country song than it would be during the next few years. Again he thanks the audience en closes this almost brilliant show with Can't Help Falling In Love and a rocking closing vamp. The November tour of 1971 was in every way a good one. Records were broken and many are still standing today. After a somewhat mediocre Vegas engagement in August he revanched himself with this absolutely great tour. Stefan Koch

 

November 10, 1972

Elvis performed at the Coliseum, El Paso, Texas.

November 10, 1975

The Lisa Marie was delivered to Memphis. Together with the 1960 JetStar and a 1966 Dessault-Falcon, which Elvis had bought as an investment, he owned now 3 planes.