From Down Under
Part One
by Geoffrey Mc Donnell (Australia)
The story begins one night in the late '60s, Mickey
Newbury was appearing at the Bitter End West in Los Angeles, and he began
discussing such matters backstage with comedian David Steinberg. It was a time
of frequent newspaper headlines about whites in newly integrated Southern
schools insisting on Dixie as the school fight song, and blacks protesting
because to them it was an anthem of white supremacy.
Newbury was annoyed because he saw nothing in the song
itself that should make it the exclusive property of one-time segregationists,
and on a whim he announced that he would sing it that night just to prove a
point. The Bitter End's manager, Paul Colby, was alarmed at the prospect — at
first laughing nervously on the off-chance that Newbury was joking. But when he
realized that the star of the evening was absolutely serious, he began
explaining with rapid-fire urgency that Dixie was not exactly the type of song
that a bunch of radicalized young Californians had turned out to hear.
JAT Publishing © Fort Wayne, IN June 12, 1972
No matter. Newbury was undeterred, and when he got
onstage he ran through part of his normal set, and then with a gentle strum of
his guitar, he began to sing the words, ''Oh I wish I was in the land of
cotton.'' But instead of belting them out in the rebel-yell style that everybody
was accustomed to, he plucked the notes slowly on his old guitar, and his voice
took on a rich, haunting quality that called up a different set of images —
visions not of a mean-spirited South, but of a poignant South, a land caught in
the grips of tragedy and suffering for 150 years.
There was power in the transformation, and it grew even
stronger as Newbury shifted in midnote to The Battle Hymn of the Republic, and
then to an antebellum gospel song called All My Trials. Before the impromptu
trilogy was completed, it had become one of the most supercharged events in the
history of the Bitter End West. Every other sound in the room had vanished in
the emotion of the moment. Odetta, the famous black folk singer, was sitting in
the front row with tears in her eyes, and Newbury knew that he had accomplished
his purpose and a great deal more. The lyric Mickey incorporated into the
classic arrangement was:"His truth is marching on".Mickey Newbury died
in 2002 after a long Illness, but had known Felton Jarvis from way back…..and
had his first Album produced by him back in 1968. Perhaps Newbury's best-known
work is one he didn't write — 'An American Trilogy'. Newbury arranged Trilogy
by pulling together Civil War-era songs Battle Hymn of the Republic, Dixie and
All My Trials. Elvis Presley then popularized Trilogy, making it a staple of his
1970s performances.
(Words & music by Newbury)
Oh I wish I was in the land of cotton
Old things they are not forgotten
Look away, look away, look away Dixieland
Oh I wish I was in Dixie, away, away
In Dixieland I take my stand to live and die in Dixie
Cause Dixieland, that's where I was born
Early Lord one frosty morning
Look away, look away, look away Dixieland
Glory, glory hallelujah
Glory, glory hallelujah
Glory, glory hallelujah
His truth is marching on
So hush little baby
Don't you cry
You know your daddy's bound to die
But all my trials, Lord will soon be over
312
versions? + Rehearsals? 248
available for review here
1972
Usually sung just before closing the show :
Las Vegas 26.1.72
O/S Very lengthy version running for nearly 4 minute and
38 seconds. Elvis sings VERY softly at the start-almost whispering…also he
sings WITH The Stamps too.” For Dixieland that’s where I was born” however
Elvis’s voice gradually gets stronger throughout the song (VERY quiet around
the Flute Solo) until by the end of the song Elvis is sounding MUCH stronger/louder.
J.D. Sumners Bass lines finishes the song. Most interesting first ‘live’
version and clearly soon after woods in this 1st week he gets the
Stamps to sing their own part by saying “Sing it Fellas”.
Opening
Night ' 72 (Label 2001-03) (Released 1997)
Las Vegas 6.2.72
M/S Elvis doesn’t say ‘sing it fellas’, but sings
part of the chorus with the stamps. It’s slowly sung and builds to a great
version.
Las Vegas 11.2.72
M/S says:”sing it Fellas” and gives a committed good
version.
Las Vegas 14.2.72
M/S- recording ‘unavailable’
Las Vegas 15.2.72
M/S This is the version released on “Elvis Aaron
Presley” in 1980 and is 4:40 long and on CD/Disc 3.Obviously it’s a
beautiful and great version.
Las Vegas 16.2.72
D/S Elvis mentions a few comments and this version
isn’t quite as good, however all-held and good ending.
Las Vegas 16.2.72
M/S This is the single released ‘Master’ version
(live in Las Vegas/Burning Love-expanded) running for a shorter 4:15 still a
good version!
Las Vegas 17.2.72
D/S ‘sing it Fellas’, Great crowd enthusiasm very
carefully sung another excellent version.
Las Vegas 19.2.72
D/S sung with longing, All-Held, yet another great
version-well received.
Las Vegas 19.2.72
M/S straight version, sung with longing and very
measured.All-held, slowly sung and a 100% sincere ending.
Las Vegas 21.2.72
D/S well received by the audience, All- held, nothing
held back at the end of the song a very powerful excellent ending.
Las Vegas 21.2.72
M/S sung with longing, very strongly sung with great
orchestration and a great ending.
Las Vegas 22.2.72
D/S Elvis looses the words a bit at the beginning (Disneyland
version) and apart from the great ending not up to the usual high standard.
Las Vegas 22.2.72
M/S A concert highlight with great drumming and no
gimmick version.
Las Vegas 23.2.72
D/S ‘Sing it Fellas’ and drums and Elvis build up
well towards the end. Ok version.
Las Vegas 23.2.72
M/S Much better sung than at the D/S and great drumming
and build up. All is held and it’s a beautiful long version (4’:24”) and
very good to hear.
ON TOUR 1972:-Usually sung as the 2nd or
3rd song before the end of a show.
Rehearsals
31.3.72 Elvis
was rehearsing prior to his forthcoming tour(and despite some mis-dated CD
releases saying this was recorded on 5.4.72) a rehearsal can be heard on Lost on Tour –The Sequel, released on Bilko in 1989-This release is still sold on eBay and it still a
good release for it’s content. As Elvis comes to his An American Trilogy
rehearsal he jokes singing ‘I wish I was somewhere else’. He also sings part
of the Stamps piece also. All is Held and funnily Elvis gets Charlie
Hodge to whistle the flute solo! (Elvis adds here that he’s looking for a net
to catch him!) after a pause we get the ending missing the ‘you know your
daddy’s bound to die’ bit and Elvis ends it reasonably for a very loose and
lazy rehearsal. Afterwards Elvis himself even admits that he missed part of the
last part out because he’s lazy and moves onto the next song to rehearse.
Spring Fever Fan Club © Buffalo, NY April 5, 1972
Buffalo, NY April 5th E/S unusually
sung just before the band intros much regimented drum beat and Al- held. Their
is just a tremendous build up at the end and Elvis too- Very good version.
Detroit,MI April 6th E/S This
has a nice flute solo and a good ending-ok version.
Dayton,OH April 7th E/S This
is well sung and builds well till the end where Elvis squeezes out that last
drop of effort at the end- good version.
Hampton Roads, VA April 9th A/S Sung
after the intros and here Elvis says Dixieland twice, gives a good ending but
not best version this tour.
Hampton Roads, VA April 9th E/S Sung
straight and sincere but Elvis changes lines to:-“For Dixieland that’s where
I was born” also it’s not the best ever Flute solo and a terrible loud Horn
blowing just before the start of the last verse. Even during this version Elvis
says ‘Thank-You Baby’ distracted by someone off stage-despite all of this
it’s a good version. For ‘This is Elvis’ release in 1981 this was
overdubbed in 1980.
LIVE IN VIRGINIA (Vicky 0214) (Released 1990) Unfortunately visually you cannot see too much, certainly the stage is
dark, nothing to be seen at all and it’s a pity the footage doesn’t show
more.
Richmond,
VA April 10th E/S * Elvis
sings a bit of the Stamps, line, a good version with great horns and All-held.
Best flute solo and an excellent build up at the end very sincere good version
and (in my opinion) better than the
‘over-rated’ Hampton Roads version. CARRY
ME BACK TO OLD VIRGINIA (Vicky 0217) (Released 1995)
Greensboro, NC April 14th E/S * The drum beat carefully builds up to an
excellent end, maybe best ‘on tour’ version? SWEET
CAROLINA (Vicky 0215) (Released 1991) The footage here seems
a bit better lit, but once again just simple stage lighting NO Flag shown or
anything like it. The Greensboro Footage is amazing to see though, with the
Brass, The Drums, and the whole build up is phenomenal!, the Flute
solo-everything is seen Elvis has his cape attached at the start of the song and
at the end he does his full cape spread!
Jacksonville,FL April 16th E/S here he doesn’t say ‘Sing it Fellas’, All –
held and a very good version with Zero mucking around.
Little Rock, AR April 17th E/S ‘Disneyland’
version. All-held but tape runs out during the flute solo. Not the best version.
San Antonio, TX April 18th E/S Elvis sings: - “Look away Disneyland- pity
because a great ending from Elvis is superb, but ruined by his ‘Joke’.
running time 4:43 and on Close up box set disc 4
Albuquerque,NM April 19th E/S Straight
sung version, obviously another very good version and well appreciated by the
crowd.
New York,NY June 9th E/S this is a straight forward version ok, but NOT
outstanding.
New York, NY June 10th A/S good version
running time 4:41
New York, NY June 10th E/S * says:”Trilogy” Shouts “What?” and
“Sing it Fellas, you’re on your own”. Just passable but one of the poorest
versions this tour.r/t 4:33
New York,NY June 11th A/S Sincere
and excellent drumming. Good audience reaction and a very good version by Elvis.
Fort Wayne, IN June 12th E/S Very
good, Elvis shouts before last Chorus and a very committed and serious
version-Excellent.
Evansville, IN June 13th E/S Strong
Audience response her for a great version with a strong ending.
Milwaukee,WI June 14th E/S Introduced
as his latest record….All held again, steadily and sincerely sung another
great version.
Milwaukee,WI June 15th E/S Great
audience reaction, great drumming this version All- held. Plus the extra effort
at the ending VERY strong from Elvis an excellent version.
Chicago,IL June 16th E/S ‘unavailable’.
Chicago,IL June 17th A/S A
very measured version sung with great care, Great build up of drums and All-
held an emotional and excellent version Again.
Fort Worth, TX June 18th E/S* Very
carefully sung, Extends the word All… NOT rushed great drumming which
carefully builds up to a climax to an outstanding version during which you can
hear a pin drop.
Wichita,KS June 19th E/S Elvis
holds the word All….. A definite ‘good’ 4 minute version.
Conversations recorded in late July 1972 at MGM Studios in Los Angeles, CA
Elvis
mentions one time during his last (Winter) Vegas engagement where a Cowboy
complete with hat was sitting at one of the front row tables and throughout the
whole show didn’t move, just sat their. Then Elvis noticed when he was singing
‘An American Trilogy’ and going into the ‘Dixie’ bit the Cowboy removed
his hat and put it over his heart!
Las
Vegas Summer 1972 Season- usually performed as the penultimate song.
Las Vegas August 4th O/S Performed
just before the closing song, but as the sleeve notes say on the 4.8.72 boot
release by NO FOOLING AROUND (Ampex CD 001) it wasn’t recorded on THIS Tape.
However I am able to ‘review’ it due to obtaining a poorer quality tape but
with the song on it. It’s very well sung with no gimmicks and another superb
version
Las Vegas August 5th D/S this version is beautifully sounding and
Orchestrated. A certain ‘concert highlight’ Excellent Version.
Las Vegas August 5th M/S great
audience applause here as he performs another excellent version. Slight flute
quiver.
Las Vegas August 6th D/S very
sincerely sung ‘sing it fellas’.100% perfect version.
Las Vegas August 6th M/S great
audience applause sung very well.All-held.another excellent version.
Las Vegas August 9th M/S sung
with great longing, great marching orchestration, great applause another
excellent version.
Las Vegas August 10th M/S Another
Excellent version perfectly sung highlight
Las Vegas August 11th D/S (FTD Release) Another ‘concert
highlight’ and again
beautifully building in sheer power
right up to the strong ending in another excellent version.
Las Vegas August 11th M/S*
Noisy
fans but Excellent Drumming , All-held and ‘Hush’ line almost whispered
through. Sung right till the end-excellent version ELVIS
AT FULL BLAST! (Fort Baxter - 2098) (Released 1995)
Las
Vegas August 12th D/S
well
sung, holds all. Good drumming at the end, another very good version.
BLAZING INTO THE DARKNESS (Premier CDM
2000-1) (Released 1999)
Las Vegas August 12th M/S sung
with longing, another pretty good version but not quite as good as before.
Las
Vegas August 13th D/S A girl screams very early on during Elvis’s
performance forcing him to say ‘you ruined the whole mood!’, however he does
his best to deliver a decent performance and succeeds All-held, and another fine
version.
Las Vegas August 16th D/S Elvis says ‘sing it old bridge’ and ‘Hush (it
ain’t over yet baby), ‘In Dixieland where they were born, look away
Disneyland.’ Elvis is cracking up at the start of this version and despite a
good ending it’s a ‘throwaway’ version. TOP
ACTS IN VEGAS VOL. 3 (Stage Ent. EP 5012) (Released 1995)
Las
Vegas August 16th M/S Sung with great longing, a very sincerely sung and
great version.
Las Vegas August 17th D/S carefully
sung, not rushed and parts almost whispered through. Another great version.
Las Vegas August 17th M/S good drumming, All-held, good and high up at the
end making another great version.
Las Vegas August 18th M/S Excellent drumming tenderly sung and an excellent
build up to the last verse another excellent version.
Las Vegas August 19th M/S great drum beat, another excellent version.
Part Two Coming Soon