February, 1970 - ElvisNews.com

VICTOR
February, 1970
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40th Anniversary Edition
IN PERSON
at the
INTERNATIONAL HOTEL
Las Vegas, Nevada
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ELVIS ON STAGE /
ELVIS IN PERSON
By Ken Sharp
I missed the closeness of a
live audience. So just as soon
as I got out of the movie
contracts I started to do live
performances again.
Elvis Presley
New York City press conference, June 9, 1972
There’s an old adage that says you can’t go
home again, but sometimes that just isn’t
true. After a protracted eight-year absence
from live performances, in late summer 1969
Elvis Presley was able to find his way home
again, and his path would lead him directly
to the concert stage.
1969 proved to be a pivotal turning point in
Elvis’ career. In January and February, Elvis,
working alongside Chips Moman and his
talented house band, hunkered down inside
American Sound Studios in Memphis laying
down tracks for the critically acclaimed
From Elvis In Memphis album. His strongest
release since 1960’s Elvis Is Back!, Elvis
was creatively rejuvenated and inspired
by the top-notch material, which was a far
cry from the soulless B-grade movie songs
he was usually relegated to recording.
Stylistically, the album seamlessly navigated
a myriad of genres including blues, country,
R&B, gospel, and pop. Seven long years
since his last U.S. number one hit (“Good
Luck Charm”), Elvis’ hard work would result
in a commercial renaissance with the chart
topper “Suspicious Minds” and smash hits
Elvis’ ceremonial press signing of his first contract with Alex
Shoofey and Bill Miller for the opening season, February 26, 1969.
The tremendous critical and commercial
response to his 1968 NBC-TV special Singer
Presents Elvis signaled a creative rebirth
for Elvis and planted the seeds for his longawaited return to live shows. “The ‘68 special
proved to Elvis that he wasn’t a has been,”
asserted director Steve Binder. “After the
special, I think Elvis really wanted to go out
there and take advantage of the comeback
and test some new waters.”
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“In The Ghetto” (#3), “Don’t Cry Daddy” (#6)
and “Kentucky Rain” (#16).
In April 1969, Elvis would formally sign a
lucrative deal to launch his live comeback
at the International Hotel in Las Vegas.
“Elvis got more money during the period
we played here than any artist in town.
Liberace was getting $50,000; he was
getting $125,000 [per week],” Colonel Tom
Parker, Elvis’ manager, later revealed on the
ABC-TV show Nightline. Protecting his client
from any last-minute technical snafus likely
to take place in the brand new showroom,
Parker insisted that someone other than
Elvis be the first act to appear. Barbra
Streisand, fresh from winning an Academy
Award for Funny Girl, was selected to
officially open the showroom on July 2nd.
It had been eight long years since Elvis
last performed a live concert, taking part
in charity shows in Memphis and Honolulu.
With opening night slated for July 31,
1969, there was the pressing matter of
putting together a band. Elvis first contacted
his ’50s bandmates, guitarist Scotty Moore
and drummer D.J. Fontana, who turned
down the offer. Moving to plan B, Elvis
enlisted legendary guitarist James Burton
to help assemble his new group. “I said,
‘Who’s the best guitar player around?’
And they said, “Glen Campbell and James
Burton.’ I said, “Well, Campbell’s out, he’s
on his own so James Burton,” recalled
Elvis in an interview conducted for his 1972
film, Elvis On Tour. “When Elvis called, he
wanted me to find players that could play
different styles and could improvise,” said
Hotel construction and completed site, Las Vegas, 1969.
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Burton. “I wanted musicians that could
play with the same energy, feeling and
soul that Elvis had.”
The final lineup, later christened the
TCB Band, would include Burton, rhythm
guitarist John Wilkinson, bassist Jerry
Scheff, drummer Ronnie Tutt, and pianist
Larry Muhoberac, who would be replaced
after the ‘69 engagement by Glen D. Hardin.
“There’s a lot of good men around me, it
was just a matter of finding them,” added
Elvis. “They all just fit in and fortunately
they knew most of my songs.”
Bridging the worlds of gospel and R&B,
Elvis brought in two backing vocal groups,
The Imperials and The Sweet Inspirations,
to augment his creative vision. “I wanted
voices behind me to help add to the fullness
of the sound and dynamics of the show,“
remarked Elvis. “Elvis’ idea of bringing in
white gospel singers with black soul singers
was really genius on his part because
he covered the whole gamut of music,”
reflected Joe Moscheo of The Imperials.
Immersed in exhaustive rehearsals in
Hollywood and later in Vegas, Elvis was
focused and committed. “Elvis didn’t let me
come to rehearsals,” revealed Priscilla Presley.
“He was very much into his own world at
that time. He wanted to surprise everyone.
He was also very nervous. He didn’t want
anyone to take him out of those moments.”
To ensure that he was in top physical form,
Joe Moscheo recalled that “he wore weights
around his wrists and ankles. He was in
training. He thought when he took the weights
off he’d have a lot more energy and a lot
more movement.” “He worked just as hard
in rehearsals as he did when he gave
a show,” remembered Armond Morales of
The Imperials. “He wasn’t holding back.
He wore the carpet out with his feet when we
rehearsed. He wanted to feel that intensity.”
Bobby Morris came on board as musical
director. “Elvis was now becoming a
more well-rounded entertainer and
versatile singer. He was changing gears
and going into nightclubs,” noted Morris.
“My function was to incorporate all the
songs with a big orchestra, which consisted
of 20, 25 strings, violas, cellos, violins,
a brass section, saxes, trumpets,
trombones and percussion players too.”
Vegas was buzzing in anticipation for Elvis’
return to the stage. “Fans from around
the world were tying up hotel phone lines
requesting show and room reservations,”
explained Bruce Banke, assistant Director of
Publicity and Advertising for the International
Hotel. “The entire engagement was almost
sold out before it started. Las Vegas had
never seen an opening like it before and
likely never will again.” Fueling the building
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excitement, Colonel Parker engineered
a massive promotional campaign like no
other. “The campaign that he produced was
unbelievable. He had every billboard in the
entire city, not only in Vegas, but leading all
the way to California,” marveled International
Hotel president, Alex Shoofey. Inside the
hotel itself, staff employees wore Elvis hats
and armbands, and every available space
was plastered with Elvis posters, pennants
and banners. “It was like walking into a
carnival,” the show’s opening act, comedian
Sammy Shore remembered. “Colonel Parker
promoted Elvis like he did when he worked
in the circus.”
As preparations continued for opening
night, The King was felled by nerves and
deep seated insecurity, haunted by painful
memories of his disastrous 1956 stint at
Vegas’ New Frontier Hotel. Even the Colonel
had his doubts, as Loanne Miller Parker,
secretary for International Hotel President
Alex Shoofey and Colonel Parker’s widow
recalled: “They couldn’t be sure how the
audience would respond to Elvis. They were
turning their backs on the movie business
and they were taking a big chance, a big risk.
This was something they both wanted but
there were no guarantees.”
Opening night, July 31, 1969, was a special
invitation-only show attended by a coterie
of celebrities, dignitaries, VIPs and high
rollers. “It was the event of the century.
Every star imaginable was on hand to
witness Elvis’ opening show,” raved
Terry Blackwood of The Imperials.
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Backstage, Elvis was a twitching ball of
nerves, pacing the dressing room like a
panther. “Elvis and the Colonel were both
nervous wrecks before the show. This was
a big gamble,” asserted Loanne Miller Parker.
“It was his first live show in eight years and
it was a big challenge coming back,” affirmed
James Burton. “He’d been doing movies for
so long and was very insecure about how
his fans would accept him. Elvis came up to
me right before the show and said, ‘James,
I’m so nervous, I don’t know if I can do this.’
I said, ‘Elvis, when you walk out there and
the curtain goes up, after the first two or
three songs it’ll be like sitting at home in
your living room.’” Rhythm guitarist John
Wilkinson remembered, “When the curtain
was ready to go up, he was visibly shaking
but he was ready.”
Opening with a raucous rendition of Carl
Perkins’ “Blue Suede Shoes,” Elvis, dressed
in a stylish jet black Bill Belew designed
outfit, grabbed the mike and sang the song’s
opening couplet, “Well, it’s a one for the
money, two for the show, three to get ready”
and boy did that cat go. “When he
walked out on that stage it was magical,”
enthused Priscilla Presley. “The energy
was incredible. He was like this tiger on stage
that was unchained. It was like watching an
animal unfold in front of your eyes with this
magnetism that drew everyone in. I’m sitting
there in the first row seeing him perform
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and my mouth dropped open, ‘My God, it’s
a totally different Elvis.’” During the press
conference that followed opening night, Elvis
fessed up that he indeed was nervous “for the
first three songs or so, before I loosened up.
Then I thought, ‘What the heck. Get with it,
man, or you might be out of a job tomorrow.’”
Inside the packed 2,000 seat showroom,
pandemonium ensued. “The audience was
so incredibly loud – stompin’, screaming and
beatin’ on the tables. The crowd was goin’
nuts,” remembered James Burton.
The celebrities on hand were unanimous
with their praise:
Tom Jones: That was Elvis at his peak.
His voice was still as strong, he looked
great, he performed great and he was
Elvis Presley once again.
Fats Domino: I loved the show. He was
a great entertainer. Nobody ever did it
like he did it.
Petula Clark: There was a great animal
magnetism in the way he sang, the way
he moved, and the way he smiled. He was
the epitome of what a true star should be.
Pat Boone: It was truly a sensory blitz –
the volume, the rhythmic excitement, his
dynamism, and command of the stage.
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Besides a few isolated instances, by the
time Elvis returned from the army he rarely
gave interviews, preventing the public from
garnering further insight into the real Elvis.
However, for his ‘69 engagement Elvis let
down his guard. Night after night he delivered
a stirring career monologue. “He’d open up
and speak about his life,” said Dave Clark
of The Dave Clark 5, who attended opening
night. “It made you get to know him more.
You felt a sense of the human being behind the
star. Rolling Stone scribe David Dalton, also
in attendance, added, “His monologues were
hip and out there, almost like Lenny Bruce. He
was much hipper than people gave him credit
for. He wasn’t a manufactured character.”
For his historic ‘69 run, Elvis’ set list mined
his entire career, from the locomotive Hillbilly
Cat abandon of Sun Records staple, “Mystery
Train”; to quintessential ‘50s hits “Hound
Dog,” “All Shook Up,” “Heartbreak Hotel,”
“Jailhouse Rock,” “Don’t Be Cruel,” covers of
Chuck Berry’s “Johnny B. Goode” and “I Got
A Woman” by Ray Charles; to sophisticated
interpretations of hits by contemporary artists,
The Beatles’ “Yesterday” and “Words” by The
Bee Gees. The power of a large orchestra
coupled with the huge cinematic feel of
Bobby Morris’ arrangements helped add
a new dimension to the concert repertoire.
During the engagement, Elvis would also
premiere two new songs culled from his
recent American Sound Studio sessions,
“In The Ghetto” and an adrenaline-charged
version of his latest single, “Suspicious
Minds,” which proved to be a show stopper.
Mark James, composer of “Suspicious
Minds,” attended a ‘69 show and remarked:
“It was so wonderful to see him perform
a song that I’d written. What a once in a
lifetime experience! You could tell right
away that the song meant more to than
him than just being a hit record. He put
everything into it, the emotion, the passion
and all the choreography with his karate
moves. It became his song.”
Closing with “Can’t Help Falling In Love”
from Blue Hawaii, which became Elvis’
signature show closer for the remainder of
his career, The King was truly back. From
July 31st to August 28th, 101,500 people
witnessed Elvis’ glorious return to the concert
stage, racking up over one and a half million
dollars in revenue. But even more important
than the significant income generated by the
performances, the unprecedented success
of the ’69 shows helped restore a crucial
sense of self-worth and instilled newfound
confidence in Elvis.
Less than two months later, on October
14th, RCA issued Elvis’ first double
album, From Memphis To Vegas / From
Vegas To Memphis, which paired Back In
Memphis, a collection of American Sound
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Studio cuts and Elvis In Person, which
documented key performances from the
latter part of his ‘69 run (August 24th-August
26th). Reaching #12 on the Billboard album
chart, the album quickly went gold. Elvis In
Person was subsequently issued as a single
LP in February 1970 to coincide with Elvis’
second Las Vegas engagement.
Newly revitalized by the ecstatic critical and
public response to his stage return, Elvis was
back in Sin City for another four-week stint
at the International Hotel, commencing on
January 26, 1970 and culminating on
February 23rd. The pressure clearly off,
Elvis’ renewed confidence was demonstrated
in his stellar performances. It also didn’t hurt
that by this time, with one engagement under
their collective belts, Elvis, the TCB band,
The Sweet Inspirations and The Imperials
were now a fine tuned machine.
The TCB Band, circa 1970, L to R: Jerry Scheff (bass), Ronnie
Tutt (drums), James Burton (guitar), Glen D. Hardin (piano),
John Wilkinson (rhythm guitar), Charlie Hodge (vocals, guitar).
The set list dramatically changed too;
current hits “Don’t Cry Daddy” and
“Kentucky Rain” shared room next to
covers of ‘50s standards, Little Richard’s
“Long Tall Sally” and “Let It Be Me” by
The Everly Brothers. Eschewing the rockier
edge of the ‘69 shows, Elvis broadened
his artistic swath, lending evocative
interpretations of contemporary material
like “Sweet Caroline” by Neil Diamond,
“Proud Mary” by CCR and Joe South’s
“Walk A Mile In My Shoes.” “Elvis was not
limited to any style of music, he could do
any style,” acknowledged James Burton.
“He loved the horns and big orchestra
sound. It really gave him a chance to
stretch out and show the world that he
could sing and do that kind of music.”
The Tony Joe White-penned swamp rocker,
“Polk Salad Annie” was first introduced
during his 1970 Vegas engagement and
would go on to become a perennial stage
favorite. “Elvis’ producer Felton Jarvis told
me, ‘Elvis is gonna cut ‘Polk’ live,’” recalled
White. “They flew us out to Las Vegas to
see Elvis perform it. It was weird because
I was doing Elvis’ early stuff in my early days
and now all of a sudden he was doing mine.
I was totally in awe of the whole thing. Elvis
connected with ‘Polk Salad Annie’ because
he had eaten polk and he understood it plus
it was a great rocker for him. He put all his
moves and dancing into it. He really just got
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down with it. It seemed like he worked
that song harder than anything.”
Also unveiled for the first time during the
engagement was a show-stopping version
of Ray Peterson’s 1959 hit, “The Wonder
Of You.” Baker Knight, the song’s
composer, picks up the story. “Elvis’ pianist
Glen D. Hardin called me from Las Vegas.
When I asked him what was going on, he
said, ‘Can you give me the lyrics to ‘The
Wonder Of You? Elvis is gonna cut the song
tonight onstage.’” “Yahoo! I couldn’t believe
it. Then came something else that was
unexpected. Elvis had decided to release
the live recording as a single. It was a first
for him.” Released as a single in April 1970,
“The Wonder Of You” was a U.S. smash #9
hit, and topped the charts in the U.K.
Like his seminal ‘69 performances, the entire
four-week engagement quickly sold out and
the enthusiastic crowds greeted Elvis en
masse like a conquering hero, cementing
Elvis’ symbiotic bond with his fans. “If I do
something good they let me know and if I
don’t they let me know that,” Elvis remarked
in an interview conducted for Elvis On Tour.
“It’s a give and take proposition in that
they give me back the inspiration. I work
absolutely to them, whether it’s six or six
thousand people, it doesn’t really matter.
They bring it out of me – the inspiration, the
ham. [laughs]”
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Issued in June 1970, On Stage would cull the
best performances from the February 1970
engagement – ironically, all the songs chosen
were covers, not hits Elvis made famous –
and would maintain Elvis’ commercial good
fortune, peaking at #13 and tallying over
half a million in sales. In the U.K., On Stage
garnered even more success, rocketing to #2
on the charts. Two of the tracks that appear
on the album, Del Shannon’s “Runaway” and
The Beatles’ “Yesterday” were unused cuts
purloined from his ‘69 engagement.
Freed from his movie commitments, for the
remainder of his career Elvis would become
a permanent fixture on the concert circuit,
both in Las Vegas and around the country.
His transcendent performances captured
on the In Person and On Stage albums
chronicle Elvis’ creative rebirth as a stage
performer and further displayed The King’s
deep connection with his loyal audience.
A live concert to me is exciting
because of all the electricity
that is generated in the crowd
and on stage. My favorite part
of the business is a live concert.
Elvis Presley
Aloha From Hawaii press conference, Las Vegas, 1972
Ken Sharp is the author of Elvis: Vegas ‘69 and
Writing For The King
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DISC ONE
10. Let It Be Me
01. See See Rider
Recorded February 17, 1970, midnight show
(Traditional, Arranged by Elvis Presley)
Recorded February 18, 1970, midnight show
Tracks 01 through 10 constitute the original On Stage
album LSP 4362, released June 1, 1970
02. Release Me
BONUS TRACKS
(Mann Curtis / Pierre Delanoé / Gilbert Bécaud)
(Eddie Miller / Robert Yount / Dub Williams)
Recorded February 18, 1970, midnight show
03. Sweet Caroline
(Neil Diamond)
11. Don’t Cry Daddy
(Scott “Mac” Davis)
Recorded February 18, 1970, dinner show. From the album
Greatest Hits Volume 1 AHL1 2347, released November 1981
Recorded February 16, 1970, dinner show
04. Runaway
(Max Crook / Del Shannon)
12. Kentucky Rain
(Eddie Rabbitt / Dick Heard)
Recorded August 25, 1969, dinner show
Recorded February 16, 1970, dinner show. From the album
Elvis Aron Presley CPL8 3699, released August 1980
05. The Wonder Of You
13. Long Tall Sally
(Baker Knight)
Recorded February 18, 1970, dinner show
(Robert Blackwell / Enortis Johnson /
Richard Penniman)
06. Polk Salad Annie
Recorded February 18, 1970, midnight show, From the album
On Stage (1999 reissue) 07863-67741-2, released May 18, 1999
(Tony Joe White)
Recorded February 18, 1970, midnight show
REHEARSAL
07. Yesterday
14. The Wonder Of You Of You
(John Lennon / Paul McCartney)
(Baker Knight)
Recorded August 25, 1969, dinner show
Recorded February 18, 1970, afternoon rehearsal.
Partially released on the album Platinum – A Life In Music
07863-67469-2, released July 15, 1997
08. Proud Mary
(John Fogerty)
Recorded February 16, 1970, dinner show
09. Walk A Mile In My Shoes
(Joe South)
Recorded February 19, 1970, midnight show
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Recorded live at The International Hotel, Las Vegas,
February 1970 except tracks 04 and 07, same as Disc 02.
Musicians: Guitar: James Burton, John Wilkinson, Elvis
Presley, Charlie Hodge; Bass: Jerry Scheff; Drums: Bob
Lanning; Piano: Glen D. Hardin; Vocals: Millie Kirkham,
The Sweet Inspirations, The Imperials. Bobby Morris and his
Orchestra. Overdubbed vocals: Mary Holladay, Mary (Jeannie)
Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy
Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page.
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DISC TWO
09. Words
01. Blue Suede Shoes
Recorded August 25, 1969, midnight show
(Carl Perkins)
10. In The Ghetto
Recorded August 25, 1969, midnight show
(Maurice Gibb / Robin Gibb / Barry Gibb)
(Scott “Mac” Davis)
02. Johnny B. Goode
Recorded August 25, 1969, dinner show
(Chuck Berry)
11. Suspicious Minds
Recorded August 24, 1969, midnight show
(Mark James)
03. All Shook Up
Recorded August 26, 1969, dinner show
(Otis Blackwell / Elvis Presley)
12. Can’t Help Falling In Love
Recorded August 25, 1969, midnight show
(Hugo Peretti / Luigi Creatore / George Weiss)
04. Are You Lonesome Tonight?
Recorded August 26, 1969, dinner show
(Roy Turk / Lou Handman)
Tracks 1 through 12 constitute disc 1 of the original
From Memphis To Vegas – From Vegas To Memphis album
LSP 6020, released October 14, 1969. Later re-released as the
single album Elvis In Person LSP 4428, released November 1970.
Recorded August 24, 1969, midnight show
05. Hound Dog
(Jerry Leiber / Mike Stoller)
BONUS TRACKS
Recorded August 25, 1969, midnight show
06. I Can’t Stop Loving You
(Don Gibson)
Recorded August 25, 1969, midnight show
13. I Got A Woman
(Ray Charles)
Recorded August 23, 1969, dinner show. From the
Follow That Dream release Elvis In Person 8869740721-2,
released December 2008
07. My Babe
(Willie Dixon)
Recorded August 25, 1969, midnight show
08. Medley
Mystery Train
(Sam C. Phillips / Herman Parker, Jr.)
Tiger Man
(Joe Hill Lewis / Sam Burns)
14. Medley
Jailhouse Rock
(Jerry Leiber / Mike Stoller)
Don’t Be Cruel
(Otis Blackwell / Elvis Presley)
Recorded August 23, 1969, dinner show. From the
Follow That Dream release Elvis In Person 8869740721-2,
released December 2008
Recorded August 25, 1969, midnight show
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15. Heartbreak Hotel
Original A&R for RCA: Felton Jarvis
(Mae Boren Axton / Tommy Durden / Elvis Presley)
Produced for Reissue by Ernst Mikael Jørgensen
Mastered by Vic Anesini at Battery Studios, New York
Legacy A&R: Rob Santos
Recorded August 23, 1969, dinner show. From the
Follow That Dream release Elvis In Person 8869740721-2,
released December 2008
16. Baby, What You Want Me To Do
(Jimmy Reed)
Recorded August 23, 1969, dinner show. From the
Follow That Dream release Elvis In Person 8869740721-2,
released December 2008
17. Reconsider Baby
(Lowell Fulsom)
Recorded August 23, 1969, midnight show. From the
album Collectors Gold 3114-2-R, released August 13, 1991
18. Funny How Time Slips Away
(Willie Nelson)
Recorded August 25, 1969, dinner show. From the album
Collectors Gold 3114-2-R, released August 13, 1991
Musicians: Guitar: James Burton, John Wilkinson, Elvis Presley,
Charlie Hodge; Bass: Jerry Scheff; Drums: Ronnie Tutt; Piano
& Organ: Larry Muhoberac; Vocals: Millie Kirkham, The Sweet
Inspirations, The Imperials. Bobby Morris and his Orchestra
Project Direction: John Jackson, Iris Maenza
and Mike Cimicata
Art Direction and Photo Research by Roger Semon
Design: Peacock
Liner Notes by Ken Sharp
Photo Legend: January / February 1970 Las Vegas
engagement: front cover, back cover, disc tray 2, booklet
cover, back cover, pages 15, 16 (bottom), 18-19. July / August
1969 engagement: disc tray 1, inside right panel, booklet pages
2, 3, 5, 7, 9, 12-14, 16 (top). Digipak inside left panel: June 25,
1968, NBC-TV’s Elvis (The ‘68 Comeback Special).
Photos courtesy of Elvis Presley Enterprises Inc., Steve Barile,
Getty Images, Pictorial Press, The Magic Collection, Ann
Moses. Hotel photos and memorabilia courtesy of Paul and
Joan Gansky. Memorabilia courtesy of Joseph Kereta and
Ken Sharp.
Thank you: Adam Block, Steve Berkowitz, John Conroy,
Tom Cording, Howard Fritzson, Randy Haecker, Sebastian
Jeansson, Patti Matheny, Charlie Stanford, Richard Story.
WWW.ELVISTHEMUSIC.COM
WWW.LEGACYRECORDINGS.COM
WWW.BANDIT.FM
c 2010 Sony Music Entertainment / Originally released 1969, 1970, p 1980, 1981, 1991, 1997, 1999, 2008, Compilation 2010 RCA / JIVE
Label Group, a unit of Sony Music Entertainment / Distributed in Australia by Sony Music Entertainment Australia Pty Ltd/ r Marca(s)
Registrada(s) RCA Trademark Management. / “Legacy” and
Reg. U.S. Pat. & Tm. Off. Marca Registrada. / WARNING: Copyright subsists in
all Sony Music recordings. Any unauthorised broadcasting, public performance, copying or re-recording in any manner whatsoever will constitute
infringement of such copyright. “Sony” as used in the name Sony Music Entertainment, and in the Sony Music Entertainment logo, are trademarks
of, and used under licence from Sony Corporation. / 88697 63213 2
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88697 63213 2
Side 1
See See Rider *†
(BMI 2:28)
Release Me (And Let Me Love Again) *†
(BMI 3:42)
Sweet Caroline **†
(ASCAP 2:55)
Runaway †
(BMI 3:05)
The Wonder of You *†
(BMI 3:11)
Side 2
Polk Salad Annie ***
(BMI 4:40)
Yesterday †
(BMI 3:15)
Proud Mary †
(BMI 3:16)
Walk a Mile in My Shoes *** †
(BMI 3:16)
Let It Be Me (Je t’appartiens) *†
(ASCAP 4:29)
* Arranged by Glenn D. Hardin
** Arranged by Glenn Spreen
*** Arranged by Bergen White
† with The Imperials Quartet
The Imperials Quartet appears
through the courtesy of Impact Records
Recorded “On Stage” at the
International Hotel,
Las Vegas, Nevada
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