This paper provides a comprehensive review and critique of Elvis Presley's 1973 "Aloha From Hawaii" concert, examining his performance through song-by-song analysis. The author evaluates Elvis's vocal strength, distinctive baritone, physical presence on stage, and interaction with the audience. The paper documents the concert's setlist—ranging from his original hits to covers of songs by other artists—and observes Elvis's evolving energy and perspiration throughout the show. The review captures both the artistry of his performance and the dynamic connection between Elvis and his enthusiastic audience.
The "King" performed in countless concerts throughout his career, and for fans in the audience who had the chance to see him, their memories remain vivid and alive. This is because Elvis was indeed a remarkable showman, possessing a distinctly unique and powerful voice. Though he was never nominated for an Academy Award for his acting, his fans did not care; they bought up all available tickets to his concerts and showed up in large numbers at his movies as well. Elvis Presley created a cultural phenomenon that extended far beyond his film and music careers. This paper reviews and critiques a concert Elvis performed on January 14, 1973, called "Aloha From Hawaii."
The video begins with a black screen as dramatic music from the 2001 Space Odyssey soundtrack fills the venue—a suspenseful moment for fans in their seats as their hero is about to appear. The audience is clearly restless, and the Space Odyssey music serves as a tease to keep them waiting. When Elvis appears on stage, looking young, tanned, and handsome in his white suit, he walks around in the spotlight, smiling and surveying the crowd. After a few moments, one of his band members hands him his guitar.
He launches into "C-C-Ryder," not one of his greatest hits, but he stands at the microphone and sings it out clear and strong, using "what'd I say" between stanzas. His eyes open and shut during his performance. He raises his guitar up in the air and comes down emphatically to signal that the band should cut the music the second he does. This opening sets the tone for his command of the stage.
Elvis sings "Burning Love" with his legs spread in a powerful stance that commands authority in front of the stadium crowd. He looks directly into the camera during this song and seems to wink at viewers. He plays his guitar only occasionally but uses it effectively as a prop. His voice is strong, clear, and he enunciates the words with precision, making the songs sound exactly as they do on the record.
Before launching into the next song, the Beatles' "Something," Elvis says he hopes the crowd is enjoying the show and receives a lei from a girl in the front row. In this song, Elvis clips the phrasing short to add his own style to a very familiar song. His version of the gospel-themed song "You Gave Me A Mountain" gives him his first chance in the show to hit high notes with that distinctive baritone voice. His version of James Taylor's "Steamroller" allows his lead guitar player to step up and take center stage for a few moments, then Elvis booms out his powerful voice on the high notes again, now wearing a yellow lei instead of the red ones from earlier.
By the time he performs Sinatra's "My Way," his jacket is unbuttoned, perspiration runs down the side of his head, and his face is intense as though he is truly living the lyrics. Certainly Elvis did things his way, and apparently from this show, if he was using drugs, it did not hinder the quality of his presentation. At the end, his voice rises high with emotional power.
His medley begins with "Treat Me Nice" and includes some interaction with females in the audience. It is a brief medley, transitioning only to "Love Me" as the second song. "Johnny B. Goode" gives the guitar players another spotlight for a few moments. During his version of "It's Over," he is sweating profusely and closing his eyes more often than in previous songs.
During "Blue Suede Shoes," the camera operator uses quick flashes from one angle and then rapidly switches to another position—perhaps a popular strategy in the 1970s, though it proves annoying. When Elvis sings "I'm So Lonesome I Could Die," he says it was the saddest song he had ever heard. His head shakes a little and he actually looks slightly wobbly as he begins the song, wiping his sweaty face with the yellow lei.
"I Can't Stop Loving You" again allows Elvis to boom out his powerful high notes at the end. He is now wearing a different lei as he launches into a very fast and very short version of "Hound Dog," which the audience loves. A female hands him a cloth handkerchief to wipe his sweaty face. During "What Know My Love," sweat is heavier than ever on his face; it is getting into his eyes. Clearly an Elvis concert, regardless of venue size, is more like a lounge act than a rock show. It is Elvis, after all, and that is what the audience came to see and hear.
"You're a fantastic audience," he says before beginning "Fever," the song Peggy Lee made famous well before Elvis came on the scene. When he sings "Fever," at points of high emphasis, he jerks his hips to the screams of the crowd. At one point he dips down, bending his knees to more screams. "Welcome to My World" is a familiar song, and the audience responds as Elvis teases a female with a scarf, which he eventually lets her have after a playful pulling-back.
When singing "Suspicious Minds," Elvis leans way over the stage and allows a female to wipe his brow. An observer must wonder if that woman found a way to preserve the perspiration for posterity, as surely some audience members keep the scarves he gives out. In this song, he reaches out and several females touch his hand at the same time. Elvis is in motion more in this song—pumping his arms and doing a bit of a dance step—than in any previous song. He kisses a woman in the audience and is clearly at this point having a good time rather than just going through the motions as he appeared to do earlier. He sinks down to a kind of squatting position and instead of the real lyrics, says, "I hope this suit don't tear, baby."
Elvis introduces his band, the backup singers, the orchestra, and the orchestra leader. Then he seems to lose his place for a moment when talking about how much was raised for cancer research, saying $5,000 then changing it to $25,000, appearing momentarily lost, or high, or exhausted—or all three. He introduces actor Jack Lord from Hawaii Five-O.
Singing "I'll Remember You," he has new leis and seems more pensive and serious. "Long Tall Sally" is one of the songs from one of Elvis's first albums; after briefly singing that song with new leis, he transitions into "Whole Lot of Shakin' Goin' On," the Jerry Lee Lewis hit. "Look Away Dixieland" includes female voices a cappella for the first time in the show, a very effective choice that adds a mood Elvis could not have created by himself. His next song is "His Truth is Marching On," but he quickly transitions into "Hush Little Baby Don't You Cry" with a very sweet soft flute solo between lines.
"Orchestra introduction and closing numbers"
He played many of his hits, he played the hits of other singers and songwriters, and he gave this audience a thrill with every song. It was good to see him in his career before he became very heavy and puffy and drugged. He is Elvis and there will never be another like him.
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