Elvis Singles, EPs, and LPs Discography in order of release

06 Mar

06Mar

The Elvis Singles and Albums Discography

In this article I trace the career of Elvis Presley as a recording artist through the release of his singles, EP’s, and LP’s from first to last (or latest). Along the way I shall make brief comments on the music itself but pay more attention to the significance of these releases in terms of Elvis’ career, popularity, and critical reputation. I have covered the music extensively elsewhere. Here, I am specifically concerned with the way that Elvis Presley’s music was marketed and the extent to which this enhanced his career or harmed it.

The discography begins in 1954 with the release of Elvis’ first commercial single on the Sun label. Elvis’ first five singles were all Sun releases that met with regional success. Elvis was signed to RCA Records on November 20, 1955. His first single for RCA, "Heartbreak Hotel", was a huge US hit, reaching the No. 1 position. It attained the top spot in three other countries and made the top 10 in many others. Many other big hits followed in its wake, a run of success that was unabated until Elvis entered the United States Army on March 24, 1958. Apart from one recording session when on leave in June 1958, Elvis recorded no new music in the studio from this date until he left active service on March 5, 1960.

Upon his return to civilian life, Elvis immediately went back to recording. His first single back was soon released, "Stuck on You." It was a worldwide hit, reaching the top 10 in ten countries and US #1. The follow-up single became Elvis’ biggest ever hit. "It's Now or Never" charted no lower than No. 2 in 13 countries. It was the only Elvis single to sell one million in the UK. 1960 and 1961 saw more U.S. #1 hits in "Are You Lonesome Tonight" and "Surrender", and even more #1’s in the UK.

Elvis’ return from the US army had been a huge commercial and artistic success. Or appeared that way. Closer analysis reveals that Elvis’ studio albums of non-film material, Elvis is Back and Something for Everybody, had not sold in anything like the same numbers as the film soundtracks. Artistically, they were superb records. Indeed, Elvis is Back has a claim to have been the best ever Elvis album. The figures show that it was outsold by the soundtrack to GI Blues by a ratio of 5:1 and Blue Hawaii by a ratio of 10:1. Numbers like that impressed Elvis’ manager Tom Parker, for whom the dollar was not only the bottom line but the only line. There is no evidence whatsoever that Parker ever valued anything Elvis did as an artist, understood the quality of Elvis’ music, or even cared. Tom Parker saw a lot of Elvis fans with a lot of money, and simply saw Elvis as a means of accessing those riches. From late in 1961 there was a noticeable change in approach. It was slight at first but became more pronounced as the years passed. From this time on Elvis’ singles were released in order to promote his movies and their soundtrack albums. The shape of Elvis’ career had been defined for him by his manager. Elvis had serious ambitions to be an actor. These ambitions were never fulfilled. ‘He’s not going to be that kind of actor,’ actress Shelley Winters heard Elvis’ manager shout out at a screen test, after Elvis had put in a fine dramatic performance. Elvis movies were to be sun’n’fun’cars/boats/planes’n’girls movies, easy on the eye and on the ear. Just put Elvis’ name on them and send them round the world. Elvis’ ambitions to be a serious actor were thus thwarted. The relatively poor performance of Flaming Star and Wild in the Country put the final nail in the coffin of Elvis the serious actor. At the same time Elvis was retired from live performance. The U.S.S. Arizona Benefit Concert that Elvis performed at Pearl Harbour, Hawaii, March 25, 1961 would be his last in the sixties until he returned on stage at Las Vegas in 1969. Those intervening 8 years were given over to the movies. If fans wanted to see Elvis, they would have to pay to see him in the films. The strategy was a perfect one from the perspective of managerial control. Business had effectively stolen direction from music, and Elvis had had autonomy wrenched from his control. His music, his movements, his words would from now on be scripted. Elvis had ceased to be an artist and had become a performer and a proletarian, effectively enslaved to his own career. The music suffered, with Elvis’ studio work becoming increasingly secondary to the films and, from 1964 onwards so sporadic as to become non-existent. Studio material was wasted by being issued as ‘bonus’ tracks to shore up flagging soundtrack albums.

The same damage to Elvis as a live performer and as an album artist was also inflicted on Elvis as a singles artist. His singles were increasingly taken from the films or, when not, were used to promote the films. When the songs were good, as at first, the damage was not apparent. "Can't Help Falling in Love" and "Return to Sender" were Elvis classics. But when decent tracks like “One Broken Heart for Sale,” "Bossa Nova Baby," and “Viva Las Vegas” started to struggle, the alarm bells ought to have been ringing. The single "Kissin' Cousins" is exhibit A of the problem. This song is a decent little twister, although far from Elvis at his best. The film it gave its name to is .. I won’t say bad, I will just say unusual and let you investigate. The Beverley Hillbillies was a hugely successful TV show at the time, and Kissin’ Cousins seems an obvious attempt to catch some of that market. Elvis was no longer a leader of popular culture, he was a follower. The approach was lazy. And artistic suicide. The B-side of Kissin’ Cousins was one of Elvis’ greatest ever songs, the immense ballad It Hurts Me. That great song was sunk and lost to critical and public view.

In time the inevitable happened. The cheap and cheerless formula of the films started to bore. The Beatles had happened, Tamla and soul too. Dylan and The Doors and much more. Lost in Hollywood, Elvis formed no part of this world. He was being issued three times a year for his diehard fans only, most of whom were growing up and growing out of the sun’n’fun storylines and had more pressing concerns on their minds. The success of movie singles and soundtracks began to diminish in the mid 1960s, as did the movies themselves. Elvis made a ‘comeback’ with the 1968 NBC-TV Special. The single from this show remains one of Elvis’ greatest performances, scoring him a decent sized hit that stopped just outside the US top 10. Elvis was back again, and there followed a string of top 10 hits in 1969, and a number of quality singles in addition.

Although Elvis’ chart success began to diminish slightly in the early seventies, the quality of his singles remained high. Musical tastes were changing, and Elvis’ obvious predilection for ballads maybe projected an image that the public found confusing for the ‘King of Rock’n’Roll.’ In the seventies, Elvis effectively became a mature ballad singer with occasional rock releases. His chart presence faded away, although he was still a chart performer at the time of his death on August 16, 1977.

Elvis’ career as a chart performer after his death has been remarkable. Not only have posthumous singles continued to be released after his death, many have been fair sized hits and quite a considerable number have been big hits. Elvis has scored more #1 hits in death than most artists record in their lifetime. New material has been issued and original singles have been reissued. The first single to be issued following Elvis’ death was a live recording of "My Way", which was taken from his final television special, “Elvis in Concert.” In 1978 another live recording was issued as a single, "Unchained Melody." And so it continued. Great tracks that ought to have been hits were re-released, such as “It’s Only Love” in 1981, a UK#3. A particular favourite of mine is “The Twelfth of Never,” a rehearsal from 1974 that was issued in the 1990s. In 2002, "A Little Less Conversation" was remixed by DJ Junkie XL and released to promote the compilation album ELV1S: 30#1 Hits. It became a worldwide hit and returned Elvis to the top 10 in many countries around the world. In 2003, a remix of "Rubberneckin' by DJ Paul Oakenfold was released to promote the compilation album ELVIS: 2nd to None. This also made the top 10 in a number of countries.

It seems clear that if in the unlikely event that Elvis does ever fade away for a period of time, he will always keep coming back. Elvis is Back! I’m not sure he’ll ever go away.

To the music. I shall take these releases in chronological order, from the first to the last, which in Elvis’ case means the latest.

THAT’S ALL RIGHT

RELEASED:JUL. 19, 1954

On this first single, issued on the Sun label, Elvis countrified a blues song (“That’s All Right”) and bluesed up a country song (“Blue Moon of Kentucky”) to deliver rhythm and country, what became known as rockabilly. This is the single that lit the fire. The song is strikingly different from the Arthur “Big Boy” Crudup blues from which it derived, youthful, joyous, and exuberant. What distinguishes Elvis’ version from the original is the combination of rhythm and melody and the high insistent vocal. The notion of Elvis “sounding black,” whatever that means, has been overdone. To people brought up on whitebread music, certainly this is so different as to lead to such conclusions, such as non-white must mean black. What is most striking, however, is the blurring of genre. In response to a question about his musical style from announcer Frank Page on his Louisiana Hayride debut, Elvis said “to be honest, we just stumbled on it.” That may well be true of “That’s All Right,” but the songs recorded in its wake show evidence of clear musical intent. This began with having to record the B-side. “We spent three or four nights,” said Scotty, “trying to get something that would be in the same kind of vein. Then Bill jumped up and started clowning and singing ‘Blue Moon Of Kentucky’ in a high falsetto voice, and Elvis started banging on the guitar, and I joined in, and it just gelled.” In other words, the formula was to take a blues side to country and a country side to the blues and then take what issues beyond their origins to yield a pop song, ‘nearly about,’ as Sam Phillips is heard to say in the studio.

The single met with an instant response in the city, recording six thousand orders in two weeks. Regional success followed. There was some resistance from those who persisted in hearing the music according to the old categories, with some R&B DJs saying the record was so country it shouldn’t be played after sun-up and some country DJs saying they would be run out of town if they dared to play it. Elvis sounded white, he sounded black, he was both, neither, and beyond. It was that ‘beyondness’ that was impossible to define and pigeonhole. The single went on to record sales of more than 100,000 copies across the mid-South, Texas, and Louisiana, a massive number for a limited region, and showing the potential that Elvis would have as a nationwide artist.

A final note worth making pertains to the notion of Elvis as a derivative artist who ‘stole’ his music. This blending of blues and country to make pop music was Elvis’ original contribution. Sun’s regional limitations meant that he could not make it onto the national charts with this record. Established star Marty Robbins heard Elvis’ recording and saw first-hand how Elvis was tearing up the country scene in live performance, put a fiddle on the track, tamed it down, and released it to score a national #7 on the Billboard Hot Country Singles chart in 1955.

GOOD ROCKIN’ TONIGHT

RELEASED:OCT. 4, 1954

Good Rockin’ Tonight

Roy Brown. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I Don’t Care If The Sun Don’t Shine

Mack David. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Sam Phillips saw immediate and immense potential in Elvis. So much so that he focused almost exclusively on promoting Elvis, releasing no new records on the Sun label between Elvis’ first and second releases. Phillips knew that a musical revolution with commercial possibilities was underway. “Good Rockin’ Tonight” had been a substantial R&B hit for blues shouter Wynonie Harris in 1948.

“I Don’t Care if the Sun Don’t Shine” on the flipside isn’t country but pop, taken from crooner Dean Martin’s jazzy original. The thought processes at work in crafting the new sound can clearly be seen. Elvis “countrifies” the song, upping the tempo to take it in the light “rockabilly” direction of “That’s All Right.” The song has the joy, exuberance, and catchiness of “That’s All Right,” but the song itself is too slight to have had the same impact. It’s a superb reworking, though, showing clear evidence of artistic craft and creativity in the studio. The momentum was being maintained, to go who knows where.

MILKCOW BLUES BOOGIE

RELEASED:DEC. 29, 1954

Milkcow Blues Boogie

Kokomo Arnold. Recorded November-December, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

You’re A Heartbreaker

Jack Sallee. Recorded November-December, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

It’s the same formula, a clear blues, not diluted or lightened either, backed with a light pop/country. I’m guessing this fits Sam Phillips own artistic preferences with respect to R&B. Kokomo Arnold’s “Milkcow Blues Boogie” had already been recorded by the king of western swing Bob Wills, so Elvis’ revolution was part of a longer movement. Elvis gave the song his own original twist, beginning with a slow, sinuous introduction, before pausing and then launching into a turbo-charged performance. This was one of Elvis’ most perfect blues performances.

The B-side is again country-flavoured pop, and the first Elvis original. The pop qualities of “You’re a Heartbreaker” are evident, and the song would, perhaps, become more well known in later years than the A-side, especially among pop fans.

There is a schizophrenic quality to this single, a hard blues on one side and a soft country pop on the other. This was the poorest-selling of all of Elvis’ five singles released on the Sun label. Revolution stalled? Need for a rethink.

BABY, LET’S PLAY HOUSE / I’M LEFT, YOU’RE RIGHT, SHE’S GONE

RELEASED:APR. 10, 1955

Baby Let’s Play House

Arthur Gunter. Recorded February-March 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I’m Left, You’re Right, She’s Gone

Stan Kesler/Bill Taylor. Recorded February-March 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Jimmie Lott

A formidable pairing! Both are top flight Elvis classics, both shaped the musical environment and made history. Elvis’ version of “Baby Let’s Play House” takes Arthur Gunter’s recent R&B hit and totally transforms it, propelling it far beyond its original form into another orbit entirely. Here, the claim that Elvis stole his music and made money on the backs of superior original artists is exposed as the fallacy it is. There is simply no comparison between the plodding original and Elvis’ inspired re-creation. Elvis’ version crackles with energy, force, and salacious intent. The performance no doubt redeemed every promise that was contained in the first single. This is what Sam Phillips had sensed Elvis’ voice and personality had contained from the first, through all the stumbling beginnings. The stuttering, hiccoughing delivery positively defined rockabilly vocal, as did Scotty Moore’s powerhouse guitar. The song was hugely influential, with lines reappearing in the songs that John Lennon wrote for The Beatles.

“I’m Right, You’re Left, She’s Gone” is also an influential number, a bluesy country rocker whose echoes can be heard in Credence Clearwater Revival’s “Bad Moon Rising” more than a decade later. Here we see the early beginnings of swamp rock. The formula of backing an original blues with an original country was being modified. The song is an original composition from Stan Kesler, one of the musicians that Sam Phillips used for his country-oriented sessions. Whilst the song is unquestionably country, the extent to which it was open to other approaches is apparent in the way Elvis experimented with it as a slow blues. In the end, Elvis abandoned that approach, but undoubtedly took something of the blues styling with him in his country rock delivery. That delivery was enhanced by the instrumentation, with drums being added for the first time on an Elvis recording.

The single gained more radio play. At first, it was the country side that gained the most attention, but soon DJs were turning the record over to play “Baby Let’s Play House.” By this time, Elvis was tearing the house up every night on the road through Louisiana, Alabama, Florida, Virginia, and the Carolinas. Word was getting out, and people were becoming curious as to what the fuss was all about. “Baby Let’s Play House” was a big reason for that fuss, and eventually entered the national country charts. This was the first of Elvis’ Sun sides to go beyond regional success and break into the national charts.

I FORGOT TO REMEMBER TO FORGET / MYSTERY TRAIN

RELEASED:AUG. 1, 1955

I Forgot To Remember To Forget

Stan Kesler/Charlie Feathers. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

Mystery Train

Junior Parker/Sam Phillips. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

Another pairing of a hard blues with a country number, this time a country ballad, again written by Stan Kesler and hence another Elvis original.

Sam Phillips had previously recorded “Mystery Train” on Sun in Little Junior Parker’s original version. Elvis loved the song, telling Phillips that it was his favorite Junior Parker song (in interview, I have heard Sam Phillips opt for Parker’s “Feelin’ Good” as his favourite, indeed saying that you will “hear no better record.”) Elvis’ voice was perfect for the number. Scotty Moore’s blistering guitar part came from another Little Junior Parker, with the result that Elvis’ “Mystery Train” was even more of a hybrid than usual. The way that the track trails off with a laughing Elvis – he thought he had made a mess of the vocal – adds to the spontaneous feel. “Mystery Train” has a claim to have been the best song that Elvis recorded at Sun. Many, indeed, claim it as his best ever track. Greil Marcus titled his book after it. The song was not, however, a hit.

The hit here was the country ballad on the flip side, “I Forgot To Remember To Forget.” On paper, the song is cloying and sentimental, but the rhythmic approach that was taken makes it something more of the material than it actually is. “He just didn’t dig the song at first,” Sam Phillips recalled. “Maybe it was a little too country, but I thought we needed to show a little more diversification. I told the drummer, ‘Keep it 4/4 until we go into the chorus, then you go with the bass beat at 2/4’ – and by doing that it sounds like it’s twice as fast as it is. Elvis really loved it then.”

The song proved popular. Billboard magazine voted Elvis the “Most Promising C&W Artist.” As the song was having national impact, Phillips sold Elvis’ contract to RCA for $40,000 on November 21, 1955, a record fee for a new artist. The song became a #1 on the Country and Western charts in its RCA re-release in early 1956.

Recorded at the same time was a song that is worthy of mention, “Trying To Get To You.” This has a claim to have been the best of Elvis’ Sun sides and it seems almost certain that this would have been the A-side of his next single had Elvis remained at Sun. The song showcases Elvis’ gospel influences perhaps more than any other on Sun. It’s a great R&B track, very soulful. For those who say that Elvis was at his best at Sun I can only say that as great as this is, Elvis may well sing it better during the 1968 TV Special.

HEARTBREAK HOTEL

RELEASED:JAN. 27, 1956

Heartbreak Hotel

Mae Boren Axton/Tommy Durden/Elvis Presley. Recorded January 10, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Floyd Cramer

I Was The One

Aaron Schroeder/Claude DeMetrius/Hal Blair/Bill Peppers. Recorded January 11, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Floyd Cramer. Vocals: Gordon Stoker, Ben Speer, Brock Speer

Here we go, this was the one. This was the take-off. The figures and the impact would suggest that Elvis went up like a rocket, but the truth is a little more complicated than that. 1956 was to be the year of Elvis, “Elvis ’56.” But the beginning was not merely slow but chequered. “Heartbreak Hotel” was Elvis’ first RCA single and there were high hopes for it given the size of the fee that RCA had paid for his contract. In fact, more than hopes there were nerves. In the first place, the song was considered substandard, in the second its impact was so sluggish that Steve Sholes, RCA vice president and specialty singles head, the man who had, in fact, instigated the purchase of Elvis’ contract from Sun at such a high price, called Sam Phillips in panic to ask whether he had signed the right artist. Using the money that selling Elvis’ contract had earned for Sun, Phillips was promoting Carl Perkins and his new single “Blue Suede Shoes,” and having a massive national hit. Whereas Phillips was now having the national success that Elvis first promised him, Sholes was under pressure from his superiors at RCA. When he took the tapes of Elvis’ first Nashville session in January to New York, Sholes met with withering criticism: “They told me it didn’t sound like anything; I’d better go back and record it again.”

“Heartbreak Hotel” is an odd number to have lit the rock’n’roll fuse, a stop-time downbeat blues inspired by a suicide note, “I walk a lonely street.” Released in January, the song took a long while to make its appearance on the charts, in March, after Elvis had appeared on Jimmy and Tommy Dorsey’s Stage Show. We should not here the attitude of Elvis’ recording company RCA, the combination of contempt, indifference, cynicism, and monetary calculation. They loathed Elvis’ first record and were mollified only when it started to make money. That was the approach of the company throughout Elvis’ entire career. Elvis should have signed to Atlantic.

“Heartbreak Hotel” hit #1 three months after its release. Elvis himself had found the song. Its co-writer Mae Axton, a Jacksonville, Florida schoolteacher, brought it to him at the country music DJ convention in November 1955 and Elvis immediately liked and pledged to record it at his first RCA session. Sam Phillips didn’t like it, claiming that it was “a morbid mess.” Sam Phillips didn’t like Elvis’ ballads on Sun, either, hence the neglect suffered by “Blue Moon” and “Tomorrow Night” (unreleased and unfinished). A point that needs to be made here is that, for all of Sam Phillips’ importance in guiding Elvis, and for all of the belief that Elvis was at his best on Sun, Elvis’ musical vision was far greater than that of Phillips’ and transcended Sun. “Heartbreak Hotel” has a claim to have been the most influential single in history. It was a US#1 on pop and country charts and #5 on the R&B chart.

Elvis effectively took control of this first session. The B-side was also Elvis’ choice, a doo-wop style ballad in which Elvis borrows mannerisms from Johnny Ray. Elvis would cite “I Was the One” as his favourite song from among his own recordings.

ELVIS PRESLEY

RELEASED:MAR. 23, 1956

Blue Suede Shoes

Carl Perkins. Recorded January 30, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long

I'm Counting On You

Don Robertson. Recorded January 11, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Floyd Cramer. Vocals: Gordon Stoker, Ben Speer, Brock Speer

I Got a Woman

Ray Charles. Recorded January 10, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Floyd Cramer

One-Sided Love Affair

Bill Campbell. Recorded January 30, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long

I Love You Because

Leon Payne. Recorded July 5, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Just Because

Bob Shelton/Joe Shelton/Sid Robin. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Tutti Frutti

Dorothy LaBostrie/Richard Penniman. Recorded January 31, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long

Trying to Get to You

Charles Singleton/Rosemarie McCoy. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

I'm Gonna Sit Right Down and Cry (Over You)

Joe Thomas/Howard Biggs. Recorded January 31, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long

I'll Never Let You Go (Little Darlin')

Jimmy Wakely. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Blue Moon

Richard Rodgers/Lorenz Hart. Recorded August 19, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Money Honey

Jesse Stone. Recorded January 10, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Floyd Cramer

Elvis’ first album. I don’t intend to review the Elvis albums, seeing as I have done that extensively elsewhere. My brief in this discography of the Elvis releases is to indicate the presentation and trajectory of Elvis’ career. This album is not actually a true representation of Elvis’ first recording sessions at RCA in 1956. For one thing, it contains several recordings which RCA had acquired from Sun when buying Elvis’ contract. The album contains an incredible range of songs. The album is now recognized as a classic. What is striking is the response of cultural mainstream at the time, hostile when not indifferent. The record went to #1 on the album charts all the same, selling more than 300,000 copies to become RCA’s all-time best-selling album. It became the first RCA album to sell 1,000,000 copies. The cover, with its image of a tonsils-out Elvis and the pink and green lettering, is iconic.

ELVIS PRESLEY

RELEASED:MAR. 23, 1956

On the very same day that the “Elvis Presley” album was released, RCA also released a four-track extended-play (EP) 45 containing songs that were on the album. It was effectively a single with a couple more tracks and a slightly higher price. It was evidently an attempt to mop up the market, tempting those who may have been reluctant to pay the full price of an LP, or simply couldn’t afford it. This is the start of the Elvis for all pocket sizes approach, a pioneer of the ‘budget’ Elvis. The EP was headed by Elvis’ cover of Carl Perkins’ current hit “Blue Suede Shoes,” which Elvis had cut on the understanding it would not be issued as a single to compete with, and draw sales from Perkins’ original. It was the radio cut all the same. The other three tracks were “I Got a Woman,” Little Richard’s “Tutti Frutti,” and the Sun leftover “Just Because.” All four songs were on the LP, the EP retained the same title and featured the same artwork. I can only guess it was a strategy designed for pockets unable to afford the full priced LP. The strategy worked, the EP picking up sales of 400,000 and charting at #6 on the EP charts.

ELVIS PRESLEY

RELEASED:MAR. 23, 1956

A double EP containing eight tracks: “Blue Suede Shoes,” “I’m Counting On You,” “I’m Gonna Sit Right Down And Cry (Over You),” “I’ll Never Let You Go (Little Darlin'),” “I Got A Woman,” “One-Sided Love Affair,” “Tutti Frutti,” “Trying To Get To You.” Note from the first RCA’s overriding concern with quantity and commerce. There was no pretence of presenting Elvis Presley as a serious artist. There was no care and attention paid to the music. The songs were issued and rearranged in order to attract every last available cent in the Elvis market. Same title and same artwork, only this time selecting three of the four sides from the single EP and five from the LP. As for the logic behind this parceling out of the music, there is none, musically, and it would be a waste of time to look for one. The logic is commercial, but only in a narrow and manipulative sense. When I was young I used to collect football cards to fill stamp albums. There were always cards missing and always duplicates, which we were encouraged to swap with friends. It was an interest that was designed to develop into an obsession. Some things were always in short supply, others in oversupply. Always we were in search of completion, always there was something missing. Already Elvis’ music was being issued in piecemeal and patchy fashion, creating gaps, fostering frustration, feeding obsession. Elvis fans were being groomed to become Elvis collectors.

The EP sold 150,000 copies in its original run and hit #9 on the EP charts. Numbers like this all add up. The grounds of the problem that blighted Elvis’ later career – that of quantity of product diluting the market, with Elvis effectively competing against himself – were laid here.

HEARTBREAK HOTEL / I WAS THE ONE / MONEY HONEY / I FORGOT TO REMEMBER TO FORGET

RELEASED:APR. 20, 1956

“Heartbreak Hotel” had just reached #1 in the charts, a position it would retain for the next eight weeks. In a move that is difficult to comprehend, RCA issued the track on a new EP, which added the country hit from Sun, “I Forgot To Remember To Forget.” Whilst that may seem unfathomable, threatening to undermine the impact and sales of “Heartbreak Hotel” the single, it makes complete mercenary sense. The approach of short-sighted greed sought to milk a few extra sales with the addition of the Sun country hit. Dubious it may have been but it ‘worked,’ with the EP selling in the same numbers as first EP and hitting #5.

I WANT YOU, I NEED YOU, I LOVE YOU

RELEASED:MAY. 4, 1956

I Want You, I Need You, I Love You

Maurice Mysels/Ira Kosloff. Recorded April 14, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins. Bass: Bill Black. Drums: D.J. Fontana. Piano: Marvin Hughes. Vocals: Gordon Stoker, Ben Speer, Brock Speer

My Baby Left Me

Arthur Crudup. Recorded January 30, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long

A proper release, and something of a return to the format of the Sun single releases. Had Elvis still been at Sun there is no doubt that Elvis’ hard as nails uptempo version of Arthur “Big Boy” Crudup’s “My Baby Left Me” would have been issued as the A-side. This is similar to “That’s All Right,” only far tougher, showing the extent to which Elvis had developed as an artist. “My Baby Left Me” is one of Elvis’ finest recordings, certainly one of his best three or four blues cuts.

The choice of A side, however, went to rhythmic ballad “I Want You, I Need You, I Love You,” which allowed Elvis great scope to perform a number of vocal tricks. This record shows the extent to which Elvis had developed as a ballad singer. He was now supremely confident rather than tentative. Here was a perfect convergence of art and commerce. The single reached US #1 on pop and country charts (#3 on Cash Box) and #10 on the R&B chart. It sold 1.3 million copies to become another gold record and confirmed Elvis as the serious ballad singer he had set out to be at first at Sun. That may not have been Sam Phillips’ vision, but it had always been Elvis’.

ELVIS PRESLEY

RELEASED:JUN. 8, 1956

Yet another EP release, this one combining excellent R&B covers of “Shake, Rattle And Roll” and “Lawdy, Miss Clawdy” (originally intended for Elvis’ second album) with two of the Sun ballads that Sam Phillips chose not to issue, “I Love You Because” and the unearthly “Blue Moon.” The latter two had been issued on the first LP. With a new Elvis release every month now, the policy was clearly to milk the music to squeeze every last commercial drop out of it. The EP sold 400,000 copies and charted at #55 on the US Hot 100.

DON’T BE CRUEL / HOUND DOG

RELEASED:JUL. 13, 1956

Don’t Be Cruel

Otis Blackwell/Elvis Presley. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

Hound Dog

Jerry Leiber/Mike Stoller. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

A stunning single release, defining not merely a career and an artist but an entire era. Elvis had caused a storm singing “Hound Dog” on The Milton Berle Show, which led to something of a standoff/showdown on The Steve Allen Show. Elvis plainly felt having to perform to a dog a humiliation – he was to do worse in the films – and went into the study an angry man with a point to prove. “Hound Dog” was a tough blues recorded originally by Big Mama Thornton in 1953, but which Elvis had made a staple of his recent stage act in a very different, more light-hearted and jocular version. He knew it to be a woman’s song and only got the idea of being able to perform it from seeing Freddie Bell and the Bellboys perform it during his booking in Las Vegas. It was the bump-and-grind version he performed on The Milton Berle Show on June 5 that caused the furore, sparking excitement and condemnation in equal measure. His performance was denounced as “not only suggestive but obscene.” Possibly. It seems light-hearted in retrospect, but Elvis is playing with the lines of good taste and decency and he knew it. He toned the performance down for The Steve Allen Show in a public act of penance (he sang the song to a dumbfounded basset hound while dressed in white tie and tails) and that should have been the end of the matter. Elvis entered the studio determined to record the song but not quite knowing the approach to take. The way he had sung it up to this point was as much theatrical performance as vocal. Without the visuals the approach may not have been vocally strong enough. Elvis worked hard over thirty-one takes to deliver a hard rocking version that bore no relation to his stage performances, nor to any other previous version of the song.

To back the song Elvis selected “Don’t Be Cruel” written by then unknown R&B singer and songwriter, Otis Blackwell. The song was tailor made for the new style of rhythm music that Elvis was pioneering.

The single was a phenomenal success, the biggest selling and most important double A sided single in history. Both sides hit #1 on all three charts, pop, country, and R&B, selling four million copies. It was the biggest single record of Elvis’ career. When Sam Phillips heard “Don’t Be Cruel” he flipped, saying that finally Elvis’ style was being captured and recorded.

THE REAL ELVIS

RELEASED:AUG. 17, 1956

“The Real Elvis” merely confirms the “real” interests and motivations of his recording company. This EP merely combined Elvis’ two latest singles in one place. One would have thought that anyone interested would already have bought either or both singles – four million bought “Hound Dog/ Don’t Be Cruel” after all. Regardless, this EP clocked up another half-million record sales and hit #5 on the EP charts. You have to wonder how many Elvis fans were already duplicated tracks in their collections, or had become obsessive collectors with a desperate need for all things Elvis. The record company were grooming Elvis fans and turning them into collectors for life. That indicates a long-term approach that was indeed to become apparent. That there were also short-term considerations motivated by pure greed, based on contempt for Elvis as an artist, is suggested by the next releases.

I LOVE YOU BECAUSE / TRYIN’ TO GET TO YOU

RELEASED:AUG. 31, 1956

JUST BECAUSE / BLUE MOON

RELEASED:AUG. 31, 1956

MONEY HONEY / ONE SIDED LOVE AFFAIR

RELEASED:AUG. 31, 1956

SHAKE, RATTLE AND ROLL / LAWDY MISS CLAWDY

RELEASED:AUG. 31, 1956

BLUE SUEDE SHOES / TUTTI FRUTTI

RELEASED:AUG. 31, 1956

I GOT A WOMAN / I’M COUNTING ON YOU

RELEASED:AUG. 31, 1956

I’LL NEVER LET YOU GO / I’M GONNA SIT RIGHT DOWN AND CRY (OVER YOU)

RELEASED:AUG. 31, 1956

RCA was intent on exhausting the different ways in which it was possible to sell the same song. In one format or another, all of these songs were already out. This was yet another format, picking up sales from those who, somehow, had missed out. The strategy seems plainly to maximize sales by making songs available in every format, but there a couple of other considerations also suggest themselves. First of all, for all that this was the age that gave birth to the teenager, only the most affluent would be able to buy the LPs as well as the Eps. Releasing seven 45s which contained every one of Elvis’ songs not previously available on a single made a number of individual tracks available at an affordable per-unit price. Either way, everything Elvis was to be sold every which way possible. A second consideration is the confusion that comes with saturation. Once it is less than clear where the definitive product to purchase is, you have no option but to take the plunge and make purchases according to your available budget at the time. That way endless buying and duplication lies.

Of these seven singles, only “Blue Suede Shoes” (#24) and “Money Honey” (#76) made the pop charts. The combined sales of these singles, however, totalled 1.5 million copies, a substantial figure. Those sales were more than most any other artist could command, and this in a mopping up operation.

ANY WAY YOU WANT ME

RELEASED:SEP. 21, 1956

Yet another EP, combining the excellent ballad from RCA “Any Way You Want Me (That's How I Will Be)” with three tracks from Sun, “I’m Left, You’re Right, She’s Gone,” “I Don’t Care If The Sun Don’t Shine,” and “Mystery Train.” The EP makes no obvious sense, other than confirming RCA’s ‘strategy’ of issue everything in every combination and count the returns. Not only does this release make no sense, it is both artistically and commercially a piece of nonsense. “Any Way You Want Me” would be the B-side of the forthcoming single, although plays for it counted toward the chart success of the next single. It is worth noting RCA’s seemingly bizarre strategy. It didn’t matter so much early on, when Elvis was the happening artist, but it would become a positive menace blighting Elvis’ career later on. The EP recorded clocked up 150,000 sales and reached #74 on the US Hot 100, which is a very decent performance for a release that had no rationale behind it.

LOVE ME TENDER

RELEASED:SEP. 28, 1956

Love Me Tender

Vera Matson/Elvis Presley. Recorded for the motion picture Love Me Tender. Recorded August 24, 1956 at Fox Stage 1, Hollywood. Guitar: Vito Mumolo. Bass: Mike “Myer” Rubin. Drums: Richard Cornell. Banjo: Luther “Red” Roundtree. Accordion: Carl Fortina, Dominic Frontieri. Vocals: Rad Robinson, Jon Dodson, Charles Prescott

Any Way You Want Me (That's How I Will Be)

Aaron Schroeder/Cliff Owens. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

A ‘proper’ release, insofar as a release from a movie could count as ‘proper.’ In later years, it would become most improper given the way the movies and their soundtracks would detract from Elvis’ studio work. Elvis was to originally co-star in a straight acting role, in a western called “The Reno Brothers.” Early on in proceedings, though, three period songs were added, for which Tom Parker ensured Elvis received co-writing and publishing. The title track “Love Me Tender” was a rewrite of “Aura Lee,” a sentimental ballad written during the Civil War. Elvis was surprised to find that his own musicians were turned down for not being hillbilly enough for the ersatz Hollywood hillbilly score. Elvis’ ambitions to be recognized as a ballad singer were as earnest as his ambitions to become an actor. During recording Elvis took Hollywood columnist Army Archerd back to the music bungalow and sang “Love Me Tender.” “When he finished,” wrote Archerd, “it seemed only normal to express our amazement. ‘People think all I can do is belt,’ he said. ‘I used to sing nothing but ballads before I went professional.’” Elvis expressed a love for ballads, declaring that he was going to introduce more of them into his live act. The Elvis of the seventies was here already in the Elvis of the fifties, it’s just that critics don’t want to see past the rock’n’roll iconography. “Love Me Tender” received an unprecedented advance order of more than a million copies, going on to sales of almost three million. The success of the song delivered the diversity in repertoire that both Elvis and his manager sought, Elvis for artistic reasons, expressing his genuine multiplicity in music, Parker to cover all commercial bases. “Love Me Tender” was another huge hit, #1 pop, #3 country and #4 R&B.

ELVIS

RELEASED:OCT. 19, 1956

Rip It Up

Robert Blackwell/John Marascalco. Recorded September 3, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Love Me

Jerry Leiber/Mike Stoller. Recorded September 1, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

When My Blue Moon Turns To Gold Again

Wiley Walker/Gene Sullivan. Recorded September 2, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Long Tall Sally

Robert Blackwell/Enortis Johnson/Richard Penniman. Recorded September 2, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

First In Line

Aaron Schroeder/Ben Weisman. Recorded September 3, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Paralyzed

Otis Blackwell/Elvis Presley. Recorded September 2, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

So Glad You’re Mine

Arthur Crudup. Recorded January 30, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: Scotty Moore, Bill Black, D.J. Fontana

Old Shep

Red Foley. Recorded September 2, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Ready Teddy

Anyplace Is Paradise

Joe Thomas. Recorded September 2, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

How’s The World Treating You

Chet Atkins/Boudleaux Bryant. Recorded September 1, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

How Do You Think I Feel

Wayne Walker/Webb Pierce. Recorded September 1, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

An LP, and a mighty fine one at that. This contained only RCA material from 1956 and nothing from Sun, unlike the first album. “Lawdy, Miss Clawdy” and “Shake, Rattle And Roll” had been kept back from the sessions early in the year to be released on a second album. In the meantime they had been issued on an EP, the reason given being the lack of any other suitable sides to release. That was pure short-sighted greed, there was no lack of material in 1956. Elvis was highly productive in the studio. Of course a company that sees artistic creation in terms of conveyor belt production is bound to always complain of shortage. These complaints dogged Elvis’ career. Instead of properly gathering and marketing the recordings Elvis would make, the company would pad out albums with filler and leftovers, constantly damaging Elvis’ artistic credibility. Elvis’ manager was in on this, too, only from the other side. Parker didn’t object to the greedy release schedule. On the contrary, he signed Elvis to it. Parker simply used scarcity as a bargaining chip in his dealings with RCA. Both Elvis’ manager and recording company saw productivity in terms of hard quantity and numbers, Elvis saw it in terms of music and creativity. From the first he was locked in battle with the people who established the parameters.

The album is a good representation of Elvis’ remarkable range in music, from ballads and country to blues and that pop that can only be described as Elvis’ trademark (“Paralyzed”). The album hit #1 in the US (and the UK) and sold more than half a million copies.

ELVIS VOL. 1

RELEASED:OCT. 19, 1956

As had happened with the first album, the release of the second album was accompanied by the release of an EP with the same title and art work. The EP contained four tracks from the LP, “Rip It Up,” “Love Me,” “When My Blue Moon Turns To Gold Again,” and “Paralyzed.” The EP clocked up one million in sales and hit #1 on the EP chart, whilst “Love Me” went to #6 on the singles chart.

ELVIS VOL. 2

RELEASED:NOV. 1, 1956

As above. I can’t add any further comments as to the strategy, only note the capacity for the recording company to make extraordinarily anomalous track selections, something which would blight Elvis’ career. Three of the tracks on this EP are excellent blues and rock cuts, “So Glad You're Mine,” “Any Place is Paradise,” and “Ready Teddy.” The fourth is “Old Shep.” Did anybody at any point ever think to ask why? I grew to be sick to the back teeth of “Old Shep” and the way it tended to crop up on albums, ruining the entire atmosphere. It cropped up on a number of the first Elvis albums I ever owned, including, inexplicably, “Elvis’ 40 Greatest.”

The EP again had the same title and art work as the second LP “Elvis” and sold 400,000 copies in its initial run, hitting #47 on the Hot 100.

LOVE ME TENDER

RELEASED:NOV. 21, 1956

Love Me Tender

Vera Matson/Elvis Presley. Recorded August 24, 1956 at Fox Stage 1, Hollywood. Guitar: Vito Mumolo. Bass: Mike “Myer” Rubin. Drums: Richard Cornell. Banjo: Luther “Red” Roundtree. Accordion: Carl Fortina, Dominic Frontieri. Vocals: Rad Robinson, Jon Dodson, Charles Prescott

Let Me

Vera Matson/Elvis Presley. Recorded for the motion picture Love Me Tender. Recorded September 4-5, 1956 at Fox Stage 1, Hollywood. Guitar: Vito Mumolo. Bass: Mike “Myer” Rubin. Drums: Richard Cornell. Banjo: Luther “Red” Roundtree. Accordion: Carl Fortina, Dominic Frontieri. Vocals: Rad Robinson, Jon Dodson, Charles Prescott

Poor Boy

Vera Matson/Elvis Presley. Recorded for the motion picture Love Me Tender. Recorded August 24 & September 4, 1956 at Fox Stage 1, Hollywood. Guitar: Vito Mumolo. Bass: Mike “Myer” Rubin. Drums: Richard Cornell. Banjo: Luther “Red” Roundtree. Accordion: Carl Fortina, Dominic Frontieri. Vocals: Rad Robinson, Jon Dodson, Charles Prescott

We’re Gonna Move

This EP is the four-song soundtrack of Elvis’ first movie, “Love Me Tender,” released to accompany the premiere. The EP plainly goes with the movie. The music is not remotely representative of Elvis’ work in 1956, nor of his musical identity. This is very much Elvis envisaged as ersatz-hillbilly through Hollywood eyes. Apart from the title track, itself a reworking of a Civil War ballad, the material is decidedly average. The best track is “Poor Boy,” the other two sounding like lame copies of the pop treatment of the country gospel of “This Ol’ House.” This is not Elvis, it is how Hollywood thought country and western sounded. It was, in other words, a brand of derivative pop that was the antithesis of Elvis, whose days were numbered as a result of the arrival of Elvis. Elvis was so successful in 1956 that few would make an issue of the anomalies here. But this EP encapsulates a problem that would dog and drag down Elvis’ career. The movies and the soundtracks present an image of Elvis that is divorced from how he saw himself and his music. This is not the real Elvis but an ersatz Elvis reimagined for a soft market. It doesn’t matter too much here with a four-song soundtrack, but it would matter hugely when there would be three films a year with LP length soundtracks. In other words, the seeds for the later inversion in the career of Elvis Presley were sown here.

Given that “Love Me Tender” had already been out and sold over a million, one would have thought the market sated. But here we go again, the company putting out already released material to sell other material, getting the fans making duplicate buys. “Poor Boy” served as the lead radio-track, and the EP sold half a million copies to hit #9 on the EP chart.

TOO MUCH

RELEASED:JAN. 1, 1957

Too Much

Lee Rosenberg/Leonard Weinman. Recorded September 2, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Playing For Keeps

Stanley Kesler. Recorded September 1, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

These two sides from the September 1956 sessions were held back for single release. I’ve always felt that “Paralyzed” had obvious hit potential, and I think Elvis did too. It was written by Otis Blackwell, and critics are inclined to dismiss it as a pale imitation of “Don’t Be Cruel.” Elvis evidently thought a lot of it, and sang a full version in the style of Jackie Wilson during the Million Dollar Quartet studio jam. As it was, “Too Much” was the release, backed with another new Stan Kesler ballad “Playing For Keeps.” The single is therefore something of a throwback to the Sun singles (Kesler was the author of both “I’m Left, Your Right, She’s Gone” and “I Forgot To Remember To Forget”). Whilst the pairing didn’t quite have the explosion and the emotionalism of the rock and ballads of previous singles in 1956, the single did have a considerable impact, hitting #1 pop, #5 country and #7 R&B, selling nearly two million copies.

STRICTLY ELVIS

RELEASED:JAN. 25, 1957

RCA obviously couldn’t leave Elvis fans alone for a minute. Anxious to the point of neurosis at the thought of Elvis fans having a few days with spare cash in their pockets, RCA kept on a relentless release schedule. This is yet another EP containing material from the second album, this time showing remarkable originality by issuing a cover that deviated from the album art of the LP. RCA also passed on the temptation to release the songs as singles, as they had with the first album.

For the record, the tracks contained on this EP were “Long Tall Sally,” “First In Line,” “How Do You Think I Feel,” and “How’s The World Treating You.”

As crass and cynical as it is, the strategy kept racking up big numbers. This EP sold 200,000 copies. Whilst it didn't chart in the US, it did hit #1 in the UK. The only question is at what point would Elvis fans start to think they were being had? Or simply give up out of a combination of exhaustion and confusion? Treat the fans with some respect if you want to keep them in the long run.

ALL SHOOK UP

RELEASED:MAR. 22, 1957

All Shook Up

Otis Blackwell/Elvis Presley. Recorded January 12, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

That’s When Your Heartaches Begin

William Raskin/George Brown/Fred Fisher. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Elvis had visited the recording studio prior to his second movie, “Loving You,” going into production. The sessions were slated to produce material for single and EP release as well as the movie soundtrack. Note immediately how the movies and their soundtracks started to impinge on Elvis’ recording. At exactly the same time the previous year Elvis was free to record music as music, and he took full advantage of that freedom. Now, he was having to prioritize and schedule.

As it turned out, he produced another classic recording at least the measure of “Heartbreak Hotel,” “Don’t Be Cruel” and “Hound Dog.” “All Shook Up” was written by Otis Blackwell and was an obvious choice for the A-side of the single. The B side was a ballad that Elvis had sung as an eighteen-year-old trying out at Sun, “That’s When Your Heartaches Begin.” Elvis introduced it to Carl Perkins and Jerry Lee Lewis at the Million Dollar Quartet, saying it would be a hit if he could just get it right. Neither Perkins nor Lewis sound persuaded. It sounded like country crooning the way Elvis did it, but it harked back to Elvis’ favourites The Ink Spots. ’ The single hit #1 on the pop charts and spent eight weeks at the top. It was also #3 on the country charts (#2 Cash Box country charts) and #1 R&B, selling over two million copies in the process.

PEACE IN THE VALLEY

RELEASED:APR. 1, 1957

(There’ll Be) Peace In The Valley (For Me)

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

It Is No Secret (What God Can Do)

Stuart Hamblen. Recorded January 19, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Organ: Hoyt Hawkins. Vocals: The Jordanaires

I Believe

Ervin Drake/Irvin Graham/Jimmy Shirl/Al Stillman. Recorded January 12, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Take My Hand, Precious Lord

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Elvis’ first sacred EP, expressing a deeply felt and long standing commitment on Elvis’ part to gospel. Gospel was to remain his first musical love, and is the root of the emotional charge that characterizes his music. Initial sales of 400,000 profoundly underestimate the long term value of this material, both commercially and artistically. I believe that this EP is the biggest selling gospel record in history. It is certainly one of Elvis’ greatest artistic achievements, of which he was rightly proud. It constitutes evidence that an artist can remain true to music and artistry without necessarily having to sacrifice commerce. The EP hit #3 in the EP charts.

TEDDY BEAR

RELEASED:JUN. 11, 1957

Teddy Bear

Kal Mann/Bernie Lowe. Recorded for the motion picture Loving You. Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Loving You

Jerry Leiber/Mike Stoller. Recorded February 24, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

This was a second single to be issued from the Hollywood sessions in January/February 1957, this time containing songs promoting the forthcoming movie “Loving You” and its soundtrack. The strategy was to maximize the marketing and commercial potential of the music while generating as much advance publicity as possible for the movie to come. The result in this instance was a single that hit #1 on all charts (pop, country, R&B, plus Cash Box pop and country), scoring nearly two-million in sales. Note that the two songs here would inevitably reappear in the near future, first on the soundtrack LP, “Loving You,” and then on one of the two EPs from the film. In other words, songs were being issued in the sure knowledge that fans would be buying material that they would have to buy again in the near future. So long as they remained Elvis fans and had not yet grown tired of having their love and loyalty being exploited. A continuation of this strategy in the sixties with much lesser material went close to finishing Elvis off, and actually did with many people.

I have a soft spot for “Teddy Bear.” It is one of my favourite Elvis songs to sing. More than that, though, I like the fact that so many different people like it. I once read that this was the moment when Elvis sold out to the girls. I’m not sure only girls like this song. In the seventies, Elvis tried to unite America with the immense ballad “An American Trilogy.” In 1957 he united the country with a cuddly stuffed toy animal, topping, pop, blues and country charts. Elvis united black and white, young and old, male and female, one and all. Hail Elvis!

LOVING YOU

RELEASED:JUN. 20, 1957

Mean Woman Blues

Claude DeMetrius. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

(Let Me Be Your) Teddy Bear

Loving You

Got A Lot O’ Livin’ To Do!

Aaron Schroeder/Ben Weisman.Recorded January 12, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Lonesome Cowboy

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Loving You. Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Hot Dog

Jerry Leiber/Mike Stoller. Recorded for the motion picture Loving You. Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Party

Jessie Mae Robinson. Recorded for the motion picture Loving You. Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Blueberry Hill

Al Lewis/Larry Stock/Vincent Rose. Recorded January 19, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Organ: Hoyt Hawkins. Vocals: The Jordanaires

True Love

Cole Porter. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Don’t Leave Me Now

Aaron Schroeder/Ben Weisman. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Have I Told You Lately That I Love You

Scott Wiseman. Recorded January 19, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Organ: Hoyt Hawkins. Vocals: The Jordanaires

I Need You So

Ivory Joe Hunter. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

In the first place, this is just a fantastic album, with the movie songs on the first side backed by an eclectic mix of songs on the second. We know in retrospect that extra R&B and ballad material was available that could have made for a quality album in its own right. In the second place, this album is so good we don’t need to move beyond first place.

The release of this LP came only a few days after the release of the EP. Those Elvis fanatics who bought the EP had effectively wasted their money, and were now having to buy the same tracks all over again. At some point people were bound to say enough is enough and call time on RCA’s cynical strategy. “Loving You” sold 350,000 copies. Whilst this matched the initial sales of Elvis’ first LP, it represented a decline from the sales of the second. That has to be significant. Instead of building a market for the Elvis album, RCA’s saturation strategy was damaging Elvis’ standing as an album artist. The strategy seemed to be to keep hitting the market with product and count up the sales in terms of sheer volume. The more clever approach would have been to market each album of original material properly, build up demand, and maximize sales through concentration of quality. The LP was still a #1 smash, though.

LOVING YOU

RELEASED:JUN. 26, 1957

Lonesome Cowboy

Hot Dog

Jerry Leiber/Mike Stoller. Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Mean Woman Blues

Claude DeMetrius.Recorded January 12, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Got A Lot O’ Livin’ To Do!

This first “Loving You” EP contains four of the seven songs contained on the “Loving You” soundtrack. The EP was released two weeks after the single. “Mean Woman Blues” and “Got a Lot O’Livin’ to Do” are, of course, classic Elvis. The record clocked up almost 500,000 sales and hit #1. I can only presume that a lot of teenagers couldn’t afford the price of an LP record.

LOVING YOU

RELEASED:JUL. 19, 1957

Loving You

Party

Jessie Mae Robinson. Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

(Let Me Be Your) Teddy Bear

Recorded January 15-18, 1957 at Paramount Scoring Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

True Love

Cole Porter. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks Stoker. Vocals: The Jordanaires

This was the second Loving You EP, containing two tracks which already been released as singles. That might explain why the record didn’t sell as well as the first EP. That said, sales of 300,000 and a chart position of #4 are still healthy. Were some fans buying each and every release? If they were, a point would surely come when they would simply stop out of exhaustion, of both interest and finances.

JUST FOR YOU

RELEASED:AUG. 21, 1957

I Need You So

Ivory Joe Hunter. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Have I Told You Lately That I Love You

Blueberry Hill

Is It So Strange

Faron Young. Recorded January 19, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Organ: Hoyt Hawkins. Vocals: The Jordanaires

Just for who? Just for me, possibly. Three of the four tracks had already been issued on the second side of the “Loving You” album. That side contained non-movie material, and showed the potential for a very strong album in its own right. Material was available. One of the available tracks was the haunting ballad “Is It So Strange,” one of the finest recordings of Elvis’ career. If fans were to obtain that track – and all Elvis fans would surely want to hear this beautiful song – then they would have duplicate their collection. Yet again.

RCA was now issuing an EP on a monthly. It was like a life policy for Elvis fans, Elvis fans having to put aside a portion of their income for their regular Elvis fix. This was really a third “Loving You” EP, one based on the non-movie material. The only unreleased track here was “Is It So Strange,” so a lot of fans would have effectively have been buying one track at the price of four. The EP hit #4 on the charts.

JAILHOUSE ROCK

RELEASED:SEP. 24, 1957

Jailhouse Rock

Jerry Leiber/Mike Stoller. Recorded for the motion picture Jailhouse Rock. Recorded April 30, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

Treat Me Nice

Jerry Leiber/Mike Stoller. Recorded September 5, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

This pairing make for an absolutely first class single. Elvis himself had thought “Treat Me Nice” to be the obvious smash hit among the very strong material recorded at the sessions for “Jailhouse Rock.” I have to say that was my impression when I first heard it in the film. It may say something that, of Elvis’ rhythm numbers, it is this and “Teddy Bear,” “Don’t Be Cruel” and “Paralyzed” I love to sing most of all. There is a gentle swing and groove to these numbers that are quintessentially fifties Elvis. For the same reason I preferred “Don’t Be Cruel” to “Hound Dog,” I also preferred “Treat Me Nice” to “Jailhouse Rock.” As did Elvis. As it happened, the DJs and the great public turned the single over and hence “Jailhouse Rock” became the big hit. Not that it didn’t deserve to be a big hit. “Jailhouse Rock,” the title track from the Elvis’ new movie, is fantastic hard driving rocker. “Jailhouse Rock” also did a clean sweep in the charts, hitting #1 in pop, country and R&B charts, as well as Cash Box pop and country charts.

ELVIS’ CHRISTMAS ALBUM

RELEASED:OCT. 15, 1957

Santa Claus Is Back In Town

Jerry Leiber/Mike Stoller. Recorded September 7, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

White Christmas

Irving Berlin. Recorded September 6, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

Here Comes Santa Claus (Right Down Santa Claus Lane)

I’ll Be Home For Christmas

Kim Gannon/Walter Kent/Buck Ram. Recorded September 7, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

Blue Christmas

Billy Hayes/Jay Johnson. Recorded September 5, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

Santa Bring My Baby Back (To Me)

Aaron Schroeder/Claude DeMetrius. Recorded September 7, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

Oh Little Town Of Bethlehem

Philips Brooks/Lewis Redner. Recorded September 7, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

Silent Night

Joseph Mohr/Franz Gruber. Recorded September 6, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

(There’ll Be) Peace In The Valley (For Me)

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

I Believe

Take My Hand, Precious Lord

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

It Is No Secret (What God Can Do)

It had to happen. Elvis was covering all bases and all markets with his music. The album comprises the eight Christmas tracks he recorded in September along with the four tracks from the “Peace in the Valley” EP. In other words, those who had already bought the EP were paying full price for two thirds of an album. Such are the calculations you end up making as an Elvis fan.

The album itself is an Elvis classic, inspirational and commercial in equal measure. Irving Berlin, writer – I should say “composer” in recognition of the man’s artistic pretensions - of “White Christmas,” complained vehemently of Elvis’ interpretation of his song. That complaint reveals precisely why, in Little Richard’s words, Elvis was a blessing. Elvis’ light and very respectful version was actually based on the wilder R&B version of Clyde McPhatter and The Drifters. Berlin either didn’t know that version or didn’t care, given that before Elvis it was possible to segregate music and culture as well as people. After Elvis that was less and less possible and the world owes Elvis a debt of thanks it has yet to repay.

Many radio stations refused airplay not just to Elvis’ version of the song but of anything from the album. To which I say that’s their loss, as I put on “Santa Claus is Back in Town.” The album still sold an initial 200,000 copies, but would go on to be the biggest selling album of Elvis’ career, and the biggest selling Christmas album of all time. And the best. The album hit #1 on the LP charts.

ELVIS SINGS CHRISTMAS SONGS

RELEASED:OCT. 16, 1957

Santa Bring My Baby Back (To Me)

Blue Christmas

Santa Claus Is Back In Town

I’ll Be Home For Christmas

The release of an EP selection from the Christmas album suggests that behind the marketing strategy lay an awareness that many teenagers either didn’t have long playing phonographs or couldn’t afford to pay the higher prices of LP records. The EPs, then, were forerunners of the ‘budget’ albums of the late sixties and early seventies, giving Elvis fans with limited pockets a little bit of Elvis for a little bit of money. The calculation seems to have been that if you put a lot of that little bit of money together, then it would make for a lot of money. This EP sold half a million copies and hit #1.

JAILHOUSE ROCK

RELEASED:OCT. 30, 1957

Jailhouse Rock

Young And Beautiful

Abner Silver/Aaron Schroeder. Recorded for the motion picture Jailhouse Rock. Recorded April 30, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

I Want To Be Free

Jerry Leiber/Mike Stoller. Recorded for the motion picture Jailhouse Rock. Recorded May 3, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

Don’t Leave Me Now

Aaron Schroeder/Ben Weisman. Recorded for the motion picture Jailhouse Rock. Recorded May 9, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

Baby I Don’t Care

Jerry Leiber/Mike Stoller. Recorded for the motion picture Jailhouse Rock. Recorded May 3 & 8, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews, Elvis Presley. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

The “Jailhouse Rock” soundtrack is high quality, so it makes sense to have it all in one place. Of course, an EP is limited to four tracks, meaning that one had to be omitted. That one was “Treat Me Nice,” which had been issued on the “Jailhouse Rock” single. All the songs for the film were written by Jerry Leiber and Mike Stoller. Elvis invited Leiber and Stoller to take part in the sessions themselves, which became a joint production. Stoller also played piano on several tracks. The soundtrack gives us a glimpse of what Elvis working together with Leiber and Stoller could have achieved. Made history. Elvis’ management were concerned solely with making money. Elvis’ manager Tom Parker evidently considered the song writing team a threat to his control. In feeding Elvis’ artistic ambitions they would take Elvis away from serving Parker’s commercial ambitions. As soon as Elvis got close to Leiber and Stoller the end was night for the song writing team. They were warned not to interfere in the affairs of Elvis Presley under threat of not being allowed to work ever again. The threat was idle, Leiber and Stoller were free to work were they liked. They effectively excluded themselves. Seeing the extent to which the Elvis world was a closed commercial racket they lost interest and took their songs elsewhere.

The “Jailhouse Rock” EP sold over one million copies and reached #1. Leiber and Stoller were right, they could have made history. That is, Elvis could have made even more history than he did, made it more easily than he did, and in a way that made him happier as a person and more fulfilled as an artist. It wasn’t to be, so I just give thanks for the moments when it did come together, or nearly did, because they are still great.

DON’T

RELEASED:JAN. 7, 1958

Don’t

Jerry Leiber/Mike Stoller. Recorded September 6, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

I Beg Of You

Rosemarie McCoy/Kelly Owens. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

A great moody ballad written by Leiber and Stoller at Elvis’ request. For once they cut the ironical undercurrent , which Elvis either ignored or missed in singing straight and serious. It was a bit hit, making #1 pop, #2 country and #4 R&B and selling 1.3 million copies. It’s songs like this which identify Elvis as a heart singer almost without peer. The B-side is a mid-tempo rocker, which is also in Elvis’ trademark style.

ELVIS’ GOLDEN RECORDS

RELEASED:MAR. 21, 1958

Hound Dog

Jerry Leiber/Mike Stoller. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

Loving You

All Shook Up

Heartbreak Hotel

Jailhouse Rock

Love Me

Too Much

Don’t Be Cruel

Otis Blackwell/Elvis Presley. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

That’s When Your Heartaches Begin

(Let Me Be Your) Teddy Bear

Love Me Tender

era Matson/Elvis Presley. Recorded for the motion picture Love Me Tender. Recorded August 24, 1956 at Fox Stage 1, Hollywood. Guitar: Vito Mumolo. Bass: Mike “Myer” Rubin. Drums: Richard Cornell. Banjo: Luther “Red” Roundtree. Accordion: Carl Fortina, Dominic Frontieri. Vocals: Rad Robinson, Jon Dodson, Charles Prescott

Treat Me Nice

Any Way You Want Me

Aaron Schroeder/Cliff Owens. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

I Want You, I Need You, I Love You

The huge hit singles that made Elvis “the King.” The album was something of an act of desperation on the part of RCA. Elvis was about to be drafted into the US army for two years on March 24. RCA was worried about the shortage of material and absence of a commitment to a recording schedule. RCA therefore decided to gather the A-sides of Elvis’ first eight RCA singles together with six B-sides to form Elvis’ first – but far from last - greatest hits package. Elvis had had enough hits to justify the project. The initial sales of 150,000 were disappointing if somewhat to be expected given the way that the Elvis market had been saturated with releases in every format. The album continued to sell over the years, as might be expected, because this album distills the essence of the early Elvis the hitmaker. The album has sales of upwards of six million and will continue to sell so long as the world is in touch with its musical soul. The album reached #3 on the Billboard 200.

WEAR MY RING AROUND YOUR NECK

RELEASED:APR. 1, 1958

Wear My Ring Around Your Neck

Bert Carroll/Russell Moody. Recorded February 1, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires. OVERDUBS Piano: Elvis Presley recorded February 26, 1958

Doncha’ Think It’s Time (single master)

Clyde Otis/Willie Dixon. Recorded February 1, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Both tracks were recorded during the filming of “King Creole.” Elvis’ induction into the army was looming large now. Jerry Leiber and Mike Stoller were supposed to have been present to supervise the recording sessions, but Leiber’s hospitalization for pneumonia put paid to that. Elvis was reluctant to enter the studio at all, and the atmosphere was strained when he did show. Elvis made heavy weather of the fairly average material, working through twenty-two takes of “Wear My Ring Around Your Neck” and forty-eight of “Doncha’ Think It’s Time.” Relations in the studio between Elvis and his original musicians were also strained. Guitarist Scotty Moore and bass player Bill Black were by now very much secondary to Elvis as the principal artist. “The Blue Moon Boys” were no more. Elvis had expanded and developed his musical style to something beyond the talents and even interests of his first two musicians. After this session Bill Black would never work with Elvis again. Scotty Moore would, but in a subsidiary role as other guitarists took centre stage, most notably Hank Garland.

Neither song is great. “Doncha Think It’s Time” was co-written by Brook Benton, under the pseudonym of Willie Dixon. “Wear my Ring” is a lively rocker. The clocked up one million in sales and stopped just short of another number one, reaching #2 on pop, #3 country, and a creditable #1 on the R&B chart (and #1 Cash Box country).

HARD HEADED WOMAN

RELEASED:JUN. 10, 1958

Hard Headed Woman

Claude DeMetrius. Recorded for the motion picture King Creole. Recorded January 15, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

Don’t Ask Me Why

Fred Wise/Ben Weisman. Recorded for the motion picture King Creole. Recorded January 16, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

A single which paired a powerhouse rocker and a bluesy ballad from the forthcoming “King Creole” movie soundtrack. The chart performance was similar to the previous single, hitting #1 pop, #2 country and #2 R&B and clocking up one million in sales.

KING CREOLE VOL. 1

RELEASED:JUL. 1, 1958

King Creole

Jerry Leiber/Mike Stoller. Recorded for the motion picture King Creole. Recorded January 23, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

New Orleans

Sid Tepper/Roy C. Bennett. Recorded for the motion picture King Creole. Recorded January 15, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

As Long As I Have You

Lover Doll (EP Version)

Sid Wayne/Abner Silver. Recorded for the motion picture King Creole. Recorded January 16, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith

Led by the great Leiber-Stoller song, the menacing, explosive “King Creole,” this first EP from the movie of the same name sold a very healthy 500,000 copies. This was par with the first “Loving You” EP, so Elvis was keeping pace with himself. The EP hit #1.

KING CREOLE VOL. 2

RELEASED:JUL. 29, 1958

Trouble

Jerry Leiber/Mike Stoller. Recorded for the motion picture King Creole. Recorded January 15, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

Young Dreams

Martin Kalmanoff/Aaron Schroeder. Recorded for the motion picture King Creole. Recorded January 23, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

Crawfish

Fred Wise/Ben Weisman. Recorded for the motion picture King Creole. Recorded January 15, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires, Kitty White

Dixieland Rock

Claude DeMetrius/Fred Wise. Recorded for the motion picture King Creole. Recorded January 16, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black.

The second “King Creole” EP led with another menacing Leiber-Stoller track, “Trouble,” so clearly based on Muddy Waters’ “Hoochie Coochie Man” that Leiber and Stoller in interview were at pains to emphasize that their song was meant to be tongue in cheek. In singing it straight, Elvis made the similarities with Muddy Waters clear. The EP hit #2.

KING CREOLE

RELEASED:SEP. 19, 1958

King Creole

As Long As I Have You

Fred Wise/Ben Weisman. Recorded for the motion picture King Creole. Recorded January 16, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark.Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

Hard Headed Woman

Trouble

Dixieland Rock

Claude DeMetrius/Fred Wise. Recorded for the motion picture King Creole. Recorded January 16, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

Don’t Ask Me Why

Young Dreams

Crawfish

Steadfast, Loyal And True

Jerry Leiber/Mike Stoller. Recorded for the motion picture King Creole. Recorded February 11 at Paramount Scoring Stage. Vocals: The Jordanaires 11) New Orleans - Sid Tepper/Roy C. Bennett. Recorded for the motion picture King Creole. Recorded January 15, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Bass & Guitar: Neal Matthews. Bass & Tuba: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Bongos: Gordon Stoker. Cymbals: Hoyt Hawkins. Clarinet: Mahlon Clark. Trumpet: John Ed Buckner. Saxophone: Justin Gordon. Trombone: Elmer Schneider, Warren D. Smith. Vocals: The Jordanaires

The two “King Creole” Eps had sold two million records between them. The LP contained all ten tracks on the Eps plus one more track, the previously unreleased track “Steadfast, Loyal And True,” whose qualities are entirely appropriate to the plot in the film. The LP still sold 250,000 copies to reach #2 on the US charts (#1 UK)..

ONE NIGHT

RELEASED:OCT. 21, 1958

One Night

I Got Stung

Aaron Schroeder/David Hill. Recorded June 10, 1958 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Chet Atkins, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

“One Night” had been originally recorded in January and February 1957, and withheld from release owing to Elvis’ dissatisfaction with his performance. Elvis had sung the Smiley Lewis original “One Night Of Sin,” but it was felt necessary to clean up the explicit lyrics. If anything, censorship put the edge on the song and Elvis delivered a hugely impressive performance on a revised “One Night With You.”

The B-side is also top quality, with the infectious “I Got Stung” sounding like Elvis’ trademark “Don’t Be Cruel” swing at speed. The recording also benefits from the crack band now assembled at Nashville. The single was a strong seller at 1.5 million copies. There was some falling away in the charts though, hitting #4 pop, #24 country (admittedly, it is far from a country song), and #10 R&B (I would have expected a greater performance in the blues charts).

ELVIS SAILS

RELEASED:NOV. 18, 1958

Press interview with Elvis Presley, September 22, 1958

Elvis Presley’s Newsreel interview. Recorded September 22, 1958

Pat Hernon interviews Elvis at sailing. Recorded September 22, 1958

I’ll put this here because a) it was an Elvis release and b) it proves that there were a lot of Elvis fans in the world who were prepared to buy anything with Elvis’ image and voice on it. The EP sold 60,000 copies and reached #2. I always enjoyed the sound of the ship blowing its horn as it set sail (On the Legendary Performer vol 1 album it let to “A Fool Such as I” which I loved even more).

FOR LP FANS ONLY

RELEASED:JAN. 23, 1959

That’s All Right

Arthur Crudup. Recorded July 5, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Lawdy, Miss Clawdy

Lloyd Price. Recorded February 3, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long.

Mystery Train

Junior Parker/Sam Phillips. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero 04) Playing For Keeps - Stanley Kesler. Recorded September 1, 1956 at Radio Recorders, Hollywood. Guitar: Scotty Moore. Guitar & Piano: Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Poor Boy

My Baby Left Me

I Was The One

Shake, Rattle And Roll

Charles Calhoun. Recorded January 30, 31 & February 3, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: Scotty Moore, Bill Black,D.J. Fontana

I’m Left, You’re Right, She’s Gone

Stan Kesler/Bill Taylor. Recorded February-March 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Jimmie Lott

You’re A Heartbreaker

Jack Sallee. Recorded November-December, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

With Elvis in the army and no material in reserve, RCA rounded up those tracks that had yet to be issued on LP. As it turned out, despite RCA’s strategy of saturating the market, that meant a lot of quality, epoch-defining material. On paper, removed from time and place, this is a superb album. Even though commercial desperation lay behind the album’s release, the material is a remarkable testament to Elvis’ music achievement in defining a new pop music between 1954 and 1956. The only anomaly is the inclusion of “Poor Boy,” a decent enough track on its own merits, but out of its depth when set alongside the heavyweights of Elvis’ career like “Mystery Train,” “My Baby Left Me,” and “Lawdy Miss Clawdy.” The album sold a fair 150,000, reaching #19 on the Top 100, which was to be expected, but which isn’t a true indication of the music’s true worth.

(NOW AND THEN THERE’S) A FOOL SUCH AS I

RELEASED:MAR. 10, 1959

(Now And Then There's) A Fool Such As I

Bill Trader/Bob Miller. Recorded June 10, 1958 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Chet Atkins, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

I Need Your Love Tonight

Sid Wayne/Bix Reichner. Recorded June 10, 1958 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Chet Atkins, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

Elvis returning to knockout form, both sides being exceptional. These sides were recorded at the June ’58 furlough session. “A Fool Such as I” takes the slow and gentle rhythm of Hank Snow’s country hit and turns up the pace and power. The dynamism and electricity of “I Need Your Love Tonight” showed Elvis at his rocking best, powered by Hank Garland’s guitar virtuosity. I love the recordings from this session, precisely on account of the way Elvis is energized by the crack band backing him. It seems that Tom Parker expressed a dislike of the sound of the music produced at this session. It wasn’t a musical objection, of course, because Parker was tone deaf, tuneless, and tasteless. His concern was that Elvis was sharing centre-stage in music making with the other musicians. For Parker, it was always about Elvis over and above the music and the musicians. He knew he had control of Elvis and he knew he could put Elvis’ voice on anything and it would sell.

A TOUCH OF GOLD VOL. 1

RELEASED:APR. 21, 1959

Hard Headed Woman

Good Rockin’ Tonight

Roy Brown. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Don’t

I Beg Of You

Out of material, some genius at RCA came up with the idea of a new cycle of EPs designed purely to recycle material that had already been out in several formats already. The subtitle volume 1 made it clear that more volumes were in the pipeline. The first volume sold a very tasty 130,000 copies, which isn’t bad at all for songs that had already been issued and already sold well.

A BIG HUNK O’ LOVE

RELEASED:JUN. 23, 1959

A Big Hunk O’ Love

Aaron Schroeder/Sid Wyche. Recorded June 10, 1958 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Chet Atkins, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

My Wish Came True

Ivory Joe Hunter. Recorded September 6, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

The truly remarkable thing about a single like this is that even whilst Elvis was away in the army, he was still by far and away the best and most exciting thing around. This hyper-electric hard as nails loud and proud rock’n’roll is one of the best recordings of Elvis’ career. I’ll take it over “Hound Dog” any day of the week, it is louder, more exciting, has a greater dynamic, and is driven by a supercharged eroticism. And the musicianship is stellar. It hit #1 on the pop chart and #10 on R&B.

I love the B side, too, a much neglected classic, an R&B ballad written for Elvis by Ivory Joe Hunter and more than a little redolent of Dean Martin’s “Return to Me.” It’s a throwback, then, a little old-fashioned. But we needed calming down after the sexual frenzy of the A-side.

A DATE WITH ELVIS

RELEASED:JUL. 24, 1959

Blue Moon Of Kentucky

Bill Monroe. Recorded July 7, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Young And Beautiful

Baby I Don’t Care

Milkcow Blues Boogie

Kokomo Arnold. Recorded November-December, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Baby Let’s Play House

Arthur Gunter. Recorded February-March 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Good Rockin’ Tonight

Roy Brown. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Is It So Strange

We’re Gonna Move

I Want To Be Free

Jerry Leiber/Mike Stoller. Recorded for the motion picture Jailhouse Rock. Recorded, May 3, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

I Forgot To Remember To Forget

Stan Kesler/Charlie Feathers. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

This LP is of a piece with “For LP Fans Only,” collecting in one place ten tracks previously uncollected on LP. The approach has a rationale, but seeing five Sun sides here, to go with the four Sun sides on the previous album, and noting that “I Don’t Care If The Sun Don’t Shine” was still unissued on any album, I’m left wondering why we had to wait until 1975 for “The Sun Collection.” It’s a good album, for those looking to complete their collection and put tracks in some kind of order. The album was released with a deluxe gatefold cover, with photos of Elvis in uniform (didn’t you just know they’d make a film of Elvis in army uniform) and a calendar allowing us to count the days down until Elvis left the army. The album hit #32.

A TOUCH OF GOLD VOL. 2

RELEASED:SEP. 2, 1959

Wear My Ring Around Your Neck

Treat Me Nice

Jery Leiber/Mike Stoller.Recorded September 5, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

One Night

That’s All Right

Arthur Crudup. Recorded July 5, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Volume two of the “Touch of Gold” series. The EP sold 100,000 copies, begging the question of how many more times it was possible to sell the same songs.

CHRISTMAS WITH ELVIS

RELEASED:OCT. 13, 1959

White Christmas

Here Comes Santa Claus (Right Down Santa Claus Lane)

Oh Little Town Of Bethlehem

Silent Night

The remaining songs from the Christmas album that had yet to be released on EP. The EP sold 80,000 copies. That may not sound a lot, but it indicated that the Christmas material would sell solidly year in year old, serving as a guaranteed income stream.

50,000,000 ELVIS FANS CAN’T BE WRONG: ELVIS’ GOLD RECORDS VOL. 2

RELEASED:NOV. 13, 1959

I Need Your Love Tonight

Don’t

Wear My Ring Around Your Neck

My Wish Came True

I Got Stung

One Night

A Big Hunk O’ Love

I Beg Of You

(Now And Then There's) A Fool Such As I

Doncha' Think It's Time

That two volumes of Gold Records could have been issued from what was effectively just over two years of recording is extraordinary testimony to the creativity and quality of Elvis Presley in the fifties. This time only five singles were only available for inclusion in the collection, but we are talking chart toppers and million sellers all the same. The initial sales were disappointing, which may be understandable given RCA’s saturation strategy. Like the other volumes in the Gold Records series, the album has continued to sell over the years. The album cover of multiple Elvises clad in the gold lamé Nudie suit is iconic. Nudie was the Hollywood costumer to the (country-and-western) stars. It may not have been to Elvis’ taste and may not have represented what he was about. But those jumpsuits and capes he wore in the seventies represent a similar aesthetic. It wasn’t just about power and success, it was participating in a tradition in which those old country singers would dress up and perform as stars for their audience. Critics tend to miss that. What looks like Elvis setting himself apart is actually Elvis locating himself in an older, populist, tradition.

A TOUCH OF GOLD VOL. 3

RELEASED:FEB. 23, 1960

Too Much

All Shook Up

Don’t Ask Me Why

Blue Moon Of Kentucky

Bill Monroe. Recorded July 7, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

“A Touch of Gold” volume three should have been retitled “a touch of desperation. It even copied the artwork of Gold Records vol 2. Selling a mere 50,000 copies, this would be the last volume in the series. Elvis was about to return. This may have the last chance to flog product.

STUCK ON YOU

RELEASED:MAR. 23, 1960

Stuck On You

Aaron Schroeder/Leslie McFarland. Recorded March 20, 1960 at RCA’s Studio B, Nashville. Guitar: Scotty Moore, Elvis Presley. Bass: Bob Moore. Electric Bass: Hank Garland. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

Fame And Fortune

Fred Wise/Ben Weisman. Recorded March 20, 1960 at RCA’s Studio B, Nashville. Guitar: Scotty Moore, Elvis Presley. Bass: Bob Moore. Electric Bass: Hank Garland. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

RCA were clearly anticipating that Elvis’ first single upon returning from the army would be a huge hit. They had 1.4 million sleeves printed for the single before its title was even known, before Elvis had even entered the recording studio. The text declared, “ELVIS’ 1ST NEW RECORDING FOR HIS 50,000,000 FANS ALL OVER THE WORLD.” The records were pressed and shipped just two days after the recording session was over. The A-side is a slinky, slower take on Elvis’ trademark mid-tempo style. “Fame And Fortune” is a classy doo-wop-styled ballad which presaged more work in this style in the year to come. With this single Elvis was announcing new musical directions were to be taken. The single hit #1 in the pop chart, as expected. It was also #27 country and #6 R&B.

ELVIS IS BACK

RELEASED:APR. 8, 1960

Make Me Know It

Otis Blackwell. Recorded March 20, 1960 at RCA’s Studio B, Nashville. Guitar: Scotty Moore, Elvis Presley. Bass: Bob Moore. Electric Bass: Hank Garland. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

Fever

John Davenport/Eddie Cooley. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

The Girl Of My Best Friend

Beverly Ross/Sam Bobrick. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

I Will Be Home Again

Bennie Benjamin/Raymond Leveen/Lou Singer. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires. Harmony Vocals: Charlie Hodge

Dirty, Dirty Feeling

Jerry Leiber/Mike Stoller. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Thrill Of Your Love

Stanley Kesler. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Soldier Boy

David Jones/Theodore Williams Jr. Recorded March 20, 1960 at RCA’s Studio B, Nashville. Guitar: Scotty Moore, Elvis Presley. Bass: Bob Moore. Electric Bass: Hank Garland. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

Such A Night

Lincoln Chase. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

It Feels So Right

Girl Next Door Went- A’Walking

Bill Rise/Thomas Wayne. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Like A Baby

Jesse Stone. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Reconsider Baby

Lowell Fulson. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Elvis’ first recording sessions after the army were highly productive in terms of both quality and diversity of material. The sound blended blues, R&B, country, and gospel within an overall pop sensibility to present a masterclass on Elvis’ contribution to music. Elvis paid homage to the American vernacular tradition by fashioning a new popular music out of it. Elvis had been preparing for precisely this musical statement during his time in the army, and had worked with a conscious determination to expand both his voice and repertoire. He vocalized daily and studied breath control in order to increase the range and power of his voice. He worked, also, on song selection. The result is the Elvis Is Back LP and a series of quality singles. This showed what Elvis could do when allowed to focus on the music. It is unfortunate to record that that musical ambition, range and depth was not rewarded by any appreciable boost in sales, or critical appreciation for that matter. Elvis is Back sold 300,000 copies, which was on a par with previous album sales. When it came to the Grammy awards, the critics nominated GI Blues for album of the year. Elvis is Back has a claim to being the greatest Elvis album of all. Its quality was ignored. Why bother? Why not just issue anything so long as Elvis’ name and image was on it? Elvis, evidently, was not seen as an album artist. That’s the only possible explanation for neglect here. That neglect was to have implications for Elvis’ career.

IT’S NOW OR NEVER

RELEASED:JUL. 5, 1960

It’s Now Or Never

Aaron Schroeder/Wally Gold. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

A Mess Of Blues

Doc Pomus/Mort Shuman. Recorded March 20, 1960 at RCA’s Studio B, Nashville. Guitar: Scotty Moore, Elvis Presley. Bass: Bob Moore. Electric Bass: Hank Garland. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

“It’s Now or Never” is an English language adaptation of “O Sole Mio.” There had already been an English language version in the shape of Tony Martin’s “There’s No Tomorrow,” which Elvis knew well and sung in private preparation. “It’s Now of Never” was written by Aaron Schroeder and Wally Gold specifically so that Elvis’ publishing company Hill and Range could claim world rights. As it happened, international copyright law did not recognize the melody as being in the public domain, so Hill and Range had to make a deal with the song’s European publisher. The song itself fully realized Elvis’ highest vocal ambitions. When he had difficulty achieving the full-throated operatic cadence at the song’s conclusion, engineer Bill Porter suggested that the ending could be spliced on. Elvis refused. He wanted a full performance of the highest quality: “I’m going to do the song all the way through, or I’m not going to do it at all.” That he did so is testament both to Elvis’ vocal ambitions and vocal abilities.

“A Mess of Blues” is a swinging blues perfect for Elvis’ style, the first song of many great songs that the crack R&B songwriting duo Doc Pomus and Mort Shuman would contribute.

The single was a huge success, registering sales of 1.4 million copies in the U.S. and another million plus in the UK, and several millions more worldwide, making it the biggest hit of Elvis’ career to date.

G.I. BLUES

RELEASED:SEP. 23, 1960

Tonight Is So Right For Love

Sid Wayne/Abner Silver. Recorded for the motion picture G.I. Blues. Recorded April 27, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

What’s She Really Like

Sid Wayne/Abner Silver. Recorded for the motion picture G.I. Blues. Recorded April 28, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Frankfort Special

Sid Wayne/Sherman Edwards. Recorded for the motion picture G.I. Blues. Recorded May 6, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Wooden Heart

Fred Wise/Ben Weisman/Kay Twomey. Recorded for the motion picture G.I. Blues. Recorded April 28, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

G.I. Blues

Sid Tepper/Roy C. Bennett. Recorded for the motion picture G.I. Blues. Recorded April 27, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Pocketful Of Rainbows

Fred Wise/Ben Weisman. Recorded for the motion picture G.I. Blues. Recorded May 6, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Shoppin’ Around

Sid Tepper/Roy C. Bennett/Aaron Schroeder. Recorded for the motion picture G.I. Blues. Recorded May 6, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Big Boots

Didja’ Ever

Sid Wayne/Sherman Edwards. Recorded for the motion picture G.I. Blues. Recorded April 27, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Blue Suede Shoes

Carl Perkins. Recorded for the motion picture G.I. Blues. Recorded April 28, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Doin’ The Best I Can

Doc Pomus/Mort Shuman. Recorded for the motion picture G.I. Blues. Recorded April 27, 1960 at RCA Studios, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Bode. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Elvis left for the army on a high note with “King Creole,” his finest film and acting performance to date. He returned from the army with his acting ambitions unimpaired and his hopes still high. He was profoundly disappointed by his first film back, both the movie and its music. There had been a last-minute disagreement between Hill and Range, with the result that their three songs were dropped from the film. Behind that “disagreement,” of course, lay manager Tom Parker’s concern to insulate Elvis from external creative influences. Elvis made his disappointment in most of the remaining numbers clear. He was unhappy, too, with the thin story of the film and the somewhat bland character he played. Elvis nevertheless delivered a professional performance, exuding a, detached, charm. The soundtrack is competent enough. The title track is clearly contrived, but Elvis delivers this update of the “GI Jive” with a great deal of panache and flair. “Frankfurt Special” and “Shoppin’ Around” are catchy enough pastiches of Elvis’ rockabilly past (whilst also increasing the yearning for the real thing). The best two tracks are “Pocketful of Rainbows,” with a brilliantly elastic vocal, and “Doin’ The Best I Can,” written by Pomus and Shuman, a doo-wop style ballad that receives a perfectly modulated and controlled vocal from Elvis. Both movie and soundtrack album were a massive success, with sales for the latter totalling a staggering 750,000 copies. That that total is some three times and more the sales of Elvis’ non-film albums was to have an influence on the decisions with respect to Elvis’ future directions. If such figures suggested a bright future for Elvis – and his manager – financially, they also cast a dark shadow over his acting and musical ambitions.

ARE YOU LONESOME TONIGHT?

RELEASED:NOV. 1, 1960

Are You Lonesome Tonight?

Roy Turk/Lou Handman. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

I Gotta Know

Paul Evans/Matt Williams. Recorded April 3, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

This was the third single from the Elvis Is Back sessions and was another huge seller, clocking up 1.8 million sales in the U.S. alone. “Are You Lonesome Tonight?” is a song that was written before Elvis was even born, and was recorded by Al Jolson in 1927, later Gene Austin, who is the more likely influence (through Tom Parker) here. Elvis warmed to the intimacy of the song and delivered the recitation with great feeling. “It’s Now or Never” hit #1 pop and #3 R&B, whilst “A Mess of Blues” sold well enough to reach #32.

HIS HAND IN MINE

RELEASED:NOV. 23, 1960

His Hand In Mine

Mosie Lister. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

I’m Gonna Walk Dem Golden Stair

Cully Holt. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

In My Father’s House

Aileene Hanks. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

Milky White Way

Arranged and Adapted by Elvis Presley. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

Known Only To Him

Stuart Hamblen. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

I Believe In The Man In The Sky

Richard Howard. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

Joshua Fit The Battle

He Knows Just What I Need

Swing Down Sweet Chariot

Mansion Over The Hilltop

Ira Stamphill. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

If We Never Meet Again

Albert E. Brumley. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

Working On The Building

Winifred O. Hoyle/Lillian Bowles. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

Gospel was Elvis’ first musical love, and it remained with him to the end. A gospel album represented the fulfilment of a musical ambition, even dream, which had been partially realized, and presaged, in the “Peace In The Valley” EP of 1957. The selection of tracks strongly suggests that “His Hand in Mine” is a tribute to the Statesmen, who were both his and his father’s favourite gospel quartet, and the Blackwood Brothers, who were his mother’s, recorded in the jubilee style of the Golden Gate Quartet. The only Grammy awards that Elvis was to win in his lifetime were for gospel. His later albums “How Great Thou Art” and “He Touched Me” were to each win a Grammy. In the opinion of many, “His Hand in Mine” is Elvis’ best gospel album. Whilst sales at the time were modest, the album has continued to sell over the years.

SURRENDER

RELEASED:FEB. 7, 1961

Surrender

Doc Pomus/Mort Shuman. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

Lonely Man

Bennie Benjamin/Sol Marcus. Recorded for the motion picture Wild In The Country. Recorded November 7, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Myer Rubin. Drums: D.J. Fontana. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

“Surrender” is another vocally ambitious song in the manner of “It’s Now or Never,” being an English language version of an operatic Italian folk song, “Torna A Sorrento,” with lyrics written by Doc Pomus and Mort Shuman. It is, if anything, even more vocally demanding than “It’s Now Or Never,” but Elvis hit all the top notes perfectly. The single hit #1 pop and clocked up sales of more than a million. The B-side was intended for the forthcoming movie, “Wild In The Country,” although, as it turned out, the song was not to be included. It’s a soft and intimate acoustic ballad, the kind of which Elvis did well.

ELVIS BY REQUEST – FLAMING STAR

RELEASED:APR. 1, 1961

Flaming Star

Sid Wayne/Sherman Edwards. Recorded for the motion picture Flaming Star. Recorded October 7, 1960 at Radio Recorders, Hollywood. Guitar: Howard Roberts, Tiny Timbrell. Bass: Myer Rubin. Drums: Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

Summer Kisses, Winter Tears

Fred Wise/Ben Weisman/Jack Lloyd. Recorded for the motion picture Flaming Star. Recorded August 8, 1960 at Radio Recorders, Hollywood. Guitar: Howard Roberts, Tiny Timbrell. Bass: Myer Rubin. Drums: Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

Are You Lonesome Tonight?

It’s Now Or Never

Another strange EP, no doubt part of RCA’s “all pockets and prices” policy. Two songs are from Elvis’ previous movie “Flaming Star.” The film was a straight drama rather than a musical, with the title track sung over the opening credits and the few songs remaining being purely incidental. “Summer Kisses” was cut from the film. When a bootleg version of the title track started to receive some radio airplay, this EP was quickly cobbled together and put out “By Request.” Since the last two had been Elvis’ recent huge million selling number one hits, we are entitled to think that all those who wanted them already had them. That leaves the conclusion that fans were effectively buying a two sided single for the price an EP. The EP sold over 100,000 copies.

I FEEL SO BAD

RELEASED:MAY. 2, 1961

I Feel So Bad

Chuck Willis. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Wild In The Country

Hugo Peretti/Luigi Creatore/George Weiss. Recorded for the motion picture Wild In The Country. Recorded November 7, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Myer Rubin. Drums: D.J. Fontana. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires.

Tom Parker’s plan had been to issue a couple of tracks to promote the forthcoming film “Wild In The Country,” the title track plus “I Slipped, I Stumbled, I Fell.” RCA executive Bill Bullock, however, insisted that a track from the March 1961 album session in Nashville be used. “I Feel So Bad” is a powerful blues, harking back to the Elvis of the fifties. It had been a top ten R&B hit for Chuck Willis in 1954, and Elvis delivers such a fine performance we are left wanting more in a similar vein. Unfortunately, the single recorded a marked drop in sales, 600,000 copies as against the million plus for the ballads, no doubt strengthening Parker’s hand when it came to choosing future directions. It is worth noting here that, for all of the accusations that Elvis made it big by stealing the blues, the blues did not sell as well as other musical forms, at least not by this stage of Elvis’ career.

SOMETHING FOR EVERYBODY

RELEASED:MAY. 19, 1961

There’s Always Me

Don Robertson. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Give Me The Right

Fred Wise/Norman Blagman. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

It’s A Sin

Fred Rose/Zeb Turner. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Sentimental Me

Jimmy Cassin/Jim Morehead. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Starting Today

Gently

Murray Wisell/Edward Lisbona. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

I’m Comin’ Home

Charlie Rich. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

In Your Arms

Aaron Schroeder/Wally Gold. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Put The Blame On Me

Kay Twomey/Fred Wise/Norman Blagman. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Judy

Teddy Redell. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

I Want You With Me

Woody Harris. Recorded March 12, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

I Slipped, I Stumbled, I Fell

Fred Wise/Ben Weisman. Recorded for the motion picture Wild In The Country. Recorded November 8, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Myer Rubin. Drums: D.J. Fontana. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

An album of non-film and non-religious material, and hence the true follow-up to the outstanding Elvis is Back. The performances are polished and professional, perhaps a little too much. This is the high end of pop sophistication. The sequencing of the material could also have broken up the ballads and the rhythm numbers more to allow for variety. Some genius decided to divide the album into ballad and rhythm sides, with the result the songs can blend into each other and the sound become samey and repetitive. The album attained #1 on the charts, but its sales of 250,000 confirmed a pattern that did not augur well for Elvis’ artistic direction. Elvis’ film albums were selling at the rate of two, three, or more times his non-film albums. The sad thing is that Elvis’ voice, in terms of its pure quality, may well have been at its peak here. Elvis had never sounded better, and the interpretive skill he demonstrated on a number of the tracks, the ballads in particular, identified him as a singer of the highest calibre.

(MARIE’S THE NAME) HIS LATEST FLAME / LITTLE SISTER

RELEASED:AUG. 8, 1961

(Marie's The Name) His Latest Flame

Doc Pomus/Mort Shuman. Recorded June 25, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Piano: Gordon Stoker. Claves: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Little Sister

Elvis Presley’s recording career is marked by a number of great single pairings. This, with both sides written by Pomus-Shuman, has a claim to be Exhibit A, or one of them. The coupling of “Hound Dog” and “Don’t Be Cruel” proved that it was possible to have a two sided single and score big hits with both sides. It would nevertheless have been interesting to have issued “His Latest Flame” and “Little Sister” as A sides in their own right. The single hit #4, although it is quite possible that issued apart could have delivered two #1’s. Elvis utterly transformed “His Latest Flame” in the studio. It started out with an obvious Bo Diddley beat, but was revved up and given a Latin makeover to result in something very different from what the composers had in mind. “It’s a good song, I like it,” Elvis said in the studio. “Little Sister” is every bit as good, a strong and dynamic blues which Elvis delivered with both punch and panache.

BLUE HAWAII

RELEASED:OCT. 20, 1961

Blue Hawaii

Lee Robin/Ralph Rainger. Recorded for the motion picture Blue Hawaii. Recorded March 22, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Almost Always True

Fred Wise/Ben Weisman. Recorded for the motion picture Blue Hawaii. Recorded March 22, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Aloha Oe

Arranged and Adapted by Elvis Presley. Recorded for the motion picture Blue Hawaii. Recorded March 21, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

No More

Don Robertson/Hal Blair. Recorded for the motion picture Blue Hawaii. Recorded March 21, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Can’t Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded for the motion picture Blue Hawaii. Recorded March 23, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Rock-A-Hula Baby

Fred Wise/Ben Weisman/Dolores Fuller. Recorded for the motion picture Blue Hawaii. Recorded March 23, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Moonlight Swim

Sylvia Dee/Ben Weisman. Recorded for the motion picture Blue Hawaii. Recorded March 22, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers. OVERDUBS Vocals: D. McCarty, V. Rees, L. Norman, J. Allen

Ku-U-I-Po

Hugo Peretti/Luigi Creatore/George Weiss. Recorded for the motion picture Blue Hawaii. Recorded March 21, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Ito Eats

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Blue Hawaii. Recorded March 22, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Slicin’ Sand

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Blue Hawaii. Recorded March 21, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Hawaiian Sunset

Beach Boy Blues

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Blue Hawaii. Recorded March 23, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

Island Of Love

Hawaiian Wedding Song

Charles King/Al Hoffman/Dick Manning. Recorded for the motion picture Blue Hawaii. Recorded March 22, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

How we see this film and its soundtrack depends on how we see Elvis, what he was, what he was to become, what he could have become. The music in “Blue Hawaii” is about as far away from “Little Sister,” “Witchcraft,” and “I Feel So Bad” as it could possibly be. That in itself is remarkable testament to the incredibly stylistic range of Elvis Presley as a vocalist. This would remain the case, as his performance of “Down in the Alley” at the same time as the Hawaiian ballad “I’ll Remember You” at the 1966 gospel sessions show. It’s not an either/or, in other words, a case of choosing one and excluding the other. The problem is that rather than attain a balance that recognized Elvis’ genuine multiplicity in music, the sounds which attracted the greatest commercial numbers in the immediate, measured in hard cash, prevailed over and effectively diminished other sounds. That’s not to say that music Elvis loathed came to prevail at the expense of the music he loved. Elvis was to have a battle for his aesthetic soul on his hands. But the fact remains that Elvis did have a taste for ballads and romantic music, and the songs on “Blue Hawaii” fitted him to a T. It is worth remembering that one of the first tracks that Elvis recorded at Sun was Bing Crosby’s Hawaiian-flavored “Harbor Lights.” When set in that context, “Blue Hawaii” makes perfect sense. The songs were strong and well arranged. As film soundtracks go, “Blue Hawaii” has a claim to being the best, musically, of all the Elvis films. In the clash between serious drama and light romantic comedy and entertainment, “Blue Hawaii” is most certainly of the latter type, clashing directly with Elvis’ ambitions with respect to the former. If there remained any doubt as to the direction Elvis’ career was to take, this was settled by the enormous commercial success of “Blue Hawaii” and the relative failure of Elvis’ two serious movies “Flaming Star” and “Wild In The Country.” The film was a box-office whilst the soundtrack album sold two million copies to become the second biggest selling album of the 1960’s. Figures like that set the direction of not only Elvis’ career as an actor but also as a singer and musician. “He’s not going to be that kind of actor,” actress Shelley Winters overheard Tom Parker shout at an Elvis screen test, at which Elvis acquitted himself well in a dramatic role. Elvis had ambitions to become “the next James Dean.” Instead he was marked down as a romantic lead in light musical comedies. Worse still, he wasn’t going to be allowed to be the “James Dean” of music, either, with his screen persona crossing over from the film world into the studio. Elvis’ studio work was to become sporadic, flabby, and bland.

CAN’T HELP FALLING IN LOVE

RELEASED:NOV. 21, 1961

Can’t Help Falling In Love

Rock-A-Hula Baby

“Can’t Help Falling In Love” is one of a number of songs that Elvis recorded which were adapted from classic European sources, in this case “Plaisir d’Amour.” an eighteenth century French tune. It was a big hit, reaching #2 in the US and in time came to be identified with Elvis, and used by him to close his shows.

“No More” is similar in being derived from “La Paloma.”

GOOD LUCK CHARM

RELEASED:FEB. 27, 1962

Good Luck Charm

Aaron Schroeder/Wally Gold. Recorded October 15, 1961 at RCA’s Studio B, Nashville. Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires

Anything That’s Part Of You

Don Robertson. Recorded October 15, 1961 at RCA’s Studio B, Nashville. Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires

“Good Luck Charm” was a big hit for Elvis, both a US and UK #1, but it would be the last song that Aaron Schroeder, who had contributed material as strong as “Any Way You Want Me,” “Got A Lot O’ Livin’ To Do!,” “I Got Stung,” and “It’s Now Or Never,” would write for him. The days of the ‘contract’ writer were coming to an end. Leiber and Stoller had already departed. Otis Blackwell and Pomus and Shuman would also be gone in time. Writers were becoming resistant to the pressure exerted upon them to give up a portion of their publishing royalties in order to get an Elvis Presley cut. It made sense in the fifties, when Elvis owned the top slot, but times were changing, even before Elvis’ chart performances came to dip markedly.

“Anything That’s Part Of You” is another quality ballad written by Don Robertson, allowing Elvis to be the moody, introspective, sensitive persona that he had once sought to be in his acting roles, an ambition that now seemed thwarted. He could still project that persona through his music, and would continue so to do. But the material would dry up and what performances he continued to deliver in this style would be swamped by soundtrack material. The real Elvis was in constant danger of being eclipsed by his public image, as fashioned by the movies.

FOLLOW THAT DREAM

RELEASED:APR. 1, 1962

Follow That Dream

Fred Wise/Ben Weisman. Recorded for the motion picture Follow That Dream. Recorded July 2, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Angel

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Follow That Dream. Recorded July 2, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

What A Wonderful Life

Sid Wayne/Jerry Livingston. Recorded for the motion picture Follow That Dream. Recorded July 2, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

I’m Not The Marrying Kind

Mack David/Sherman Edwards. Recorded for the motion picture Follow That Dream. Recorded July 2, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Great title track, beautiful ballad, and a couple of jolly tunes. The soundtrack EP from “Follow that Dream” is slight but entertaining. “Follow that Dream” backed with “Angel” could have made for a strong single release were it not for the fact that at a mere 1 minute 37 seconds the title track is very short. The EP sold 500,000 copies.

POT LUCK

RELEASED:MAY. 18, 1962

Kiss Me Quick

Just For Old Time Sake

Sid Tepper/Roy C. Bennett. Recorded March 18, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Gonna Get Back Home Somehow

Doc Pomus/Mort Shuman. Recorded March 18, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

(Such An) Easy Question

Otis Blackwell/Winfield Scott. Recorded March 18, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Steppin’ Out Of Line

Fred Wise/Ben Weisman/Dolores Fuller. Recorded for the motion picture Blue Hawaii. Recorded March 22, 1961 at Radio Recorders, Hollywood. Guitar: Hank Garland, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Floyd Cramer. Piano & Celeste: Dudley Brooks. Saxophone: Boots Randolph. Steel Guitar: Alvino Rey. Harmonica: George Fields. Ukulele: Fred Tavares, Bernie Lewis. Vocals: The Jordanaires, The Surfers

I’m Yours

Don Robertson. Recorded June 25, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Piano: Gordon Stoker. Claves: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Something Blue

Paul Evans/Al Byron. Recorded March 18, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Suspicion

Doc Pomus/Mort Shuman. Recorded March 19, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

I Feel That I’ve Known You Forever

Alan Jeffries/Doc Pomus. Recorded March 19, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Night Rider

Doc Pomus/Mort Shuman. Recorded October 15, 1961 at RCA’s Studio B, Nashville. Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires

Fountain Of Love

Bill Giant/Jeff Lewis. Recorded March 18, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

That’s Someone You Never Forget

Red West/Elvis Presley. Recorded June 25, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Piano: Gordon Stoker. Claves: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Like its predecessor, this album is at the high end of pop sophistication. In many ways this was the classic statement of the Elvis who dominated the pop world before the arrival of The Beatles. The songs are all Elvis originals, except for “Just Tell Her Jim Said Hello,” by Leiber and Stoller. Pomus and Shuman make four contributions, with Pomus contributing another one written with Leiber and Stoller, in the style of Don Robertson vein. Otis Blackwell contributes “(Such An) Easy Question” (with Winfield Scott). Among all these quality contributions from established songwriters, perhaps the outstanding song is the one written by Elvis’ buddies Red West and Charlie Hodge, “That’s Someone You Never Forget.” Although titled “Pot Luck,” the album has a claim to be one of Elvis’ most musically consistent and coherent albums, quite distinct from the usual approach of RCA. The material is original and of high quality. The only mystery is why the evident commercial possibilities of the music, as well as its artistic qualities, went underappreciated. The album sold 300,000 copies, on a par with the previous two, much less than the soundtrack albums. Hard work and quality in the studio was not being rewarded, instead the fans were lapping up the music off the film conveyor belt. It may well be that the bad seeds of this predicament had long since been sewn and that Elvis was trapped even before Elvis is Back, a truly great album that was rewarded with a modest 200,000 sales. In the eyes of the public, his own fans no less than others, Elvis was a film artist, both as actor and as singer. No matter the quality of his non-film studio performance, his fans wanted the film Elvis. And a certain kind of film Elvis. They wanted Elvis the romantic comedian, not Elvis the dramatic actor. Art and commerce had parted company, and it need not have been so. The Pomus and Shuman song “Suspicion” oozes class and commercial possibility. It was released by Terry Stafford eighteen months later and became a hit. “(Such An) Easy Question” and “I’m Yours” were used in the film “Tickle Me” and released as back-to-back Elvis singles in 1965, scoring decent chart performances, the latter #11. In the end it is hard to avoid the conclusion that confused packaging and marketing by RCA and conflicting messages and images with respect to Elvis’ musical persona had effectively defined Elvis once and for all in the public realm. He was this kind of artist and not that kind, regardless of any efforts he made to the contrary.

SHE’S NOT YOU

RELEASED:JUL. 17, 1962

She’s Not You

Doc Pomus/Mike Stoller/Jerry Leiber. Recorded March 19, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Just Tell Her Jim Said Hello

Mike Stoller/Jerry Leiber. Recorded March 19, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

“She’s Not You” was a new song written by Doc Pomus with Leiber and Stoller. It is light and breezy pop in a style that Elvis perfected in the early sixties. There had been high hopes for “Just Tell Her Jim Said Hello,” which proved to be somewhat misplaced. Such are the vagaries of the pop charts. It is a quality song, R&B with a Latin rhythm, similar to the kind of songs that The Drifters were recording at the time.

The single hit #5 in the US and #1 in the UK, and sold 800,000 copies.

KID GALAHAD

RELEASED:AUG. 28, 1962

King Of The Whole Wide World

Ruth Batchelor/Bob Roberts. Recorded for the motion picture Kid Galahad. Recorded October 27, 1961 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Dudley Brooks. Saxophone: Boots Randolph. Vocals: The Jordanaires

This Is Living

Ben Weisman/Fred Wise. Recorded for the motion picture Kid Galahad. Recorded October 27, 1961 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Dudley Brooks. Saxophone: Boots Randolph. Vocals: The Jordanaires

Riding The Rainbow

Ben Weisman/Fred Wise. Recorded for the motion picture Kid Galahad. Recorded October 26, 1961 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Dudley Brooks. Saxophone: Boots Randolph. Vocals: The Jordanaires

Home Is Where The Heart Is

Sherman Edwards/Hal David. Recorded for the motion picture Kid Galahad. Recorded October 26, 1961 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Dudley Brooks. Saxophone: Boots Randolph. Vocals: The Jordanaires

I Got Lucky

Dolores Fuller/Ben Weisman/Fred Wise. Recorded for the motion picture Kid Galahad. Recorded October 27, 1961 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Dudley Brooks. Saxophone: Boots Randolph. Vocals: The Jordanaires

A Whistling Tune

“Kid Galahad” is the greatest boxing musical ever made. And very probably the only one. Musically it is of a piece with “Follow that Dream,” which is to say pleasant, amiable, catchy with a couple of outstanding tracks. Both films had strong storylines, so there was less room for songs, meaning that both soundtracks were issued as EP’s. “King Of The Whole Wide World” has obvious hit potential whilst the gentle twister “I Got Lucky” has charms of its own. The problem was that Elvis was competing against himself, in the form of “She’s Not You,” which was charting when the EP was released. The EP sold 400,000 copies whilst “King of the Whole Wide World” charted at #30. A top forty hit, then, which is something, but a performance that somewhat underestimates its qualities.

RETURN TO SENDER

RELEASED:OCT. 2, 1962

Return To Sender

Otis Blackwell/Winfield Scott. Recorded for the motion picture Girls! Girls! Girls! Recorded March 27, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

Where Do You Come From

Ruth Batchelor/Bob Roberts. Recorded for the motion picture Girls! Girls! Girls! Recorded March 27, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

“Return to Sender” proves that songs from the movies could express both artistic and commercial qualities. For some reason, Parker made it a rule to keep singles off the albums. RCA made him break that rule with “Can’t Help Falling In Love,” but the huge success of both single and album seemed to confirm the idea that the one could effectively promote the other. “Return to Sender” has hit potential all over it, so it was released to promote the forthcoming “Girls! Girls! Girls!” (insofar as a film with a title like that required any extra promotion … I wonder what that film was about). “Return To Sender” was a late addition to the soundtrack after Otis Blackwell, who had another song in the picture (“We’re Coming in Loaded,” which has a claim to be the worse song he ever wrote for Elvis), mentioned to Parker that he had just finished writing a new song. Parker asked to hear it and was impressed: “That will go into the movie. It’s a great song.” It is, too, and Elvis delivered it in the film with all the Jackie Wilson moves he could remember (or do). Elvis is Back! .. in Blue Hawaii. “Return to Sender” was a US #2 and a UK#1.

GIRLS! GIRLS! GIRLS!

RELEASED:NOV. 12, 1962

Girls! Girls! Girls!

Jerry Leiber/Mike Stoller. Recorded for the motion picture Girls! Girls! Girls! Recorded March 27, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

I Don’t Wanna Be Tied

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Girls! Girls! Girls! Recorded March 28, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

Where Do You Come From

I Don’t Want To

Janice Tarre/Fred Spielman. Recorded for the motion picture Girls! Girls! Girls! Recorded March 26, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

We’ll Be Together

Charles O’Curran/Dudley Brooks. Recorded for the motion picture Girls! Girls! Girls! Recorded March-May1962. Recording location unknown. Guitar: Robert Bain, Alton Hendrickson. Vocals: The Amigos

A Boy Like Me, A Girl Like You

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Girls! Girls! Girls! Recorded March 27, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

Earth Boy

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Girls! Girls! Girls! Recorded March 28, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

Return To Sender

Because Of Love

Thanks To The Rolling Sea

Ruth Batchelor/Bob Roberts. Recorded for the motion picture Girls! Girls! Girls! Recorded March 26, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

Song Of The Shrimp

Roy C. Bennett/Sid Tepper. Recorded for the motion picture Girls! Girls! Girls! Recorded March 27, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaire

The Walls Have Ears

Roy C. Bennett/Bob Roberts. Recorded for the motion picture Girls! Girls! Girls! Recorded March 27, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

We’re Coming In Loaded

Otis Blackwell/Winfield Scott. Recorded for the motion picture Girls! Girls! Girls! Recorded March 26, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

As movie and soundtrack, “Girls! Girls! Girls!” was very much “Blue Hawaii II.” The problem is that “Blue Hawaii” already had a plot so thin as to make a wafer look like a load. It was not a format containing infinite possibilities. Try to repeat and you are merely adding water and stirring. The soundtrack boasts a range of songs in a variety of styles. It’s a decent album, but with the obvious danger of repetition coming to encourage boredom and a dropping off of public interest. That hadn’t happened yet, not quite. The album sold twice as much as Elvis’ non-film albums but half as less as “Blue Hawaii.” Given the immense commercial success of “Blue Hawaii,” that in itself was not cause for concern. But the signs that the formula was wearing thin were there.

ONE BROKEN HEART FOR SALE

RELEASED:JAN. 29, 1963

One Broken Heart For Sale

Otis Blackwell/Winfield Scott. Recorded for the motion picture It Happened At The World's Fair. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

They Remind Me Too Much Of You

Don Robertson. Recorded for the motion picture It Happened At The World's Fair. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

Once more Elvis’ new single was selected to promote the forthcoming movie and its soundtrack, “It Happened At The World’s Fair,” and once more the track selected has obvious hit potential. “One Broken Heart for Sale” was another superbly crafted catchy R&B based pop by Otis Blackwell (and Winfield Scott). The B-side was also a quality song, a Don Robertson ballad of the type which allowed Elvis to showcase his interpretive skill as a vocalist of great technique as well as emotional depth. For some reason, though, “One Broken Heart for Sale” was issued with a minute cut from its actual length of 2:25. A lack of care was evident, too, in the production, or lack of it, with both sides having the “flat” sound that was appropriate for cinema but lacked presence for radio.

Whatever the reason, this single holds the dubious distinction of being the first regularly scheduled Elvis single not to make the Top 10, stalling at #11. That’s not bad by the standards of most other artists. It was unheard of for Elvis. Even the explanation that “One Broken Heart for Sale” sounds like a remake of “Return to Sender” doesn’t quite satisfy as the whole story, even if it is true. Many artists follow hit singles with copies, so much so it becomes their trademark style. “One Broken Heart for Sale” is a good song, catchy effortless pop, whilst “They Remind Me Too Much of You” is a quality ballad. For this to be the first mainline Elvis single not to reach the top ten there has to be a reason other than lack of quality.

IT HAPPENED AT THE WORLD’S FAIR

RELEASED:MAR. 15, 1963

Beyond The Bend

Ben Weisman/Fred Wise/Dolores Fuller. Recorded for the motion picture It Happened At The World's Fair. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

Relax

Sid Tepper/Roy C. Bennett. Recorded for the motion picture It Happened At The World's Fair. Recorded August 30, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Jordanaires

Take Me To The Fair

They Remind Me Too Much Of You

One Broken Heart For Sale

I’m Falling In Love Tonight

Cotton Candy Land

Ruth Batchelor/Bob Roberts. Recorded for the motion picture It Happened At The World's Fair. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

A World Of Our Own

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture It Happened At The World's Fair. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

How Would You Like To Be

Ben Raleigh/Mark Barkan. Recorded for the motion picture It Happened At The World's Fair. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

Happy Ending

Ben Weisman/Sid Wayne. Recorded for the motion picture It Happened At The World's Fair. Recorded August 30, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Jordanaires

When I was a young boy, I would occasionally exercise my curious mind on things in the Elvis world other than the songs I loved to play. I noticed that some of Elvis’ best songs were written by the same names – Pomus and Shuman, Leiber and Stoller, Blackwell, Robertson. And I noticed that whenever I came across an Elvis song I didn’t like, which was average or reminded me of something else, or thought plain awful, it had a tendency to be written by Tepper-Bennett.They did the odd good one, though.

It was originally planned to issue this soundtrack in deluxe-priced gatefold sleeve album. Far from being worried about the future, hopes were higher than ever. “World’s Fair” was the first in a lucrative new four-movie deal with MGM. Elvis’ future was committed. Unfortunately, the film was idle and inconsequential and the album contained ten songs which stretched to barely twenty minutes, with a number of songs which were merely plot fodder. The failure of the advance single to dent the top ten did not augur well. The ambitious plans for packaging and pricing were dropped. The sales were half those for “Girls! Girls! Girls!” which in turn were half those of “Blue Hawaii.” The future that Elvis had been committed to was one that was diminishing in mathematical proportion. It’s like the tale of the lily pad in the pond only in reverse. By the time it is clear that you have a crisis on your hands, you have run out of time to deal with it. If the interest in Elvis was to keep halving, at some point there would be next to nothing of Elvis left to halve.

(YOU’RE THE) DEVIL IN DISGUISE

RELEASED:JUN. 18, 1963

(You’re The) Devil In Disguise

Bill Giant/Bernie Baum/Florence Kaye. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Please Don’t Drag That String Around

Otis Blackwell/Winfield Scott. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Another great single, showing that the game was far from up for Elvis, only the movies. These two sides came from the singles-and-album session held in Nashville in May 1963. Elvis recorded an impressive fourteen songs, drawing on rhythm and blues and ballads contributed by his best writers (Don Robertson, Pomus-Shuman, Blackwell-Scott). An album that boasted a greater vitality and variety than “Pot Luck” ought to have been issued. It wasn’t, and the material was broken up and thrown away as album fodder, ‘bonus’ songs and B-sides in the years to come. In all likelihood, the album would have sold exactly the same amount as the previous studio albums of non-film material, which is to say 250,000 or so. Elvis’ profile as a recording artist seems to have been set in stone, with the result that any change would have to wait until the movies collapsed under the weight of their own inanity and repetition.

“Devil in Disguise” was Elvis’ choice for single. It was a good choice, an excellent country rocker that predates “Guitar Man” by four years. The B-side, too, is appealing, another catchy number written by Otis Blackwell. All in all, a good single that hit #3 in the US and #1 in the UK (and a number of other countries). The strong chart performance goes to show that the game was not up for Elvis, and that maybe that the root of the problem lay in the way that Elvis and his reputation was hog-tied to the movies.

ELVIS’ GOLDEN RECORDS VOL. 3

RELEASED:AUG. 12, 1963

It’s Now Or Never

Stuck On You

Fame And Fortune

I Gotta Know

Surrender

I Feel So Bad

Are You Lonesome Tonight?

His Latest Flame

Little Sister

Good Luck Charm

Anything That’s Part Of You

She’s Not You

Instead of the album planned after the May 1963 session, RCA issued a third volume in its series of Elvis’ Gold Records. It’s a great album, with a coherent sound of its own, produced by the “A team” that Elvis worked with in Nashville in the early sixties. The album sold 600,000 copies, making it the most successful release in the series. It was just a shame that the ‘lost’ album was to remain lost. That loss effectively spelled the disappearance of Elvis as an album artist independent of the films. He had been retired as an album artist in the same way he had been retired from live performance, and for the same reason – a concentration upon the movies.

BOSSA NOVA BABY

RELEASED:OCT. 1, 1963

Bossa Nova Baby

Jerry Leiber/Mike Stoller. Recorded for the motion picture Fun In Acapulco. Recorded January 22, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Witchcraft

Dave Bartholomew/Pearl King. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

It’s a great single, but conceals a wealth of issues going on in Elvis’ career. The original plan had been to release Elvis’ dynamic reading of Chuck Berry’s “Memphis, Tennessee” backed by “Witchcraft,” a scorching R&B number first recorded by The Spiders in 1955. Such a single would have Elvis revisiting and updating his fifties rock’n’roll persona. Elvis, however, was unsatisfied with the master on “Memphis” and declared his intention to return to the studio to re-record it (as he did in January 1964). That left “Witchcraft” going spare. At this point it was decided – as in the recent past - to select a track from the forthcoming movie – “Fun In Acapulco.” And so, once more, the A-side of a single was used to promote an upcoming movie. The great B-side was effectively wasted, tagged on as a cheerleader for a fil.

As it is, “Bossa Nova Baby” is a song good enough to stand on its own merits apart from the film. In fact, it has precious little to do with the film, being a Leiber and Stoller song originally recorded by Tippie and The Clovers in 1962. The bossa nova isn’t Mexican, either, it is Brazilian.

The single made the top ten, at least, but its placing at #8 showed a definite waning in Elvis’ chart powers. Again, the explanation cannot simply be one of quality. “Bossa Nova Baby” retains its appeal over a period of five decades and is very much an Elvis classic of its type. The slacking off of interest must have had other causes. It’s easy to say that the predominance of the movies, stamping the image of Elvis as a certain kind of artist in the eyes of the public, must have had a big influence on developments. Easy, because it is so obviously true.

FUN IN ACAPULCO

RELEASED:NOV. 15, 1963

Fun In Acapulco

Ben Weisman/Sid Wayne. Recorded for the motion picture Fun In Acapulco. Recorded January 23, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Vino, Dinero Y Amor

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Fun In Acapulco. Recorded January 22, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Mexico

El Toro

Bill Giant/Bernie Baum/Florence Kaye.Recorded for the motion picture Fun In Acapulco. Recorded January 23, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Marguerita

Don Robertson. Recorded for the motion picture Fun In Acapulco. Recorded January 22, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

The Bullfighter Was A Lady

(There’s) No Room To Rhumba In A Sports Car

Fred Wise/Dick Manning. Recorded for the motion picture Fun In Acapulco. Recorded January 23, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

I Think I’m Gonna Like It Here

Don Robertson/Hal Blair. Recorded for the motion picture Fun In Acapulco. Recorded January 22, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Bossa Nova Baby

You Can’t Say No In Acapulco

Sid Feller/Dolores Fuller/Lee Morris. Recorded for the motion picture Fun In Acapulco. Recorded January 23, 1963 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Guadalajara

Pepe Guisar. Recorded for the motion picture Fun In Acapulco. Recorded January 23, 1963 at Radio Recorders, Hollywood. Elvis’ vocal for track was recorded on February 27, 1963. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Love Me Tonight

Don Robertson. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Slowly But Surely

Sid Wayne/Ben Weisman. Recorded May 27, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

For lovers of Mexican music, and Herb Alpert, who was hugely popular at the time. So why not Elvis and the Tijuana Brass? I’d buy it. In fact I did. I can remember listening to one of those Elvis budget albums that were issued in the seventies and hearing “Guadalajara” and having one of those ‘what on earth is that?’ moments. It’s really quite an infectious number. As for this escapade down Mexiso way, we can put it down to a continuation of the strategy of having Elvis cover all bases. Elvis acquits himself well, mind. The songs are impeccably sung, testament either to Elvis’ professionalism or taste, probably both, at least on certain songs. He had a well-developed penchant for Latin music. It’s “Blue Hawaii” relocated to Acapulco. Note the addition of two “bonus tracks” from the May 1963 album session in Nashville, pretty much making it official that there would be no album forthcoming from that material. The ‘lost’ album was destined to remain lost. There were more songs on this soundtrack than the last one, but the downward trend was confirmed. With sales of just 300,000 copies, the Elvis movie soundtrack now found itself at the level where the Elvis non-film studio album of the sixties had been at the start.

KISSIN’ COUSINS

RELEASED:FEB. 10, 1964

Kissin' Cousins

(Fred Wise/Randy Starr). Recorded for the motion picture Kissin' Cousins. Recorded September 30, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires

It Hurts Me

Joy Byers/Charles E. Daniels. Recorded January 12, 1964 at RCA's Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

“Kissin’ Cousins” the single sold a very healthy 700,000 copies, hitting #12 on the charts. Truth be told, it is a decent little twister and very catchy, its reputation damned by its association with the movie of the same name.

What Elvis could and should have been doing is revealed by the song relegated to the B-side, the immense ballad “It Hurts Me,” simply one of the greatest songs of Elvis’ career and proof, if any more were needed, that ‘the King of Rock’n’Roll’ was now a ballad singer of the very highest order. That performance showed what Elvis should have been doing with his time and talent, regardless of sales and chart performance.

KISSIN’ COUSINS

RELEASED:APR. 1, 1964

Kissin Cousins (Number 2)

Bill Giant/Bernie Baum/Florence.Recorded for the motion picture Kissin' Cousins. Recorded September 29, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires.

Smokey Mountain Boy

Lenore Rosenblatt/Victor Millrose. Recorded for the motion picture Kissin' Cousins. Recorded September 30, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires.

There's Gold In The Mountains

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Kissin' Cousins. Recorded September 29, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires.

One Boy Two Little Girls

Catchin' On Fast

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Kissin' Cousins. Recorded September 30, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires.

Tender Feeling

Anyone (Could Fall In Love With You)

Bennie Benjamin/Sol Marcus/Louis DeJesus. Recorded for the motion picture Kissin' Cousins. Recorded September 30, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires.

Barefoot Ballad

Dolores Fuller/Lee Morris. Recorded for the motion picture Kissin' Cousins. Recorded September 30, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires.

Once Is Enough

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Kissin' Cousins. Recorded September 29, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires

Kissin' Cousins

(Fred Wise/RAndy Starr). Recorded for the motion picture Kissin' Cousins. Recorded September 30, 1963 at RCA's Studio B, Nashville. Elvis' vocals recorded October 10, 1963 at MGM's soundstage, Hollywood. Guitar: Grady Martin, Jerry Kennedy, Scotty Moore, Harold Bradley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph, Bill Justis. Fiddle: Cecil Brower. Vocals: Winnifred Brest, Millie Kirkham, Dolores Edgin, The Jordanaires

Echoes Of Love

Bob Roberts/Paddy McMains. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

(It’s A) Long Lonely Highway

Doc Pomus/Mort Shuman. Recorded May 27, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

The less said about the movie “Kissin’ Cousins” the better. It was shot in less than a month by Sam Katzman, a producer known as the “King of the Quickies.” The songs were selected for Elvis by the movie’s director and musical director and the instrumental tracks were laid down in Nashville with Elvis’ vocals overdubbed in L.A. What Elvis thought of it all can be gauged by the fact that he had to be coaxed out of his dressing room on some days of filming. In keeping with its slip-shod origins and approach, the movie jumped the queue ahead of “Viva Las Vegas,” a much better movie that had already been shot. It’s difficult to work out the logic, other than as a deliberate act of sabotage, bringing the curtain down on any pretensions Elvis had of being a serious artist. This was effectively the white flag of surrender in face of The Beatles. It was their world now, and Elvis was being put out to grass in his own world of faithful devotees who would buy anything with his name and voice on it. An artistic irrelevance and a cultural joke, Elvis still had a loyal band of easily pleased followers with money in their pockets.

The songs are idle and amiable for the most part. There are a couple of greater worth, the ballad “Tender Feeling” in particular. “Once is Enough” also has real potential as a single release. But some of the material here is so appalling that to even criticize it would be to spend more time than the hacks behind this spent on cobbling it all together. Note once more the two ‘bonus’ songs, the Nashville material of May 1963 being raided again to pad out an inferior product. To waste Pomus and Shuman’s beefy country rocker “(It’s A) Long Lonely Highway” in this way is an abomination. Confirming the recent trend, the LP sold 300,000 copies.

KISS ME QUICK

RELEASED:APR. 14, 1964

Kiss Me Quick

Suspicion

The main question here is one of timing: why? These songs were from 1962’s “Pot Luck.” Where was its successor album from the May 1963/January 1964 material? There is no denying that these are two decent tracks with a sound provenance, the crack songwriting team of Pomus and Shuman. The release of “Suspicion” was an act of panic from RCA, maybe expressing a sense of guilt at having missed the obvious commercial possibilities of such a strong track all those years ago. At the time of this single release Terry Stafford was racing to the top of the charts with a cover version that copied Elvis’ in every respect. Owing to neglect on the part of his recording company, Elvis was being overtaken by his impersonators (Ral Donner and “The Girl of My Best Friend” springs to mind, also Joe Dowell and “Wooden Heart.” I’ve named three singles there with which Elvis could and should have scored big hits with. I’ll add “Always on My Mind” and ask who was supposed to be paying attention at RCA?). The original Elvis single was too late off the blocks to take any airplay from Stafford’s copy and so “Kiss Me Quick,” also from “Pot Luck” was played. It’s a lighter, more rhythmic take on “It’s Now or Never,” but not as substantial. The single garnered sales of a meagre 200,000, the lowest recorded for a regular Elvis single release. It hit #34 in the charts, although it did make the top five in a few other countries. That’s the thing about Elvis, if he is ever faltering in one place, he is sure to be one the rise somewhere else.

VIVA LAS VEGAS

RELEASED:APR. 28, 1964

If You Think I Don't Need You

Red West/Joe Cooper. Recorded for the motion picture Viva Las Vegas. Recorded July 9, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires

I Need Somebody To Lean On

Doc Pomus/Mort Shuman. Recorded for the motion picture Viva Las Vegas. Recorded July 10, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires

C'mon Everybody

Joy Byers. Recorded for the motion picture Viva Las Vegas. Recorded July 9, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires

Today, Tomorrow And Forever

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Viva Las Vegas. Recorded July 11, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires

If there was ever any doubt that driving Tom Parker’s strategy was not merely exploitation but control, then the story of “Viva Las Vegas” removes it. One lame soundtrack after another had been issued in recent years, containing tracks that would have insulted the reputations of the most average of artists, let alone one of Elvis’ standing (“How Would You Like to Be?,” “Barefoot Ballad,” “Ito Eats,” need I go on). “Viva Las Vegas” was not only a very decent film, it contained a very strong soundtrack. It was butchered, quite deliberately, in an act of artistic sabotage. First off, fantastic tracks like “Night Life” were cut. Also nobbled were the duets with Ann-Margret. Parker was scared stiff of Ann-Margret, scared of her talent, her ambitions, her smarts, her influence. The more that she and Elvis hit it off – and their on-screen interaction is electric – the more likely it would be that Elvis’ eyes would be opened to another way of doing ‘business,’ a better way that didn’t involve two-bit carny crooks. Parker, who had uttered nary a word at any manner of dreck going out in the Elvis film, for the reason that his paid hacks were responsible for most of it, complained like hell about “Viva Las Vegas.” He complained about production costs, unchecked spending, too much time spent on filming, too much camera attention being focused on Elvis’ co-star, Ann-Margret, too many close-ups of Ann-Margret, too many duets between Elvis and Ann-Margret. Just too much of a threat to his control of Elvis, too much of a threat to the cushy number he had going with Elvis.

The “Viva Las Vegas” soundtrack was thus cut down to an EP. It sold a meagre 150,000 copies and barely scraped into the Hot 100, a miserable fate for material of quite decent quality.

The fact that the movie itself was actually a huge success is often glossed over. The usual accounts write of Elvis being washed up with the arrival of The Beatles, with those loveable Liverpudlians sweeping all before them. That isn’t quite true. “Viva Las Vegas” turned up at Number Eleven on Variety’s end-of the-year box-office chart, which was a higher position than the Beatles’ much more acclaimed “A Hard Day’s Night.” The film had time and money spent on it and, in Ann-Margret, real talent too. In other words there was nothing wrong with ‘the Elvis film’ as such, the problem lay with the cheap and cheerless approach being taken.

The soundtrack offers a good balance of ballads and rhythm material, a great title track. A track worthy of particular mention is “I Need Somebody To Lean On,” another contribution by Pomus-Shuman, only this time with a difference. It is a sophisticated piece of piano jazz blues which, judging by Elvis’ exquisite performance, reveals an unexplored dimension of Elvis’ vocal ability. This is not so much an indication of the direction that Elvis’ movie career might have taken had more time, thought, and resources gone into their making, as an indication of lost musical directions.

In the passing of the years the reputation of “Viva Las Vegas” the movie and soundtrack has grown. It now stands proud as the top-grossing film of Elvis’ career whilst the title track is now recognized as an Elvis classic. It wasn’t recognized as a classic at the time, quite the contrary.

WHAT’D I SAY

RELEASED:APR. 28, 1964

What'd I Say

Ray Charles. Recorded for the motion picture Viva Las Vegas. Recorded August 30, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Alton Hendrickson, Glen Campbell. Bass: Ray Siegel. Drums: Frank Carlson. Percussion: Roy Harte. Piano: Artie Cane. Saxophone: Steve Douglas. Vocals: The Jubilee Four. OVERDUB Vocals: The Carol Lombard Quartet

Viva Las Vegas

Jerry Leiber/Mike Stoller. Recorded for the motion picture Viva Las Vegas. Recorded July 9, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires

It is strange to see “What’d I Say” as the A-side in the US. In the UK “Viva Las Vegas” was the lead single. The picture is more confused in the US. The single found itself competing in a cluttered Elvis market, with both the soundtrack to “Kissin’ Cousins” and the single “Kiss Me Quick” in the market. Will the real Elvis Presley please stand up? Did anyone know who the real Elvis was? Did Elvis know? I always felt that one of the reasons Elvis took so perfectly to Dylan’s “Tomorrow is a Long Time” were the lines:

I can't see my reflection in the water

I can't speak the sounds that show no pain

I can't hear the echo of my footsteps

I can't remember the sound of my own name

They could have been written for Elvis at this stage of his career. “Do You Know Who I Am?” he would come to sing in 1969. The situation was a nonsense and entirely the result of mismanagement and miscalculation on the part of Tom Parker and RCA.

Elvis’ version of Ray Charles’ “What’d I Say” is exciting enough, but a little forced and frenetic, reflecting its rushed recording. “Viva Las Vegas” is a brilliantly crafted camp concoction from Pomus and Shuman. Like much else of Elvis’ music in these years, it was thrown away and buried in a crowded marketplace.

SUCH A NIGHT

RELEASED:JUL. 14, 1964

Such A Night

Never Ending

Buddy Kaye/Phil Springer. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

At this point you have to wonder who was in charge at RCA, if anyone. “Such a Night” is a great song, but goes back to the 1960 LP “Elvis is Back.” To resurrect the song and use it in this way smacks of desperation and cluelessness. The reasoning seems to have been the absence of Elvis in the recording studio for anything but movie soundtracks. If Elvis was reluctant to return to the studio, who could have blamed him. He had put in a strong performance in May 1963 and waited in vain for the planned album to be issued. Instead, the material was in the process of being wasted, here with “Never Ending” being used as a B-side to an old recording from 1960. There is no doubting that “Such a Night” is one of Elvis’ best recordings, but that is not the issue here. Considered purely in terms of a single release, this was a nonsense which betrayed confusion at the heart of the Elvis world. Remarkably, the single recorded a respectable 400,000 copies in sales and hit #16 on the charts. Not exactly brilliant for Elvis, and somewhat confirming the downward path of his commercial – and critical – standing. Even had the single done better, raiding the catalogue is a desperate strategy that betrays a lack of faith in the future.

ASK ME

RELEASED:SEP. 22, 1964

Ask Me

Domenico Modugno/Bill Giant/Bernie Baum/Florence Kaye. Recorded January 12, 1964 at RCA's Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires.

Ain’t That Loving You Baby

Clyde Otis/Ivory Joe Hunter. Recorded June 10, 1958 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Chet Atkins, Elvis Presley. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Vocals: The Jordanaires

“Ask Me” is a beautiful ballad, once more based on the kind of classic Italian melody which Elvis loved. It is an Italian song with a decent pedigree, “Io,” written by Domenico Modugno of “Volare” fame. Elvis clearly thought a lot of the song and worked hard on it. He first recorded it in May 1963 but returned to re-record it in January 1963. The hard work paid off, both artistically and commercially, with the single clocking up 700,000 in sales. Its chart position of #11 would have been higher had it not been for the surprising success of the B-side, “Ain’t that Lovin’ You Baby,” a catchy Ivory Joe Hunter blues left over from the June 1958 session.

ROUSTABOUT

RELEASED:OCT. 19, 1964

Roustabout

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Roustabout. Recorded April 29, 1964 at Radio Recorders, Hollywood. Elvis’ vocal recorded May 14, 1964. Guitar: Billy Strange, Tiny Timbrell. Bass: Ray Siegel. Drums: Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Vocals: The Mello Men.

Little Egypt

Jerry Leiber/Mike Stoller. Recorded for the motion picture Roustabout. Recorded March 2, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Poison Ivy League

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Roustabout. Recorded March 2, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Hard Knocks

Joy Byers. Recorded for the motion picture Roustabout. Recorded March 2, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

It’s A Wonderful World

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Roustabout. Recorded March 2, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Big Love Big Heartache

Dee Fuller/Les Morris/Sonny Hendrix. Recorded for the motion picture Roustabout. Recorded March 2, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

One Track Heart

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Roustabout. Recorded March 3, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

It’s Carnival Time

Ben Weisman/Sid Wayne. Recorded for the motion picture Roustabout. Recorded March 3, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Carny Town

Fred Wise/Randy Starr. Recorded for the motion picture Roustabout. Recorded March 3, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

There’s A Brand New Day On The Horizon

Joy Byers. Recorded for the motion picture Roustabout. Recorded March 3, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Wheels On My Heels

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Roustabout. Recorded March 3, 1964 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

“Roustabout” marked the end of Otis Blackwell’s association with Elvis. Blackwell contributed the title track only to see it ruled out by Hal Wallis for what were deemed “risqué” lyrics. With that, Blackwell left and was never to return. The best song on the album is “Little Egypt” from the Leiber and Stoller team. This was not, however, an original contribution but a cover version. Leiber and Stoller were long gone, too. The film itself drew on Tom Parker’s carnival background. Whilst The Beatles were taking the pop world by storm, the Elvis world was harking to a byegone era. The soundtrack was of a consistent quality, but lacking in outstanding material. “It’s a Wonderful World” was considered for a nomination for an Academy Award, but nothing stood out enough on the album to be considered for a single release. The album, nevertheless, was a considerable commercial success, with sales of 450,000 copies earning Elvis his first Number One album since “Blue Hawaii.”

BLUE CHRISTMAS

RELEASED:NOV. 3, 1964

Blue Christmas

Wooden Heart

This release of a track from 1957 (and a B-side from 1960) was a seasonal single for Christmas. The single recorded sales of 200,000 copies.

DO THE CLAM

RELEASED:FEB. 9, 1965

Do The Clam

Sid Wayne/Ben Weisman/Dolores Fuller. Recorded for the motion picture Girl Happy. Recorded June 12, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires, The Jubilee Four, The Carole Lombard Trio

You’ll Be Gone

Red West/Elvis Presley/Charlie Hodge. Recorded March 18, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

“Hey everybody gather round. Listen to that bongo sound.” The world was gathering elsewhere than around Elvis’ lame attempts to start a new dance craze. I say “lame” here on the assumption that the intent is serious rather than satirical. It could just about work as a joke, had Elvis not thrown himself into it with such a straight face. It was songs like this that opened Elvis up to the sneers of critics. In 1998, Elvis Costello used his tribute to the recently deceased Frank Sinatra to say that whilst Sinatra may have had a penchant for clams he never, like Elvis, sang about them. His point was that Sinatra was always impeccable when it came to material. There’s an awful lot of coffee in Brazil, Declan.

“Do The Clam” was the single release from the new movie “Girl Happy,” and marked a new low in the singles promoting forthcoming Elvis movies. “Beatles for Sale” had come out in December 1964, hitting the top of the charts the world over. “Help” and “Rubber Soul” were to come in 1965. And Elvis seemed to have been retired to the mediocrity of beach party flicks. Sales of 350,000 copies gave the impression of a career idling its way into inconsequentiality. The sixties were happening elsewhere.

GIRL HAPPY

RELEASED:MAR. 1, 1965

Girl Happy

Doc Pomus/Norman Meade. Recorded for the motion picture Girl Happy. Recorded July 10, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Spring Fever

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Girl Happy. Recorded July 11, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Fort Lauderdale Chamber Of Commerce

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Girl Happy. Recorded July 11 & 15, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Startin’ Tonight

Lenore Rosenblatt/Victor Millrose . Recorded for the motion picture Girl Happy. Recorded July 12 & 15, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Wolf Call

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Girl Happy. Recorded July 12 & 15, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires, The Jubilee Four

Do Not Disturb

Cross My Heart And Hope To Die

Sid Wayne/Ben Weisman. Recorded for the motion picture Girl Happy. Recorded July 11, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

The Meanest Girl In Town

Joy Byers. Recorded for the motion picture Girl Happy. Recorded July 10, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Do The Clam

Sid Wayne/Ben Weisman/Dolores Fuller. Recorded for the motion picture Girl Happy. Recorded July 12 & 15, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires, The Jubilee Four, The Carole Lombard Trio

Puppet On A String

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Girl Happy. Recorded July 10, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

I’ve Got To Find My Baby

Joy Byers. Recorded for the motion picture Girl Happy. Recorded July 11 & 15, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

You’ll Be Gone

There are a couple of good songs on here, two or three more decent songs, and three of the worst songs Elvis ever recorded. The album is a good reflection of a career idling its way into inconsequentiality. That the album sold a very respectable 400,000 copies indicates the problem that Elvis had on his hands. Even as the quality of material dipped markedly, the movie soundtracks were still selling in excess of any of Elvis’ quality albums on non-film studio material. In other words, in commercial terms, Elvis at his artistic best could not compete with himself at his artistic worst. There is a clear disparity at the heart of Elvis’ career.

CRYING IN THE CHAPEL

RELEASED:APR. 6, 1965

Crying In The Chapel

Artie Glenn. Recorded October 30, 1960 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Elvis Presley. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, Charlie Hodge, The Jordanaires

I Believe In The Man In The Sky

“Crying In the Chapel” was left off of 1960’s “His Hand In Mine” because Elvis was unsatisfied with it in comparison with previous versions. It was released five years later to fill the space at Easter between the singles promoting the movies. It wasn’t the first Easter single from Elvis and it wouldn’t be the last. Whilst such singles sold solidly but unspectacularly “Crying in the Chapel” took off, hitting #3 in the US and #1 in the UK to become Elvis’ first top five since 1963, his fist since The Beatles conquered America. That he did it with a religious song from 1960 suggested little scope for future directions.

(SUCH AN) EASY QUESTION

RELEASED:JUN. 8, 1965

(Such An) Easy Question

It Feels So Right

Elvis’ next film, “Tickle Me,” was the first not to have an original soundtrack (which might be considered a merciful relief after “Girl Happy.”) Instead tracks were culled from Elvis’ non-film albums and pressed into service. Neither Allied Artists, RCA, nor Elvis raised objections. The single promoting the forthcoming movie coupled “Easy Question,” an easy going rhythm number from “Pot Luck,” with a cracking R&B performance from “Elvis Is Back.” The quality of both highlighted Elvis’ strengths as an artist away from the movie world. The single sold a respectable 500,000 copies and charted at #11. Elvis was at least just off the red-hot pace of mid-sixties pop and hence not quite lost from view.

TICKLE ME

RELEASED:JUN. 15, 1965

I Feel That I’ve Known You Forever

Slowly But Surely

Night Rider

Put The Blame On Me

Dirty, Dirty Feeling

Tracks previously released on various albums made for a varied “soundtrack” EP pitched at an uncertain audience. It is difficult to discern the logic at work, and judging by the 100,000 sales the public were evidently confused too.

ELVIS FOR EVERYONE

RELEASED:JUL. 19, 1965

Your Cheatin’ Heart

Hank Williams. Recorded February 1, 1958 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

Summer Kisses, Winter Tears

Finders Keepers, Losers Weepers

Dory Jones/Ollie Jones. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

In My Way

Fred Wise/Ben Wiseman. Recorded for the motion picture Wild In The Country. Recorded November 7, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Myer Rubin. Drums: D.J. Fontana. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

Tomorrow Night

Sam Coslow/Will Grosz. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Overdubbed March 18, 1965 at RCA's studio B, Nashville: Guitar: Chet Atkins, Grady Martin. Guitar and Harmonica: Charlie McCoy. Bass: Henry Strzecelecki. Drums: Buddy Harman. Vocals: The Anita Kerr Singers

Memphis, Tennessee

Chuck Berry. Recorded January 12, 1964 at RCA's Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires. 07) For The Millionth And The Last Time - Roy C. Bennett/Sid Tepper. Recorded October 15, 1961 at RCA’s Studio B, Nashville. Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires

For The Millionth And The Last Time

Roy C. Bennett/Sid Tepper. Recorded October 15, 1961 at RCA’s Studio B, Nashville. Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires

Forget Me Never

Fred Wise/Ben Weisman. Recorded for the motion picture Wild In The Country. Recorded November 7, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Myer Rubin. Drums: D.J. Fontana. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

Sound Advice

Santa Lucia

Arranged by Elvis Presley. Recorded for the motion picture Viva Las Vegas. Recorded July 10, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires. OVERDUBS Guitar: Al Caiola. Accordion: Dominic Cortese

I Met Her Today

Don Robertson/Hal Blair. Recorded October 15, 1961 at RCA’s Studio B, Nashville. Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires

When It Rains, It Really Pours

William Emerson. Recorded February 24, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires

An album of waifs and strays issued in the absence of non-film recording sessions. It makes for an interesting collection covering the whole of Elvis’ career. It lacks artistic coherence, with Nashville ballads joining unreleased tracks from the fifties, film rejects joining and studio rejects of different style and quality. It was billed as an anniversary album celebrating ten years of partnership between Elvis and RCA, although one of the tracks comes from Sun, given the Nashville makeover by Chet Atkins. A more appropriate title could have been “Elvis sings Everything,” or, more accurately, “RCA issues Everything.” The album sold 200,000 copies on initial release. That this, for an album of odds and sods, wasn’t significantly lower than Elvis other non-film studio albums in the sixties indicates a real problem at the heart of Elvis’ recording career. Commercially, it didn’t seem to matter what Elvis did in the studio outside of the movies. Indeed, his status as an artist now seemed set in both popular and critical terms.

I’M YOURS (SINGLE MASTER)

RELEASED:AUG. 10, 1965

I’m Yours (Single Master)

(It’s A) Long Lonely Highway (Single Master)

This was the second single from “Tickle Me.” Once more the A-side was taken from 1962’s “Pot Luck,” the exquisite ballad “I’m Yours,” a romantic ballad reminiscent of “Ask Me,” a #11 hit from 1964. On the B-side was the exceptional country rocker “Long Lonely Highway,” written by Pomus-Shuman, and very much in the manner of “Devil in Disguise,” the #3 hit from 1963. The performance of the single was an exact repeat of the first single issued from the movie, with sales of 500,000 and a chart position of #11.

PUPPET ON A STRING

RELEASED:OCT. 20, 1965

Puppet On A String

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Girl Happy. Recorded June 10, 1964 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Tommy Tedesco. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Wooden Heart

A particularly bizarre single release on the theme of puppets. “Wooden Heart” is the hit that got away. It should have been released as a single in 1960 but wasn’t. It was released as a B-side to “Blue Christmas” in 1964, but was now put out again, less than a year later. The reason for this confusing state of affairs was that Tom Parker had struck a bargain in which RCA agreed to guarantee payment for a million domestic sales in exchange for permission to release “Wooden Heart” as a single in Europe. The company was obviously still trying to claw back some of its investment.

“Puppet on a String” is a soft and gentle ballad from “Girl Happy,” which Elvis sings beautifully. It isn’t obvious single material, hence the release of “Do the Clam” instead to promote the film. It did, however, sell 500,000 copies and reach a respectable #14 on the chart.

SANTA CLAUS IS BACK IN TOWN

RELEASED:OCT. 26, 1965

Santa Claus Is Back In Town

Blue Christmas

For the second year running, Elvis’ Christmas releases was taken from the 1957 Christmas album. “Blue Christmas” had been the A-side the previous year. It was released again a year later as the B-side. The A side is the double entendre blues classic written by Leiber and Stoller. Whilst the single failed to chart it did sell more than a million copies in time.

HARUM SCARUM

RELEASED:NOV. 1, 1965

Harem Holiday

Pete Andreoli/Vince Poncia, Jr. Recorded for the motion picture Harum Scarum. Recorded February 26, 1965 at RCA’s Studio B, Nashville. Elvis’ vocals recorded March 9, 1965 in Hollywood. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

My Desert Serenade

Stanley Gelber. Recorded for the motion picture Harum Scarum. Recorded February 25, 1965 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

Go East, Young Man

Young Man - Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Harum Scarum. Recorded February 26, 1965 at RCA’s Studio B, Nashville. Elvis’ vocals recorded March 9, 1965 in Hollywood. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

Mirage

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Harum Scarum. Recorded February 26, 1965 at RCA’s Studio B, Nashville. Elvis’ vocals recorded March 9, 1965 in Hollywood. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

Kismet

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Harum Scarum. Recorded February 25, 1965 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

Shake That Tambourine

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Harum Scarum. Recorded February 24, 1965 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

Hey Little Girl

Joy Byers. Recorded for the motion picture Harum Scarum. Recorded February 25, 1965 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

Golden Coins

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Harum Scarum. Recorded February 26, 1965 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

So Close, Yet So Far (From Paradise)

Animal Instinct

Wisdom Of The Ages

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Harum Scarum. Recorded February 25, 1965 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Scotty Moore, Charlie McCoy. Bass: Henry Strzelecki. Drums: D.J. Fontana, Kenneth Buttrey. Tambourine: Hoyt Hawkins. Congos: Gene Nelson. Piano: Floyd Cramer. Flute: Rufus Long. Oboe: Ralph Strobel. Vocals: The Jordanaires

This film was so bad that even Tom Parker abandoned any attempt to promote it. There was no single to promote the film. Parker wrote the whole thing off with the words “book it fast, get the money, then try again.” The soundtrack album still sold 300,000 copies. The smouldering ballad “So Close Yet So Far from Paradise” may have made a good single, and there are a few more tracks which are easy on the ear. Other than that, it is idle and irrelevant to anything that was happening in 1965. Oddly, at this distance from events, it is this that gives it a timeless quality, in contrast to much else that now looks dated from that time.

TELL ME WHY

RELEASED:DEC. 14, 1965

Tell Me Why

Titus Turner. Recorded January 12, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Blue River

Paul Evans-Fred Tobias. Recorded May 27, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

A release like this speaks of desperation. With no new studio recordings of non-film material, RCA had no option but to raid the vaults to see what it had. “Tell Me Why” is an excellent track recorded in 1957. It had been left unreleased on account of its melody being considered to sound too similar to the spiritual, “Just A Closer Walk With Thee.” Given the success of “Crying in the Chapel,” a track from the past that was also shelved, that similarity counted in its favour. “Blue River” was one of the tracks still unreleased from the May 1963 album session. It’s a decent if somewhat contrived rocker, fair album material but hardly strong enough for single release. The single sold a respectable half a million copies, charting at #33. Radio play for Elvis’ new songs was now dropping markedly.

JOSHUA FIT THE BATTLE

RELEASED:FEB. 15, 1966

Joshua Fit The Battle

Known Only To Him

MILKY WHITE WAY

RELEASED:FEB. 15, 1966

Milky White Way

Swing Down Sweet Chariot

This was an explicit attempt to repeat the stunning success of “Crying In The Chapel” the previous year. Anything that worked once, however accidentally, was guaranteed to have Parker and RCA trying again, and no doubt again. The decision was taken to release not one but two new “Easter singles” from 1960’s “His Hand In Mine.” With sales of just 40,000 copies each, the strategy can only be deemed a flop.

FRANKIE AND JOHNNY

RELEASED:MAR. 1, 1966

Frankie And Johnny

Alex Gottlieb/Fred Karger/Ben Weisman. Recorded May 14, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Come Along

David Hess the motion picture Frankie And Johnny. Recorded May 12, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Petunia, The Gardener’s Daughter

Sid Tepper/Roy C. Bennett. Recorded May 14, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Chesay

Fred Karger/Ben Weisman/Sid Wayne. Recorded May 13, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

What Every Woman Lives For

Doc Pomus/Mort Shuman. Recorded for the motion picture Frankie And Johnny. Recorded May 13, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Look Out, Broadway

Fred Wise/Randy Starr. Recorded for the motion picture Frankie And Johnny. Recorded May 14, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Beginner’s Luck

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Frankie And Johnny. Recorded for the motion picture Frankie And Johnny. Recorded May 12, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Down By The Riverside And When The Saints Go Marching In

Down By The Riverside And When The Saints Go Marching In - Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Frankie And Johnny. Recorded May 12, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Shout It Out

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Frankie And Johnny. Recorded May 13, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Hard Luck

Ben Weisman/Sid Wayne. Recorded for the motion picture Frankie And Johnny. Recorded May 13, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Please Don’t Stop Loving Me

Joy Byers. Recorded for the motion picture Frankie And Johnny. Recorded May 13, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Everybody Come Aboard

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Frankie And Johnny. Recorded May 14, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

“Frankie And Johnny” is a period musical which we can either dismiss as irrelevant to the musical climate of the mid-sixties or see as influential upon contemporary music in a peculiar way. We all know that The Beatles’ “Sgt Peppers” was influenced by “Frankie and Johnny,” don’t we? No. Maybe just the costumes. We do know that Harry Nilsson, dubbed the fifth Beatle, and The Beatles’ own favourite group, loved “Frankie and Johnny,” loved that it drew on a musical tradition that predated rock’n’roll, and cited it as an influence on his fantastic “Harry” album. Set in the context of Elvis’ career, it was as entertaining and/or as idle as Elvis’ recent soundtracks. The songs are not particularly good nor even well-recorded, with Elvis overdubbing his vocals on a number of tracks onto pre-recorded instrumental tracks. This in itself is significant, given Elvis’ previous commitment to live performances in the studio. Critics could accuse Elvis of laziness here. The more likely truth is that he was becoming tired, demoralized, and hopeless.

FRANKIE AND JOHNNY

RELEASED:MAR. 1, 1966

Frankie And Johnny

Alex Gottlieb/Fred Karger/Ben Weisman. Recorded for the motion picture Frankie And Johnny. Recorded May 14, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

Please Don’t Stop Loving Me

A lively version of the old folk blues paired with a very fine ballad. Whilst sales were on a par with the singles that had skirted the top ten the previous year, the single charted only at #25, giving a clear indication that Elvis was being cut adrift of the new pop establishment.

PARADISE, HAWAIIAN STYLE

RELEASED:JUN. 1, 1966

Paradise, Hawaiian Style

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Paradise, Hawaiian Style. Recorded July 27, 1965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 4, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Jordanaires

Queenie Wahine’s Papaya

Scratch My Back

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Paradise, Hawaiian Style. Recorded July 26, 965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 3, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Mello Men

Drums Of The Islands

Polynesian Cultural Center/Sid Tepper/Roy C. Bennett. Recorded for the motion picture Paradise, Hawaiian Style.Recorded July 26, 1965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 2, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Jordanaires, The Mello Men

Datin’

Fred Wise/Randy Starr. Recorded for the motion picture Paradise, Hawaiian Style.Recorded July 26, 1965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 4, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis

A Dog’s Life

Sid Wayne/Ben Weisman. Recorded for the motion picture Paradise, Hawaiian Style. Recorded July 27, 965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 4, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis

House Of Sand

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Paradise, Hawaiian Style.Recorded July 27, 1965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 3, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Jordanaires, The Mello Men

Stop Where You Are

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Paradise, Hawaiian Style. Recorded July 27, 1965 at Radio Recorders, Hollywood. Elvis’ vocals recorded August 3, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Mello Men

This Is My Heaven

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Paradise, Hawaiian Style.Recorded July 27, 1965 at Radio Recorders, Hollywood. Elvis’ vocals recorde0d August 2, 1965 at Radio Recorders, Hollywood. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Jordanaires

Sand Castles

Herb Goldberg/David Hess. Recorded for the motion picture Paradise, Hawaiian Style. Band and vocal recorded August 2, 1965. Guitar: Barney Kessel, Scotty Moore, Charlie McCoy, Howard Roberts, Alton Hendrickson. Bass: Ray Siegel, Keith Mitchell. Drums: D.J. Fontana, Hal Blaine, Milton Holland, Victor Feldman. Piano: Larry Muhoberac. Steel Guitar: Bernal Lewis. Vocals: The Mello Men

If “Girls! Girls! Girls!” was “Blue Hawaii II”, then “Paradise Hawaiian Style” was “Blue Hawaii III” (with “Fun in Acapulco” a second cousin). Both the movie and its soundtrack were lame in comparison. Elvis himself seemed tired and uninspired, just going through the motions. A further problem is that Elvis’ best contract writers had now left Elvis’ song publishers Hill and Range. Times had changed but the strategy in the Elvis world had not. Elvis’ record sales were no longer high enough to make the onerous terms of employment attractive for a writer. Elvis’ writers were now hacks and journeymen in the main. The result was a poor imitation of “Blue Hawaii,” with only the sublime “This is My Heaven” and appealing “Sand Castles” (cut from the film) standing out. Elvis overdubbed his vocals in the studio. Elvis’ commentary in between takes reveal what he thought of the material, although his uninspired, if still professional, performances reveal precisely the same.

LOVE LETTERS

RELEASED:JUN. 8, 1966

Love Letters

Edward Heyman/Victor Young. Recorded May 26, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Come What May

Frank Tableporter. Recorded May 28, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

A ballad which had been a major R&B hit version for Ketty Lester in 1962 and a blues which had been a minor R&B hit for Clyde McPhatter in 1958, this single was the product of a four-day recording session at RCA’s Nashville studio, with the ostensible purpose of recording a musically ambitious gospel album. These were Elvis’ first non-soundtrack recordings in nearly two-and-one-half years, and give a clear indication of Elvis’ determination to turn his career around through an artistic rebirth. Evident throughout this session was Elvis passion for and belief in the music, things so singularly absent in his recent soundtrack work.

Commercially, the pairing is somewhat antiquated. This is not where the pop world of the mid sixties was at. Artistically, it showed renewed interest and commitment in his musical root on Elvis’ part. The single sold a reasonable 450,000 copies and at least made the top twenty (#19). In the UK it made a very decent #6. If Elvis wasn’t quite back, he was at least still in touch.

SPINOUT

RELEASED:SEP. 13, 1966

Spinout

Sid Wayne/Ben Weisman/Dolores Fuller. Recorded for the motion picture Spinout. Recorded February 17, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

All That I Am

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Spinout. Recorded February 17, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

A single released to promote the upcoming film “Spinout.” The title track has a good contemporary groove whilst “All That I Am” is a romantic ballad with a Latin feel and amiable shuffle. The single received little radio play but still managed sales of 400,000 copies to reach #40. Elvis had been reduced to scoring merely minor hits. Even when he tried to sound ‘with it,’ he was not believed. He was no longer considered part of the contemporary music scene. He now had a fight on to save his career. Whether he could ever get back into musical relevance, outside of his own iconic status, was another question. He had drifted into another world entirely.

SPINOUT

RELEASED:OCT. 24, 1966

Stop, Look And Listen

Joy Byers. Recorded for the motion picture Spinout. Recorded February 16, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires.

Adam And Evil

Fred Wise/Randy Starr. Recorded for the motion picture Spinout. Recorded February 17, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

All That I Am

Never Say Yes

Doc Pomus/Mort Shuman. Recorded for the motion picture Spinout. Recorded February 17, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires.

Am I Ready

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Spinout. Recorded February 16, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires.

Beach Shack

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Spinout. Recorded February 16, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires.

Spinout

Sid Wayne/Ben Weisman/Dolores Fuller. Recorded for the motion picture Spinout. Recorded February 16 & 17, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires.

Smorgasbord

I'll Be Back

Sid Wayne/Ben Weisman.Recorded for the motion picture Spinout. Recorded February 17, 1966 at Radio Recorders, Hollywood. Guitar: Tommy Tedesco, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Floyd Cramer. Saxophone: Boots Randolph. Vocals: The Jordanaires

Tomorrow Is A Long Time

Bob Dylan. Recorded May 25, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Down In The Alley

Jesse Stone and The Clovers. Recorded May 25, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

I'll Remember You

Kuiokalaani Lee. Recorded June 10, 1966 at RCA's Studio B, Nashville. Elvis' vocals recorded June 12, 1966 at RCA's Studio B, Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: David Briggs. Organ: Henry Slaughter. Steel Guitar: Pete Drake. Saxophone: Rufus Long. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Jordanaires, The Imperials

Elvis’ sounded more energetic and enthusiastic than he had been on recent soundtrack albums. The gospel session in 1966 had revived his musical passions, and his vocal performance combined with the inspired playing of the crack Nashville and L.A. session men raised the material a notch or two higher than its actual quality. Best of all, though, are the three ‘bonus’ tracks, all of which show why Elvis ought to have been in the studio recording non-film album material. A raw and raucous blues, “Down In The Alley,” a beautifully delivered Hawaiian ballad “I’ll Remember You,” and best of all a fine rendition of Bob Dylan’s “Tomorrow Is A Long Time,” all showed the quality Elvis had in him, proving beyond any doubt that he was capable of doing far better than he had been. The album sold 300,000 copies, which at least halted the slide recorded by the previous two soundtracks.

IF EVERY DAY WAS LIKE CHRISTMAS

RELEASED:NOV. 15, 1966

If Every Day Was Like Christmas

Red West. Recorded June 10, 1966 at RCA's Studio B, Nashville. Elvis' vocals recorded June 12, 1966 at RCA's Studio B, Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: David Briggs. Organ: Henry Slaughter. Steel Guitar: Pete Drake. Saxophone: Rufus Long. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Jordanaires, The Imperials

How Would You Like To Be

Another Christmas single, this time, thankfully, without “Blue Christmas” on either side. “If Every Day was Like Christmas” was written by Elvis’ friend Red West. Despite an emotional but measured ballad performance from Elvis, the single sold poorly and did not chart in the US. It did reach #9 in the UK. Tom Jones in interview made his disdain plain, saying that either Elvis doesn’t know what rubbish he is recording these days or doesn’t care. It’s a fine song, just not to everyone’s taste. Not everyone is a fan of Christmas songs, of course. As for the B-side, this is a children’s song from “It Happened At The World’s Fair,” and barely tolerable even in the context of that somewhat insipid film.

INDESCRIBABLY BLUE

RELEASED:JAN. 10, 1967

Indescribably Blue

Darrell Glenn. Recorded June 10, 1966 at RCA's Studio B, Nashville. Elvis' vocals recorded June 12, 1966 at RCA's Studio B, Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: David Briggs. Organ: Henry Slaughter. Steel Guitar: Pete Drake. Saxophone: Rufus Long. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Jordanaires, The Imperials

Fools Fall In Love

Jerry Leiber/Mike Stoller. Recorded May 28, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Another of the tracks recorded at the gospel session in June, “Indescribably Blue” is a powerful dramatic ballad that receives a big voiced and highly emotional vocal from Elvis. As with “Love Letters,” the single pairs a ballad on the A-side with a blues on the B-side, “Fools Fall in Love” first recorded by Clyda McPhatter and The Drifters in 1957. Both singles reflect precisely Elvis’ own musical tastes and interests rather than obvious commercial choices. The single made the top forty but a peak position of #33 hardly reflected its quality. More important, though, was the renewed musical commitment on Elvis’ part.

HOW GREAT THOU ART

RELEASED:FEB. 20, 1967

How Great Thou Art

Stuart K. Hine. Recorded May 25, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

In The Garden

Charles A. Miles. Recorded May 26, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Somebody Bigger Than You And I

John Lange/Hy Heath/Sonny Burke. Recorded May 27, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Farther Along

Arranged by Elvis Presley. Recorded May 26, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanair

Stand By Me

Arranged by Elvis Presley. Recorded May 25, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Without Him

Mylon LeFevre. Recorded May 27, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

So High

Where Could I Go But To The Lord

James B. Coats. Recorded May 27, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

By And By

If The Lord Wasn't Walking By My Side

Henry Slaughter. Recorded May 27, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Run On

Where No One Stands Alone

Mosie Lister. Recorded May 25, 1966 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore, Henry Strzelecki. Bass, Harmonica & Guitar: Charlie McCoy. Drums: D.J. Fontana. Drums & Timpani: Buddy Harman. Piano: Floyd Cramer. Piano & Organ: Henry Slaughter, David Briggs. Steel Guitar: Pete Drake. Saxophone: Rufus Long, Boots Randolph. Trumpet: Ray Stevens. Vocals: Millie Kirkham, June Page, Dolores Edgin, The Imperials, The Jordanaires

Crying In The Chapel

This is the culmination of the ambitious recording sessions of May 1966 sessions, which themselves were the result of several months of preparation in private on Elvis’ part. The singles that had been released up till now gave only a glimpse of the high musical aspiration these sessions represented. “How Great Thou Art” was the complete realization of all that work and expectation. Elvis assembled an all-star vocal group of eleven, including one of his favourite gospel singers Jake Hess. Elvis’ vocal performance was strong, more than matching his achievements on his operatic singles. The musical and vocal arrangements were appropriately grand. The result was a gospel album that made a big statement, effectively forming a perfect counterpoint to the more spare and tempered sound and tone of 1960’s “His Hand In Mine.” Elvis could do the small and simple, he could do the big and grand. The album won him his first Grammy award.

EASY COME, EASY GO

RELEASED:MAR. 1, 1967

Easy Come, Easy Go

Ben Weisman/Sid Wayne. Recorded for the motion picture Easy Come, Easy Go. Recorded September 28, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

The Love Machine

Gerald Nelson/Fred Burch/Chuck Taylor. Recorded for the motion picture Easy Come, Easy Go. Recorded September 29, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

Yoga Is As Yoga Does

Gerald Nelson/Fred Burch. Recorded for the motion picture Easy Come, Easy Go. Recorded September 29, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

You Gotta Stop

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Easy Come, Easy Go. Recorded September 29, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

Sing You Children

Gerald Nelson/Fred Burch. Recorded for the motion picture Easy Come, Easy Go. Recorded September 28, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

I'll Take Love

Dolores Fuller/Mark Barkan. Recorded for the motion picture Easy Come, Easy Go. Recorded September 28, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

Coming after “How Great Thou Art” it is difficult to know if we are looking at the same artist. “Easy Come, Easy Go” suffers in comparison with the gospel album as well as the secular recordings from the same session. It isn’t as bad as it seems … “Yoga is as Yoga Does” is as bad as it seems, but other numbers here are lively enough, at least sounding contemporary, or making the effort. The songs sound more or less the same, and are the product of journeymen writers rather than writers of any real distinction. With sales at a miserable 30,000, the soundtrack EP took the title of being the poorest-selling record of Elvis’ career. If I am right in my view that it isn’t that bad, I am left facing the only possible conclusion – the wheels had fallen off the movies, they were seen as tame and tired, and fans were departing in droves. “Easy Come, Easy Go” is actually a good rocker which is utterly ruined by the way it is performed in the film – Elvis in uniform in a boat with his army buddies, I mean, how more rock’n’roll can anyone be?

LONG LEGGED GIRL (WITH THE SHORT DRESS ON)

RELEASED:APR. 28, 1967

Long Legged Girl (With The Short Dress On)

John Leslie McFarland/Winfield Scott. Recorded for the motion picture Double Trouble. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

That’s Someone You Never Forget

“Long Legged Girl” is the soundtrack single selected to promote the upcoming movie “Double Trouble.” It’s an attempt at rock, at least, but too contrived to be effective. At one minute and twenty-six seconds it compares in length to 1957’s “Party,” but that’s where comparisons end. The former is forced and frenetic, the latter is joyous and celebratory. For no reason I can fathom, the B-side is “That’s Someone You Never Forget,” a sublime ballad from 1962’s “Pot Luck.” Had it been released as an A-side in 1962 it may have been huge, in the manner of “Can’t Help Falling in Love.” Here, it is buried away and beyond resurrection, since the days of turning records over on air were over. The single sold 275,000 copies and hit an embarrassing #63, the lowest position recorded by Elvis’ regular singles, thus confirming Elvis’ downward spiral as a chart artist. If Elvis was ever in freefall, then this was it.

DOUBLE TROUBLE

RELEASED:JUN. 1, 1967

Double Trouble

Doc Pomus/Mort Shuman. Recorded for the motion picture Double Trouble. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

Baby, If You'll Give Me All Of Your Love

Joy Byers. Recorded for the motion picture Double Trouble. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

Could I Fall In Love

Randy Starr. Recorded for the motion picture Double Trouble. Recorded June 28, 1966 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

Long Legged Girl (With The Short Dress On

City By Night

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Double Trouble. Recorded June 28, 1966 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

Old MacDonald

Randy Starr. Recorded for the motion picture Double Trouble. Recorded June 29-30, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

I Love Only One Girl

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Double Trouble. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

There Is So Much World To See

Sid Tepper/Ben Weisman. Recorded for the motion picture Double Trouble. Recorded June 28, 1966 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

It Won't Be Long

Sid Wayne/Ben Weisman. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

Never Ending

Buddy Kaye/Phil Springer. Recorded for the motion picture Double Trouble. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Blue River

What Now, What Next, Where To

Don Robertson/Hal Blair. Recorded May 26, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Apart from Pomus and Shuman, who wrote the title track, Elvis was in the hands of journeymen and hack writers writing to order. Apart from the title track, the jazz blues pastiche “City by Night,” and the gentle ballad “Could I Fall in Love,” the songs were decidedly average, and a couple simply execrable. Elvis was uninspired, not to say downright disgruntled in parts, walking out at one point. The only shame is that he came back without a guarantee of radical changes.

THERE’S ALWAYS ME

RELEASED:AUG. 8, 1967

There’s Always Me

Judy

The cover sold this single under the legend of “Summer Vacation Special by popular demand.” The problem as ever was Elvis’ lack of studio activity on anything other than film material. With nothing usable left, Parker and RCA ransacked the back catalogue in search of something serviceable. Fine songs, both, with Elvis never sounding better. But these were tracks from 1961’s “Something For Everybody.” The single did nothing to turn Elvis’ idle descent down the charts around, peaking at #56. It was releases like this over the years that served to stamp a certain public and critical impression of Elvis as an artist who had once been vital and relevant, but who was now past his best. That impression was false, but Elvis had to work hard in the studio to recover his identity and reclaim his musical persona from the terrible public image he now had.

BIG BOSS MAN

RELEASED:SEP. 26, 1967

Big Boss Man

Al Smith/Luther Dixon. Recorded September 10, 1967 at RCA's Studio B Nashville. Guitar: Jerry Reed, Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

You Don't Know Me

Cindy Walker/Eddy Arnold. Recorded September 11, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

If only a single like this had come a few years earlier instead of all those movie promotions and recycling of past songs. This was the vital, kicking Elvis that needed to be showcased in the sixties. These tracks were recorded at a Nashville session designed to produce both singles material and filler tracks to pad out the forthcoming “Clambake” soundtrack album. The session proved that Elvis was capable of something far more substantial than movie songs. “Big Boss Man” is the Jimmy Reed blues, given a country edge by Jerry Reed’s propulsive guitar picking style. “You Don’t Know Me” is a country ballad written and recorded by Eddy Arnold, most known in Ray Charles’ version.

CLAMBAKE

RELEASED:OCT. 23, 1967

Guitar Man

Jerry Reed. Recorded September 10, 1967 at RCA's Studio B Nashville. Guitar: Jerry Reed, Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Clambake

Ben Weisman/Sid Wayne. Recorded for the motion picture Clambake. Recorded February 22-23, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires.

Who Needs Money?

Randy Starr. Recorded for the motion picture Clambake. Recorded February 21-22, 1967 at RCA's Studio B, Nashville. Elvis' vocals recorded March 6, 1967. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires. OVERDUBS, Vocals: Ray Walker

A House That Has Everything

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Clambake. Recorded February 21, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires.

Confidence

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Clambake. Recorded February 22, 1967 at RCA's Studio B, Nashville. Elvis' vocals recorded March 6, 1967. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires. OVERDUBS, Vocals: June Page, Priscilla Hubbard, Dolores Edgin, Millie Kirkham

Hey, Hey, Hey

Joy Byers. Recorded for the motion picture Clambake. Recorded February 22-23, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires.

You Don't Know Me

The Girl I Never Loved

Randy Starr. Recorded for the motion picture Clambake. Recorded February 21, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires.

How Can You Lose What You Never Had

Ben Weisman/Sid Wayne. Recorded for the motion picture Clambake. Recorded February 21, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires.

Big Boss Man

Singing Tree

Arthur L. Owens/Archie Solberg. Recorded September 11, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Just Call Me Lonesome

Rex Griffin. Recorded September 10, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

The soundtrack is dominated by songs written by journeymen and hacks again. The best songs by far on the album are the “bonus” songs. Expressing something of the incoherence and general cluelessness of those in charge of Elvis’ career - the best of the soundtrack material - “How Can You Lose What You Never Had” was cut from the movie. The impression that those taking the decisions didn’t know what they were doing is wrong, they did know, it’s just that what they were doing, and kept on doing, was wrong. The highlights of the album by a considerable distance all came from the September Nashville sessions. Elvis would follow these up with similar sessions in January 1968, making the point as clear it could ever be made – he should be in the studio recording a non-film album. Elvis evidently was bent on establishing a new musical direction. The single hit #38, confirming that Elvis was now struggling to make the top forty, let alone the top twenty. The quality of this single serves to prove that the problem now was the damage that successive ill-considered releases had done to Elvis’ reputation and standing.

GUITAR MAN

RELEASED:JAN. 3, 1968

Guitar Man

Hi-Heel Sneakers

Robert Higginbotham. Recorded September 11, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

In terms of the balancing of artistic and commercial sensibility, this was as impressive a single as any Elvis had done since “Devil in Disguise.” It is now recognized as a classic. That it didn’t have anything like the sales and chart impact of “Devil” is down to how much Elvis’ stock had fallen in just four years, hitting a miserable #43. “Guitar Man” established a new mature Elvis, a new blend of country and blues, one in keeping with the late sixties. The B-side is a throwback to the blues of an earlier period, which Elvis upgrades in menacing tone. People who now know “Guitar Man” to be an all-time Elvis classic would probably be surprised to learn that at the time the single failed to dent the top forty.

ELVIS’ GOLD RECORDS VOL. 4

RELEASED:JAN. 22, 1968

Love Letters

Witchcraft

It Hurts Me

What'd I Say

Please Don’t Drag That String Around

Indescribably Blue

(You’re The) Devil In Disguise

Lonely Man

A Mess Of Blues

Ask Me

Recorded January 12, 1964 at RCA's Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires.

Ain’t That Loving You Baby

Just Tell Her Jim Said Hello

Elvis’ Gold Records Vol. 4 received poor critical reviews and popular indifference. Its initial sales were well short of the previous three volumes whilst critics complained that many of the tracks were neither hits nor gold records. In truth, what we are looking at here is a variation of the ‘lost’ album of 1963-64, and to be appreciated in those terms. The album sold in excess of 300,000 in its initial release, which was twice as much as the sales of the current soundtrack albums. The appeal of the album grew in time, and sales continued to rise.

U.S. MALE

RELEASED:FEB. 27, 1968

U.S. Male

Jerry Reed. Recorded January 16, 1968 at RCA's Studio B, Nashville. Guitar: Jerry Reed, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Harmonica: Charlie McCoy. Steel Guitar: Pete Drake. Vocals: The Jordanaires

Stay Away

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Stay Away, Joe. Recorded January 16, 1968 at RCA's Studio B, Nashville. Guitar: Jerry Reed, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Harmonica: Charlie McCoy. Steel Guitar: Pete Drake. Vocals: The Jordanaires

Jerry Reed returned to the studio with his trademark guitar sound and a new song, “U.S. Male,” a talking country blues that Elvis attacked with relish. It made a perfect follow up to the previous two singles. Given that both “Big Boss Man” and “Guitar Man” had performed poorly chart wise, another song in this vain showed a degree of musical commitment to this style and sound. The promotion of the forthcoming film was now put on the B-side, in this instance “Stay Away.” There was a battle on for Elvis’ musical soul. The single hit US #28, hardly great, but at least within sight of the top twenty. In the UK it hit #15.

YOU’LL NEVER WALK ALONE

RELEASED:MAR. 26, 1968

You'll Never Walk Alone

Richard Rodgers/Oscar Hammerstein. Recorded September 11, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

We Call On Him

Fred Karger/Ben Weisman/Sid Wayne. Recorded September 11, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

An Easter single with a difference. Instead of ransacking the past, Elvis’ impromptu solo performance at the piano in the September 1967 sessions at Nashville was released. “You’ll Never Walk Alone” met with almost complete indifference, with poor sales and a chart placing at a miserable #90. But it was a quality performance which was to earn Elvis a second Grammy nomination. Art and commerce had parted company in the career of Elvis Presley, but he was working hard to bring them back on nodding terms. Against him was his tarnished image.

SPEEDWAY

RELEASED:MAY. 20, 1968

Speedway

Mel Glazer/Steven Schlaks. Recorded for the motion picture Speedway. Recorded June 20, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaire

There Ain't Nothing Like A Song

Joy Byers/Bob Johnston. Recorded for the motion picture Speedway. Recorded June 20, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires, Nancy Sinatra

Your Time Hasn't Come Yet, Baby

Joel Hirschhorn/Al Kasha. Recorded for the motion picture Speedway. Recorded June 20, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires

Who Are You? (Who Am I?)

Sid Wayne/Ben Weisman. Recorded for the motion picture Speedway. Recorded June 20, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires

He's Your Uncle Not Your Dad

Sid Wayne/Ben Weisman. Recorded for the motion picture Speedway. Recorded June 21, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires

Let Yourself Go

Joy Byers. Recorded for the motion picture Speedway. Recorded June 21, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires

Your Groovy Self

Lee Hazelwood. Recorded for the motion picture Speedway. Recorded June 26, 1967 at United Recorders, Hollywood. Guitar: Don Owens, Al Casey. Bass: Charles Berghofer. Drums: Hal Blaine. Piano: Larry Knechtel, Don Randi. Trumpet: Roy Caton, Virgil Evans, Oliver Mitchell.Trombone: Dick Hyde.

Five Sleepy Heads

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Speedway. Recorded June 20 & 21, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires

Western Union

Sid Tepper/Roy C. Bennett. Recorded May 27, 1963 at RCA’s Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Saxophone, Vibes & Shakers: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires 10) Mine - Sid Tepper/Roy C. Bennett. Recorded September 10 , 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Mine

Sid Tepper/Roy C. Bennett. Recorded September 10 , 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Goin' Home

Joy Byers. Recorded for the motion picture Stay Away, Joe. Recorded January 15, 1968 at RCA's Studio B, Nashville. Guitar: Jerry Reed, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Harmonica: Charlie McCoy. Steel Guitar: Pete Drake. Vocals: The Jordanaires

Suppose

Sylvia Dee/George Goehring. Recorded for the motion picture Speedway. Recorded June 20, 1967 at MGM Studios, Hollywood. Guitar: Chip Young, Tommy Tedesco, Tiny Timbrell. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac, Charlie Hodge. Steel Guitar: Peter Drake. Saxophone: Boots Randolph. Trumpet: Charlie McCoy. Vocals: The Jordanaires

The lesson of this soundtrack album was plain – Elvis’ ambitions to turn his career round through the imposition of a new artistic vision would not be fulfilled so long as his musical fate was in the hands of journeymen and hacks. The songs here are serviceable for an ‘Elvis movie.’ The Elvis movie, however, was dying a death, and Elvis’ career was in danger of going down with them.

YOUR TIME HASN’T COME YET, BABY

RELEASED:MAY. 21, 1968

Your Time Hasn't Come Yet, Baby

Let Yourself Go

Elvis’ commitment to the movies had diminished to such an extent that when he did get decent material, he didn’t quite make the most of it. Perhaps Elvis had learned to lower his expectations and had become so accustomed to the low standards he couldn’t raise himself to the challenge when it arose. “Let Yourself Go” has real potential. The fact that Elvis would return to it in the ’68 TV Special suggests he himself knew this. The B-side is a pleasant kiddies’ song that has nought to do with where Elvis was seeing his future. Both sales and chart performance were poor, the single coming in at #72. “Let Yourself Go” is worth more than that, but by now it seems that Elvis’ old fans were sated by the endless movies and his new fans were eager for anything but the movies. If both Elvis and sections of the public were looking forward to new musical horizons, both his manager and RCA had yet to catch on and, determined to stick to a predictable, controllable formula, were maybe reluctant to catch themselves on. They wanted the good old days of easy money. The hard facts and figures showed that those days were long gone. Elvis’ musical and now his commercial interests were being thrown away in the vain attempt of reviving a soon to be moribund movie career.

A LITTLE LESS CONVERSATION

RELEASED:SEP. 3, 1968

A Little Less Conversation

Billy Strange/Mac Davis. Recorded for the motion picture Live A Little, Love A Little. Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

Almost In Love

Luiz Bonfa/Randy Starr. Recorded for the motion picture Live A Little, Love A Little. Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

A soundtrack single promoting the new film “Live A Little, Love A Little.” This single could form a case study in trying to locate precisely what had gone wrong in Elvis’ career and what it took to turn things around. The easiest thing to do is to analyse sales and chart records and draw conclusions, but this is a treacherous approach since there is no direct correlation between commercial success and artistic quality. Some decidedly average releases had sold and charted well. A continuation of such releases are responsible for damaging Elvis’ standing with the public to such an extent that when he returned to issuing quality, and contemporary, material, the public had gone elsewhere. Beginning with “Big Boss Man,” Elvis had released a succession of good, musically relevant singles, but had breached the top forty just the twice. It wasn’t the music that was the problem, it was Elvis’ reputation, significantly damaged as a result of recent history.

“A Little Less Conversation” marked a very different kind of Elvis movie track. It wasn’t written by the hacks and journeymen who had taken the place of the old ‘contract’ writers, but by the happening and contemporary team of Mac Davis and Billy Strange. It’s basically a soul song, savouring a little of Aretha Franklin’s “Think.” It took decades for its qualities to become apparent. Remixed by Dutch DJ JXL, it became a global smash in 2002. This proves to me how superficial judgment can be in just following the numbers. It is now considered an Elvis classic. It remains what it always was. Until it became a huge hit, it was ignored, criticized as evidence of Elvis’ decline as a result of the films and their soundtracks. At the time, the single peaked at an abysmal #69, selling less than 200,000 copies to record a new all-time low in Elvis singles. “Welcome signs of maturity if not yet overt class” wrote John Robertson in 1994 on the four songs for “Live a Little” (including the two songs contained on this single). And now “A Little Less Conversation” can be found on any number of Elvis ‘best of’ lists and selections. Numbers truly sanctify. So I shall add that “Almost in Love” is a gorgeous romantic ballad whose class has yet to be recognized. Maybe one day it will be a worldwide smash hit causing people to hail it an all time Elvis classic.

SINGER PRESENTS ELVIS SINGING FLAMING STAR AND OTHERS

RELEASED:OCT. 1, 1968

Flaming Star

Wonderful World

Guy Fletcher/Doug Flett. Recorded for the motion picture Live A Little, Love A Little. Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

Night Life

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Viva Las Vegas. Recorded July 9, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires.

All I Needed Was The Rain

Ben Weisman/Sid Wayne. Recorded for the motion picture Stay Away, Joe. Recorded October 1, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Harmonica: Charlie McCoy. Fiddle: Gordon Terry. Vocals: The Jordanaires

Too Much Monkey Business

Chuck Berry. Recorded January 15, 1968 at RCA's Studio B, Nashville. Guitar: Jerry Reed, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Harmonica: Charlie McCoy. Steel Guitar: Pete Drake. Vocals: The Jordanaires

Yellow Rose Of Texas/The Eyes Of Texas

Fred Wise/Randy Starr. Recorded for the motion picture Viva Las Vegas. Recorded July 10, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires.

She's A Machine

Joy Byers. Recorded for the motion picture Easy Come, Easy Go. Recorded September 29, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

Do The Vega

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Viva Las Vegas. Recorded July 10, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires.

Tiger Man

Sam Burns/Joe Hill Louis. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Yet another of those odd releases which gathered waifs and strays up, which begs the question, yet again, as to why no thought was ever given to coherence in issuing material. The reasoning behind this release lies in the fact that the Singer Sewing Company was sponsoring the Elvis TV Special being shown in December. Parker and RCA gave the go-ahead to a tie-in that allowed Singer to sell a budget-priced album exclusively in its stores for a period of three months after the television broadcast. The motivation was marketing rather than music, in other words. The album itself fills a gap since all the tracks apart from the title track were as yet unreleased. The standouts are Elvis’ incendiary performance of the Rufus Thomas R&B “Tiger Man” and acoustic driven Chuck Berry rocker “Too Much Monkey Business,” very much in the “Guitar Man” style (making us yearn for a proper issue of the 67-68 sessions). Even some of the movie cuts fit the sound, with a couple of glaring exceptions. “Do the Vega” is pleasant enough, but gets in the way of the mood, whilst “The Yellow Rose of Texas/Eyes of Texas” just makes a nonsense of the contemporary feel and sound. The omission of these tracks would have strengthened the album, if made it somewhat short. RCA would also issue the Singer Presents album on March 28, 1969 on its Camden budget label. Together, the album sold a very respectable 500,000 copies in the first year alone. It was one of the first two Elvis albums I ever owned and I hold it in high regard.

IF I CAN DREAM

RELEASED:OCT. 29, 1968

If I Can Dream

W. Earl Brown. Recorded June 23, 1968 at Western Recorders, Hollywood. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg.

Edge Of Reality

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Live A Little, Love A Little. Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

The NBC-TV Special had such an impact that it came to be known as the “Comeback Special.” The title is a misnomer, because Elvis had never gone away, as the “Guitar Man” theme running throughout makes clear. But Elvis had certainly recovered his reputation, and he was back on nodding terms with his talent. “If I Can Dream” is the song which brought the show to a dramatic end with its anguished plea for universal peace and brotherhood. The performance woke the public up to a new Elvis, although it should not have come as a surprise to those acquainted with Elvis’ gospel roots. The public and critical image of Elvis showed signs of being turned in a favourable, and contemporary, direction. Reaching #12 in the charts, the single was Elvis’ highest chart position since “I’m Yours,” “Easy Question,” and “Crying in the Chapel” three years earlier in 1965. Since these three were all re-releases of older material, you have to go back to “Ask Me” for new material charting in the same position (#12) and “Bossa Nova Baby” in 1963 or anything higher (#8). Elvis was back! Almost.

A word of praise is in order for “Edge of Reality,” too, a psychedelic big ballad from “Live a Little, Love a Little,” with a curiously late sixties video to boot. Understandably overlooked on the B-side to “If I Can Dream,” it’s an ambitious song which receives a powerful performance from Elvis. It’s something of an Elvis classic dying to be discovered.

ELVIS – TV SPECIAL

RELEASED:NOV. 22, 1968

Trouble/Guitar Man

Jerry Leiber/Mike Stoller-Jerry Reed. Recorded June 22 & 30, 1968 at Western Recorders, Hollywood. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

Lawdy Miss Clawdy

Lloyd Price. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Baby, What You Want Me To Do

Jimmy Reed. Recorded live June 27, 1968, first show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Heartbreak Hotel/Hound/All Shook Up

Mae Boren Axton/Tommy Durden/Elvis Presley-Jerry Leiber/Mike Stoller-Otis Blackwell/Elvis Presley. Recorded live June 29, 1968, first show, at NBC Studios, Burbank. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

Can't Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded live June 29, 1968, first show, at NBC Studios, Burbank. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

Jailhouse Rock

Jerry Leiber/Mike Stoller. Recorded live June 29, 1968, second show, at NBC Studios, Burbank. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

Love Me Tender

Vera Matson/Elvis Presley.Recorded live June 29, 1968, second, at NBC Studios, Burbank. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

Where Could I Go But To The Lord/Up Above My Head/Saved

James B. Coats-W. Earl Brown-Jerry Leiber/Mike Stoller. Recorded June 21-22, 1968 at Western Recorders, Hollywood. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

Blue Christmas

Billy Hayes/Jay Johnson. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

One Night

Dave Bartholomew/Pearl King. Recorded live June 27, 1968, first show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Memories

Billy Strange/Mac Davis. Recorded June 23, 1968 at Western Recorders, Hollywood. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

MEDLEY: Nothingville/Big Boss Man/Guitar Man/Little Egypt/Trouble/Guitar Man

Billy Strange/Mac Davis-Al Smith/Luther Dixon-Jerry Reed-Jerry Leiber/Mike Stoller-Jerry Leiber/Mike Stoller-Jerry Reed. Recorded June 20, 21 & 30, 1968 at Western Recorders, Hollywood. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg

If I Can Dream

The show was recorded in June and put out in December. The genius that was Tom Parker wanted a Christmas Special. It was the soft option and required no change in the idle direction in which Elvis’ career was being mismanaged into musical and cultural irrelevance. Elvis could be effectively retired to entertain the easily pleased. Producers Steve Binder and Bones Howe determined to present the real Elvis instead. Elvis himself was entirely passive in face of his manager and refused to confront him in person, going against his demands in the actual work he did with Binder and Howe. Elvis breathed new life into his old hits, and rescued a number of his recent, and largely overlooked, tracks. The opening menacing blues of “Trouble” segued into “Guitar Man” was breath-taking, reinventing the old classic from “King Creole” whilst making it clear that “Guitar Man” was a new classic that the world had yet to recognize as on a par with his best work of the past. Elvis making an artistic statement to the effect that he was still a force to be reckoned with. With sales of 500,000 copies, Elvis scored his first Top 10 since 1965.

MEMORIES

RELEASED:FEB. 25, 1969

Memories

Charro

Mac Davis/Billy Strange. Recorded for the motion picture Charro. Recorded October 15, 1968 at Samuel Goldwyn Studio, Hollywood. Guitar: Tommy Tedesco, Ralph Grasso, Howard Roberts. Bass: Raymond Brown, Max Bennett. Drums: Carl O'Brian. Precussion: Emil Radocchia. Piano: Don Randi. OVERDUBS, Vocals: Sue Allen, Allan Capps, Loren Faper, Ronald Hicklin, Ian Freebairn Smith, Sally Stevens, Robert Zwirn

A most peculiar single, which could have been designed to deliberately confuse the new public gathering around Elvis and put them off the scent of the new musical direction Elvis was trying to establish. It made no sense whatsoever to pair a track from the TV Special with the title song of the forthcoming film, there was simply no connection between them. Further, “Memories,” a pleasant enough nostalgic ballad written by Mac Davis and Billy Strange, is hardly indicative of the strong statement of future intent Elvis had made in the Special. Memories were the last thing that Elvis was singing.

But I don’t think either Parker or RCA had a clue. “Charro” is a track that stands out in its own right, scored by the Hugo Montenegro orchestra, who had recently scored a hit with a version of Ennio Morricone’s “The Good, The Bad, and The Ugly.” It’s the kind of track that is hard to place. It could have been one of those tracks that come out of leftfield to go huge, like the above and like Lee Marvin’s “Wandering Star.” Or it could just baffle the public who proceed to leave it alone.

The single utterly failed to capitalize on the momentum begun by the TV Special, charting at #35. The Special was not about “Memories.”

HIS HAND IN MINE

RELEASED:MAR. 25, 1969

His Hand In Mine

How Great Thou Art

Another Easter single, and two very fine songs, the title tracks of Elvis’ two gospel albums. The single had no relevance to where Elvis was now and sold poorly.

IN THE GHETTO

RELEASED:APR. 15, 1969

In The Ghetto

Mac Davis. Recorded January 20, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Any Day Now

Bob Hilliard/Burt Bacharach. Recorded February 20, 1969 at American Sound Studios, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

And now, with this single, Elvis really is back! This was the first single from Elvis’ first Memphis recordings in fourteen years. Returning to Memphis represented a creative statement on Elvis’ part, indicating his determination to revisit his musical roots so as to chart new directions. Mac Davis’ “In The Ghetto” was another social conscience song that could, in some quarters, be considered controversial, as in political. Elvis delivered a sensitive take on the lyric that transcended politics to appeal to the universal need for justice. His re-reading of Chuck Jackson’s “Any Day Now” was, if anything, even more effective. Never had a Burt Bacharach song been sung with such soul, controlled but raw. This single brought Elvis back into contemporary musical relevance. This was not a mere reminder of how great Elvis used to be, but a statement that Elvis still mattered. The single sold over a million copies and charted at #3 in the US and #1 in several other countries.

CLEAN UP YOUR OWN BACK YARD

RELEASED:JUN. 17, 1969

Clean Up Your Own Back Yard

Mac Davis/Billy Strange. Recorded for the motion picture The Trouble With Girls (And How To Get Into It). Recorded October 23, 1968 at United Artist Recorders, Hollywood. Guitar: Jerry McGee, Morton Marker, Robert Gibbons. Bass: Max Bennett. Drums: Frank Carlson, John Guerin. Piano: Don Randi. Clarinet: Buddy Colette. Trumpet: Roy Caton. Trombone: Lew McCreary. Vocals: The Mello Men, Jack Halloran, Ronald Hicklin, Marilyn Mason

The Fair Is Moving On

Guy Fletcher/Doug Flett. Recorded February 21, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

The capacity of Elvis’ manager and recording company to stall Elvis’ momentum knew no bounds. Their ability to read Elvis’ musical ability and intent as well as the market was unerring … in its total cluelessness. It is possible to feel some sympathy here, because “Clean Up Your Own Backyard” is actually a very good contemporary soul track, in line with “Let Yourself Go” and “A Little Less Conversation.” The fate of these tracks (#72 and #69) should have been a warning. Maybe the thought was that the huge success of “In The Ghetto” made it possible to resuscitate the ailing fortunes of the movies and their soundtracks. If that was the thought, then it justifies my criticism above. The public had plainly lost interest in the endless releases of a soundtrack A-side to promote a forthcoming film. That strategy had run its course, and a long time ago. Continuation with it had come close to destroying Elvis. Elvis was back, back heroic effort and immense strain on his own part. And no sooner was he back that the same stroke was being pulled. It could just be, mind, that “Clean Up Your Own Backyard” merited single release in its own right. It is a well-crafted contemporary soul track, written by Mac Davis and Billy Strange. It would have been interesting to see Elvis record this song independently of the films and put it out in its own right. As it was, it was presented as a film song, promoting the forthcoming “The Trouble With Girls (and How to Get into It”), a title that could not but remind the public of all the terrible films that lost Elvis his reputation in the first place. (It’s actually a decent movie with an intriguing story line. Elvis looks good, too). Backed by a mature ballad from the American Sound sessions in Memphis, it’s actually a good single. It sold 400,000 copies, which isn’t bad at all relative to the recent past. But the real revelation is the chart position of #35, compared to the top five hits that came the single before and the single after, both with American Sound material. The public had had enough of the films and were no longer listening. They’d been had too many times. The lesson is plain, had Elvis taken control and insisted on musical direction, not only would artistic growth have ensured but also commercial success. The evidence in support of that claim is here in the events of these years.

FROM ELVIS IN MEMPHIS

RELEASED:JUN. 17, 1969

Wearin’ That Loved On Look

Dallas Frazier/Arthur L. Owens. Recorded January 13, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Only The Strong Survive

Kenny Gamble/Leon Huff/Jerry Butler. Recorded February 19, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

I’ll Hold You In My Heart (Till I Can Hold You In My Arms)

Tommy Dilback/Howard Horton/Eddy Arnold. Recorded January 22, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Long Black Limousine

Vern Stovall/Bobby George. Recorded January 13, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

It Keeps Right On A-Hurtin’

Johnny Tillotson. Recorded February 20, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

I’m Movin’ On

Hank Snow. Recorded January 14, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Power Of My Love

Bill Giant/Bernie Baum/Florence Kaye. Recorded February 18, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Gentle On My Mind

John Hartford. Recorded January 14, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

After Loving You

Eddie Miller/John Lantz. Recorded February 18, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

True Love Travels On A Gravel Road

Arthur L. Owens/Dallas Frazier. Recorded February 17, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Any Day Now

In The Ghetto

This album contained a selection from the material recorded in January and February at Chips Moman’s American studio in Memphis. The studio was in the middle of a three-year chart-making run amounting to 120 songs. Chips Moman was a hard taskmaster in the studio, driving Elvis to push himself. As a producer, Moman had something of Sam Phillips’ striving for the “original mistake” and “perfect imperfection” about him, permitting Elvis to sing a song as often as he liked so long as he retained the feeling. It didn’t have to be just right technically, it just had to feel and sound right. With stunning backing from the crack American house band and meticulously production, Elvis sounded richer and fuller than he had ever done. And contemporary. Just before leaving after the final session, Elvis turned to Moman and asked: “We have some hits, don’t we, Chips?” Without hesitation, Moman replied: “maybe some of your biggest.” That was a big claim, one that could only be confirmed by numbers dependent on the vagaries of the charts and popular taste. But the songs were certainly among Elvis’ very best.

The qualities of the album were recognized immediately. Rolling Stone gave the album its lead review on August 23, writing: “The new album is great, flatly and unequivocally the equal of anything he has ever done.” The album sold well at 500,000 copies, if not as spectacularly as it deserved. It certainly has a claim to be Elvis’ best ever album. The American Sound sessions were, like the ’68 Special, another unequivocal artistic triumph but also like the TV Special not merely the beginning of Elvis’ collaboration with creative talents outside of his circle but also the end. Elvis never saw nor worked with producers Steve Binder and Chips Moman again. Relations with Moman were broken off as a result of the usual song-publishing disputes that also saw off Jerry Reid, as well as Elvis’ great ‘contract’ writers over the previous decade. For Parker, the retention of control was all that mattered, even if that meant control of an artist in a spiral of needless decline.

SUSPICIOUS MINDS

RELEASED:AUG. 26, 1969

Suspicious Minds

Mark James. Recorded January 22, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey.OVERDUB in Las Vegas, August 1969. Trumpet: A. Vasquez, N. Prentice, B. Shew. Trombone: A Le Coque, J. Boicie. Bass Trombone: K. Adkins

You'll Think Of Me

Mort SHuman.Recorded January 14, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

This single paired two very strong recordings from the American Sound sessions. “Suspicious Minds” was one of the definite highlights of sessions that had many. The song had been introduced by Chips Moman, it being written by Mark James, one of Moman’s principal writers. Elvis loved the song and all involved worked hard to realize its full potential. Having succeeded, the song became the centre of a squalid and sordid “business” dispute. Song recorded, Freddy Bienstock, for Hill and Range, and Tom Diskin, for Tom Parker, moved in to bully Chips Moman to give up a cut of his publishing. Moman refused and told all concerned to get out of the studio and never to return. Elvis, for once, intervened and saved the day. Moman kept the publishing and the song was released. “Suspicious Minds” was a huge success, returning Elvis to #1 and defining what would become the last phase of his career. Virtuoso musician Mike Oldfield singles it out as Elvis’ greatest ever song, saying that it “took him into a different league musically.”

The story wasn’t over with the end of the financial arguments, however. RCA A&R man and producer Felton Jarvis, Elvis’ usual producer, who had nothing to do with the American Sound recordings, took it into his hands to record an overdub in Las Vegas. The idea was to follow the dramatic structure an Elvis concert in which the song would fade out only for the singer to come roaring back to great audience reaction. In Jarvis’ hands the sound was faded, looped, and, after fifteen seconds, brought up again, and a crudely recorded horn section added. We have become so accustomed to the hit record that we don’t see the problem and consider the hit version to be the authentic version. It isn’t. Chips Moman considered it an act of artistic vandalism. In a 2012 interview with Marc Myers of The Wall Street Journal, Moman bluntly stated what he thought behind it: control. Felton Jarvis didn’t like Elvis recording at a new studio with a new producer. For Moman "it was a control thing." Moman added, "So when Jarvis took the tape of 'Suspicious Minds,' he added this crazy 15-second fade toward the end, like the song was ending, and brought it back by overdubbing to extend it. I have no idea why he did that, but he messed it up. It was like a scar. None of which mattered. Soon after the song was released, Elvis was back on top of the charts." (Myers, Marc (August 30, 2012). "Caught in a Trap: Elvis Presley's Last No. 1 Hit, Suspicious Minds | Anatomy of a Song - WSJ.com". Online.wsj.com. Retrieved May 10, 2014). “But he messed it up.” That’s a strong claim. But by common consent “Suspicious Minds” was the strongest track cut at American and the one with the biggest commercial potential. It was a perfectly realized vision of everything that Elvis sought to achieve with the American sessions. And yet it was singled out for extra treatment. Was it sabotage? Elvis’ career is full of decisions which made a nonsense of and threw away his music. The song was so good it was impossible to ruin. Who knows. Even the addition of extra time at the end of the song could have been designed to deter airplay, through the confused ending and length of the track. There was no artistic and commercial need for the meddling after recording. Crooked business has an adage: if something ain’t broke, keep fixing it until it is.

FROM MEMPHIS TO VEGAS – FROM VEGAS TO MEMPHIS

RELEASED:OCT. 14, 1969

Blue Suede Shoes

Carl Perkins. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Johnny B. Goode

Chuck Berry. Recorded live on stage August 24, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

All Shook Up

Otis Blackwell/Elvis Presley. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Are You Lonesome Tonight?

Roy Turk/Lou Handman. Recorded live on stage August 24, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Hound Dog

Jerry Leiber/Mike Stoller. Recorded live on stage August 25, 1969, modnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

I Can't Stop Loving You

Don Gibson. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

My Babe

Willie Dixon. Recorded live on stage August 21-25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Mystery Train/Tiger Man

Junior Parker/Sam Phillips - Sam Burns/Joe Hill Lewis. Recorded live on stage August 25, 1969 , midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials. Orchestra conducted by Bobby Morris

Words

Robin, Maurice & Barry Gibb. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

In The Ghetto

Mac Davis. Recorded live on stage August 25, 1969, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac. Vocals: The Sweet Inspirations, The Imperials. Orchestra conducted by Bobby Morris

Suspicious Minds

Mark James. Recorded live on stage August 26, 1969, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac. Vocals: The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Can’t Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded live on stage August 26, 1969, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris.

Inherit The Wind

Eddie Rabbitt. Recorded January 15, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

This Is The Story

Chris Arnold/Geoff Morrow/David Martin. Recorded January 14, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Stranger In My Own Home Town

Percy Mayfield. Recorded February 17, 1969 at American Sound Studios, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

A Little Bit Of Green

Chris Arnold/Geoff Morrow/David Martin. Recorded January 14, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

And The Grass Won’t Pay No Mind

Neil Diamond. Recorded February 17, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Do You Know Who I Am?

Bobby Russell. Recorded February 21, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

From A Jack To A King

Ned Miller. Recorded January 21, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

The Fair Is Moving On

You’ll Think Of Me

Mort Shuman. Recorded January 14, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Without Love (There Is Nothing)

Danny Small. Recorded January 22, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

This is an odd hybrid double album that pairs two very distinctive documents. The only conceivable logic at work here is marketing and promotion, the one album of remaining cuts from the Memphis sessions being used to publicize Elvis’ return to live performance at Las Vegas, documented on the other. If that was the idea, then it was yet another “triumph” for the ad-man approach which had come close to ruining Elvis’ career in the first place.

To take the Memphis album first, it is limited to ten tracks when plenty of material was available for a twelve track selection to make for a genuine counterpart to “From Elvis in Memphis.” The singles were kept off the album, both “Suspicious Minds” and the two more singles to come. That may be understandable given the usual policy, but “In the Ghetto” and “Any Day Now” had both been on the first Memphis album. The singles material, or just “Suspicious Minds” and/or “Kentucky Rain,” could have formed the centrepiece strengthening the whole collection. There could also have been a better selection of tracks to make for a substantial artistic and commercial document comparable with “From Elvis in Memphis.” It may be a matter of personal taste, but the country ballads that were omitted may have been more appropriate cuts than the sophisticated but slightly boring ballads that were included. Those ballads are fine and point to the work that Elvis would do a year later in the Nashville sessions of June.

As for the concert album, it too could have had a better selection of tracks better sequenced. It’s still a strong and thrilling performance, especially the setpiece showstopper of a seven-and-one-half-minute “Suspicious Minds.”

The hybrid album sold a very reasonable 300,000 copies before being re-released as two distinctive albums. It was another missed opportunity since both albums could have been better, and would have been better alone.

DON’T CRY DADDY

RELEASED:NOV. 11, 1969

Don't Cry Daddy

Mac Davis. Recorded January 15, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Rubberneckin’

Dory Jones/Bunny Warren. Recorded January 20, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

This was the third single to be taken from the material recorded at the Memphis sessions. “Don’t Cry Daddy” was written by Mac Davis, writer of “In the Ghetto,” and has something of the same feel, if more personal and sentimental than socially conscious. Elvis delivers a superbly modulated emotional performance. The reputation of the song has faded somewhat in recent years, possibly owing to lyrics that can be considered cloying. In terms of musical and vocal performance, it is excellent and was a huge commercial success, with sales to match those of “In the Ghetto” and “Suspicious Minds.” It’s slightly lower chart position of #6 was a result of the strong selling Christmas competition. It would have been a contender for the top slot at any other time of the year.

KENTUCKY RAIN

RELEASED:JAN. 29, 1970

Kentucky Rain

Eddie Rabbitt/Dick Heard. Recorded February 20, 1969 at American Sound Studios, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

My Little Friend

Shirl Milete. Recorded January 16, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Another exceptional song taken from the Memphis sessions, and the fourth single to be taken from that material. “Kentucky Rain” was written by the rising country artist Eddie Rabbitt and in its complex arrangements and winding lyricism compares to the Jimmy Webb material being superbly recorded by Glen Campbell at the time. The B-side is a mature country ‘story’ song which complements “Kentucky Rain” perfectly and would have made a good album track. Despire being every bit as strong as the previous three releases from Memphis, “Kentucky Rain” sold just half the number of copies, hitting #16 on the charts. That’s still a good performance, just not quite as good as the song deserved. It’s one of Elvis’ finest, second only to “Suspicious Minds” in this group of singles.

LET’S BE FRIENDS

RELEASED:APR. 1, 1970

Stay Away, Joe

If I'm A Fool (For Loving You)

Stanley Kesler. Recorded February 20, 1969 at American Sound Studio, Memphis.Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Let's Be Friends

Chris Arnold/Geoff Morrow/David Martin. Recorded for the motion picture Change Of Habit. Recorded March 5 & 6, 1969 at Decca Universal Studio, Hollywood. Guitar: Dennis Budimir, Mike Deasy, Howard Roberts, Robert Bain. Bass: Joe Mondragon, Lyle Ritz, Max Bennett. Drums: Carl O’Brian. Piano: Roger Kellaway. OVERDUBS, Vocals: B.J. Baker, Sally Stevens, Jackie Ward, The Blossoms

Let's Forget About the Stars

Arthur L. Owens. Recorded October 15, 1968 at Samuel Goldwyn Studio, Hollywood. Guitar: Tommy Tedesco, Ralph Grasso, Howard Roberts. Bass: Raymond Brown, Max Bennett. Drums: Carl O'Brian. Precussion: Emil Radocchia. Piano: Don Randi. OVERDUBS, Vocals: Sue Allen, Allan Capps, Loren Faper, Ronald Hicklin, Ian Freebairn Smith, Sally Stevens, Robert Zwirn

Mama

Charles O’Curran/Dudley Brooks. Recorded for the motion picture Girls! Girls! Girls! Recorded March 28, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Barney Kessel. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine, Bernie Mattinson. Piano: Dudley Brooks. Saxophone & Clarinet: Boots Randolph. Organ: Harold Brown. Vocals: The Jordanaires

I'll Be There

Bobby Darin. Recorded January 22, 1969 at American Sound tudio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Almost

Buddy Kaye/Ben Weisman. Recorded for the motion picture The Trouble With Girls (And How To Get Into It). Recorded October 23, 1968 at United Artist Recorders, Hollywood. Guitar: Jerry McGee, Morton Marker, Robert Gibbons. Bass: Max Bennett. Drums: Frank Carlson, John Guerin. Piano: Don Randi. Clarinet: Buddy Colette. Trumpet: Roy Caton. Trombone: Lew McCreary. Vocals: The Mello Men, Jack Halloran, Ronald Hicklin, Marilyn Mason

Change of Habit

Buddy Kaye/Ben Weisman. Recorded for the motion picture Change Of Habit. Recorded March 5 & 6, 1969 at Decca Universal Studio, Hollywood. Guitar: Dennis Budimir, Mike Deasy, Howard Roberts, Robert Bain. Bass: Joe Mondragon, Lyle Ritz, Max Bennett. Drums: Carl O’Brian. Piano: Roger Kellaway. OVERDUBS, Vocals: B.J. Baker, Sally Stevens, Jackie Ward, The Blossoms

Have a Happy

Ben Weisman/Dolores Fuller/Buddy Kaye. Recorded for the motion picture Change Of Habit.Recorded March 5 & 6, 1969 at Decca Universal Studio, Hollywood. Guitar: Dennis Budimir, Mike Deasy, Howard Roberts, Robert Bain. Bass: Joe Mondragon, Lyle Ritz, Max Bennett. Drums: Carl O’Brian. Piano: Roger Kellaway. OVERDUBS, Vocals: B.J. Baker, Sally Stevens, Jackie Ward, The Blossoms

With all of these tracks recorded in 1968 and 1969, apart from one in 1967 and one in 1962, this album has a certain coherence and consistency of theme. With more from the Memphis session and less from the films, this could have been a legitimate and reasonably solid document of the new Elvis. Unfortunately, its character betrayed its provenance. The rationale behind the release was purely commercial rather than artistic. With the success of the budget-priced “Elvis Sings Flaming Star And Others,” RCA and Tom Parker saw a business opportunity that was too good to miss, concluding a deal to issue four ‘budget’ LPs on the Camden label. The advance of $300,000 against royalties was to be paid upfront and divided 50-50 between Elvis and Tom Parker since it fell outside the terms of Elvis’ regular recording contract. The decisions to be taken on song selection were driven not by aesthetic considerations but by what was available. The bulk of “Let’s Be Friends” gave a home to a number of unreleased songs from recent movies, with two of the Memphis songs being used as ‘bonus’ material. It was a variation on an old theme, and a waste of material that could have been better husbanded to greater artistic and commercial effect. As it is, the album almost has coherence, were it not for the presence of “Stay Away, Joe,” an utterly incongruous opener, and “Mama,” a selection so bizarre as to indicate precisely what those making the selection thought of aesthetic unity – nothing. There was a slot to be filled and it was available, the poor suckers buying it don’t know any better and don’t want any better. I think that’s unfair to the Elvis fans who bought these albums, whose sin was nothing more than wanting to hear Elvis. Those of us who bought these album were well aware of the anomalies. We enjoyed hearing the variety of songs, and laughed/complained about those that stuck out like sore thumbs. But we knew that these were imperfect documents. We bought them, though, which is precisely what RCA and Parker banked on us doing. The album sold a healthy 400,000 copies, meaning that it would have most likely have made the Top 20 or higher had the LP charts reflected unit sales, not dollar value. The budget albums would prove to be a popular line and, for many, served as an introduction to Elvis. They gave a little bit of Elvis for a little bit of money. Some say that they weren’t value even for that little money they cost. I think they were.

THE WONDER OF YOU

RELEASED:APR. 20, 1970

The Wonder Of You

Baker Knight. Recorded live on stage February 18, 1970, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

Mama Liked The Roses

John Christopher. Recorded January 15, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

With Elvis’ triumphal return to live performance at Las Vegas it made sense to capitalize commercially on record. Already a live LP had been issued, so the next obvious step was to release a live performance as single. Already, recording company and management had seen the possibilities for live performance being pressed into service in place of the movie soundtracks that had now come to an ignominious end. Elvis returned to the International Hotel in February 1970 with a new, mature, repertoire, with an emphasis on ballads and contemporary material rather than his old rock’n’roll hits. Included in the new act was the ballad “The Wonder Of You,” which Elvis had been seeking to record since at least 1966. The B-side was the sentimental song “Mama Liked the Roses,” which he had taken a particular shine to at the Memphis sessions. It was an as yet unreleased track, so it made sense to put it out. With sales in excess of one million and a chart position of #9 (and #1 in the UK), Elvis remained at the top, consolidating his return. It had been a long hard road beginning in 1966. It is a sign of how much damage the movie identity had done to his contemporary standing that it had taken a series of quality recordings and performances throughout 1967 and 1968, largely unheralded and unrewarded at the time, to bring him back to the top. The question was whether he could keep the strain of that immense effort going against the decreative forces that remained in place in his own camp. Elvis was fighting his own management and recording company. Elvis had made it back in spite of them, not because of them.

ON STAGE

RELEASED:JUN. 1, 1970

See See Rider

Traditional, Arranged by Elvis Presley. Recorded live on stage February 18, 1970, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

Release Me

Eddie Miller/Robert Yount/Dub Williams. Recorded live on stage February 18, 1970, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

Sweet Caroline

Neil Diamond. Recorded live on stage February 16, 1970, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

Runaway

Max Crook/Del Shannon. Recorded live on stage August 25, dinner show, 1969 at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Ronnie Tutt. Piano: Larry Muhoberac. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham

The Wonder of You

Polk Salad Annie

Tony Joe White. Recorded live on stage February 18, 1970, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham

Yesterday

John Lennon/Paul McCartney. Recorded live on stage August 25, 1969, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Ronnie Tutt. Piano: Larry Muhoberac. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham

Proud Mary

John Fogerty. Recorded live on stage February 16, 1970, dinnner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

Walk A Mile In My Shoes

Joe South. Recorded live on stage February 19, 1970, midnight show, at The International Hotel, Las Vegas. Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

Let It Be Me

Mann Curtis/Pierre Delanoe/Gilbert Becaud. Recorded live on stage February 17, 1970, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff, Drums: Bob Lanning. Piano: Glen D. Hardin. Vocals: The Sweet Inspirations, The Imperials, Bobby Morris and His Orchestra. OVERDUBS, Vocals: Mary Holladay, Mary (Jeannie) Green, Joe Babcock, Dolores Edgin, Ginger Holladay, Sandy Posey, Hurshel Wiginton, Jim Glaser, Millie Kirkham, June Page

“On Stage” was another concert album containing live performances, just a year after the first. It was clear evidence that live concerts were being pencilled in to take the place of the movie soundtracks. That said, there is a solid rationale behind this release. Elvis’ repertoire had changed significantly. The album, moreover, is not a single concert but a considered selection of live performances. There are eight tracks from the February 1970 engagement, and these fit together well, both the big emotional ballads and the southern fried, blue-eyed soul. There is a strong emphasis on contemporary material (Joe South, John Fogerty, Tony Joe White) and a contemporary sound. The old Ma Rainey blues “See See Rider” is revved up and taken into another dimension entirely. “Polk Salad Annie” is ultra-cool and established itself quickly as a favourite. The only anomalies are “Runaway” and “Yesterday” (with “Hey Jude” segue edited out). These both derive from the 1969 concerts and it shows. Elvis’ releases are littered with these dumb and inappropriate selections and indicates the extent to which expediency prevailed nearly every time over artistry. These tracks don’t belong on this album, and the version of “Yesterday” is so pedestrian it sounds like Elvis is struggling to stay awake. He sounds like he is suffering the song rather than singing it. Set alongside outstanding ballad performances like “Let It Be Me,” it comes over as a boring interlude. Even a live performance of “Love Me Tender,” to the sound of Elvis snogging his way through the entire female cohort contained in the theatre, would have been an improvement. I think.

The album sold in excess of 500,000, further consolidating Elvis’ position as an artist of substance. Already, though, there were signs of the new formula being put in place being very much like the old formula, with live performances now where the movies and their soundtracks once were. The danger lay in Elvis’ studio work being reduced to being an appendage of the live performances, his studio work being used to promote the live act.

I’VE LOST YOU

RELEASED:JUL. 14, 1970

I’ve Lost You

Ken Howard/Alan Blaikley. Recorded June 4, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

The Next Step Is Love

Paul Evans/Paul Parnes. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgome

Despite the immense success of the American Sound sessions, Elvis didn’t return to American Sound to record new material. Connections with Chips Moman had been severed for ‘business’ reasons (a term which covers finance, exploitation, politics, power, and control). Elvis instead returned to Nashville in June with a new high-quality team of studio musicians. These had formed the core of the crack Muscle Shoals band, and were now joined by exceptional lead guitarist James Burton from Elvis’ stage band. Taking the songs as they came, Elvis led the session, seeking to reproduce the lively, spontaneous feel of the American sessions whilst keeping the sound tight. He did a great job, but Felton Jarvis’ role amounted to little more than cheerleading and was no substitute for the tough and tight quality control exercised by Chips Moman. This kind of strategy would work only for so long as Elvis was inspired, confident, and motivated. It’s easy to cheer when things are going well. For now, things were going well. Elvis was in prolific form, recording thirty-four masters in five nights. Whilst it has become known as the ‘Nashville Marathon,’ the music flowed seamlessly.

“I’ve Lost You” was the first release from the session. On paper, the song looks unpromising, being one of Freddy Bienstock’s British songs for Hill and Range (Bienstock now had publishing interests in Britain, and a lot of this material was now being given to Elvis). The song is a powerful ballad which demands and receives an emotionally charged performance from Elvis. It fit Elvis’ new adult style perfectly, and forms a complete contrast with the playboy movie image Elvis had projected just a couple of years earlier. It’s a remarkable reinvention. With sales of 500,000 copies and a chart position of #32, (#9 UK), the single was a solid rather than spectacular performer. Its relative commercial failure may reflect the fact that the song is a little more restrained than “The Wonder of You.” It nevertheless helped to cement Elvis’ place in the adult pop world as a mature vocalist singing about adult themes of family life and breakup. Just compare this material to the songs he had been singing just a few years earlier, such as 1966’s “Beach Shack.” The difference is more than four years.

WORLDWIDE 50 GOLD AWARD HITS, VOL.1

RELEASED:AUG. 1, 1970

RCA and Tom Parker continued the same way that they had started, contriving releases for all pockets and prices. We had had the four volumes of gold records. Instead of offering a volume 5, why not round the old tracks up and send them out in a deluxe box set? For a four-disc set, sales of 150,000 copies meant Gold. It was a lesson in how to sell things that had already been sold again, making gold out of gold.

Heartbreak Hotel

I Was The One

I Want You, I Need You, I Love You

Don't Be Cruel

Otis Blackwell/Elvis Presley. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

Hound Dog

Jerry Leiber/Mike Stoller. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

Love Me Tender

Any Way You Want Me (That's How I Will Be)

Aaron Schroeder/Cliff Owens. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

Too Much

Playing for Keeps

All Shook Up

That’s When Your Heartaches Begin

Loving You

(Let Me Be Your) Teddy Bear

Jailhouse Rock

Treat Me Nice

I Beg of You

Don't

Wear My Ring Around Your Neck

Hard Headed Woman

I Got Stung

(Now And Then There's) A Fool Such As I

A Big Hunk O’ Love

Stuck on You

A Mess of Blues

It's Now or Never

I Gotta Know

Are You Lonesome Tonight?

Surrender

I Feel So Bad

Little Sister

Can't Help Falling in Love

Rock-A-Hula Baby

Anything That's Part Of You

Good Luck Charm

She's Not You

Return To Sender

Where Do You Come From

One Broken Heart for Sale

Otis Blackwell/Winfield Scott. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

(You’re The) Devil In Disguise

Bossa Nova Baby

erry Leiber/Mike Stoller. Recorded January 22, 1963 at Radio Recorders, Hollywood. Elvis’ vocal for track 21 was recorded on February 27, 1963. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

Kissin' Cousins

Viva Las Vegas

Doc Pomus/Mort Shuman.Recorded for the motion picture Viva Las Vegas. Recorded July 9, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires

Ain’t That Loving You Baby

Wooden Heart

Crying In The Chapel

If I Can Dream

In The Ghetto

Suspicious Minds

Mark James. Suspicious Minds - Mark James. Recorded January 22, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey.OVERDUB in Las Vegas, August 1969. Trumpet: A. Vasquez, N. Prentice, B. Shew. Trombone: A Le Coque, J. Boicie. Bass Trombone: K. Adkins

Don’t Cry Daddy

Mac Davis. Don't Cry Daddy - MAc Davis. Recorded January 15, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Kentucky Rain

Eddie Rabbitt/Dick Heard. Kentucky Rain - Eddie Rabbitt/Dick Heard. Recorded February 20, 1969 at American Sound Studios, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Excerpts from Elvis Sails. Recorded September 22, 1958.

ALMOST IN LOVE

RELEASED:OCT. 1, 1970

Back on March 10, 1957, Tom Parker, bargaining hard with RCA, had written to Steve Sholes: “Overexposure is like a sunburn. It hurts.” Both Elvis’ manager and recording company proceeded to carry on as they had started – issuing anything and everything with Elvis’ voice on it, regarless of quality, cogence, and coherence. Parker here was really only bullying RCA into submitting to his designs for Elvis, showing no concern for quality control. Overexposure had Elvis competing with himself, sending out confused and mixed images to the public as to who the real Elvis Presley was.

“Almost in Love” was another “budget” album, taking its place in an already crowded Elvis market. The clear intention was to round up anything in the vaults and squeeze every last cent out of it. The strategy was to make Elvis ‘product’ available of varying quality and price to an Elvis audience of varying pocket size. The result inevitably was overexposure, with an audience choosing whatever Elvis that lay within its means. So long as an audience remained concerned to be so discerning. The market was being saturated again, as it had been from the start, only now Elvis was competing against himself from every part of his career, the hits, the movies, the new releases, the old, the quality, the budget.

“Almost In Love” contains the germ of another, more cogent, Elvis album. Although the material had already been released, it was scattered and possibly missed by many. It is interesting to see “A Little Less Conversation” and “Rubberneckin’” on the one album. They would be re-released as singles in the early 2000s. “Clean Up Your Own Back Yard” is also another lost Elvis classic that deserved to be a big hit. “U.S. Male” is also a good addition from the 67=68 Jerry Reed sessions, an example of the Elvis that got away. We have two different ballads from the movie “Live a Little” “Almost in Love” and “Edge Of Reality,” which had been issued as B-sides on singles. “My Little Friend” is another release from the Memphis ’69 material. “Charro” would be an oddity on any collection, but “Stay Away, Joe” detracts rather than adds whilst “Long Legged Girl (With The Short Dress On)” remains as dire as ever it was. It may have been a big single hope in 1967, but it is no lost classic begging rediscovery.

The LP sold just a little less than its ‘budget’ predecessors, making it likely that more would follow in this lucrative line. It seemed that not only were there a number of Elvises but also a number of record companies running different lines. For all of the efforts to define a strong long term artistic profile through quality releases, it seemed there was another short term strategy in play constantly recycling product, diluting the quality and confusing the image. Either way, the best was forever in danger of being undermined and eclipsed by the least, so much so that in the public eyes the real Elvis was always much less than he really was.

Almost in Love

Luiz Bonfa/Randy Starr. Recored for the motion picture Live A Little, Love A Little. Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

Long Legged Girl (With The Short Dress On)

John Leslie McFarland/Winfield Scott. Recored for the motion picture Double Trouble. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

Edge Of Reality

Bill Giant/Bernie Baum/Florence Kaye. Recored for the motion picture Live A Little, Love A Little. Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

My Little Friend

A Little Less Conversation

Billy Strange/Mac Davis. Recored for the motion picture Live A Little, Love A Little.Recorded March 7, 1968 at Western Recorders, Hollywood. Guitar: Joseph Gibbons, Neil Levang, Charles Britz, Alvin Casey. Bass: Larry Knechtel, Charles Berghofer. Drums: Hal Blaine, Gary Coleman. Piano: Don Randi. Vocals: B.J. Baker, Sally Stevens, Bob Tebow, John Bahler

Rubberneckin’

Clean Up Your Own Back Yard

U.S. Male

Charro

Mac Davis/Billy Strange. Recored for the motion picture Charro. Recorded October 15, 1968 at Samuel Goldwyn Studio, Hollywood. Guitar: Tommy Tedesco, Ralph Grasso, Howard Roberts. Bass: Raymond Brown, Max Bennett. Drums: Carl O'Brian. Precussion: Emil Radocchia. Piano: Don Randi. OVERDUBS, Vocals: Sue Allen, Allan Capps, Loren Faper, Ronald Hicklin, Ian Freebairn Smith, Sally Stevens, Robert Zwirn

Stay Away, Joe

Ben Weisman/Sid Wayne. Recored for the motion picture Stay Away, Joe. Live A Little, Love A Little.Recorded October 1, 1967 at RCA's Studio B, Nashville. Guitar: Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Harmonica: Charlie McCoy. Fiddle: Gordon Terry. Vocals: The Jordanaires

ELVIS IN PERSON AT THE INTERNATIONAL HOTEL

RELEASED:OCT. 1, 1970

This was the split-up of the 1969 double-album From Vegas To Memphis/From Memphis To Vegas. In its new configuration each individual LP sold 100,000 copies.

Blue Suede Shoes

Johnny B. Goode

All Shook Up

Are You Lonesome Tonight?

Hound Dog

Jerry Leiber/Mike Stoller. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

I Can’t Stop Loving You

My Babe

Willie Dixon. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Mystery Train/Tiger Man

unior Parker/Sam Phillips-Joe Hill Louis/Sam Burns. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Words

Robin Gibb/Barry Gibb/Maurice Gibb. Recorded live on stage August 25, 1969, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

In The Ghetto

Mac Davis. Recorded live on stage August 25, 1969, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Suspicious Minds

Mark James. Recorded live on stage August 26, 1969, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Larry Muhoberac The Sweet Inspirations, The Imperials.Orchestra conducted by Bobby Morris

Can’t Help Falling In Love

The 1969 concert recording formerly issued as a double album with “Back in Memphis.” It made better sense to issue both independently, given that they are independent albums.

BACK IN MEMPHIS

RELEASED:OCT. 1, 1970

The hybrid double-album “From Vegas To Memphis/From Memphis To Vegas” was split into two and re-issued. Each album sold 100,000 copies.

Inherit The Wind

This Is The Story

Stranger In My Own Home Town

A Little Bit Of Green

And The Grass Won’t Pay No Mind

Do You Know Who I Am?

From A Jack To A King

The Fair Is Moving On

You’ll Think Of Me

Without Love (There Is Nothing)

YOU DON’T HAVE TO SAY YOU LOVE ME

RELEASED:OCT. 6, 1970

This was the second single from the “Nashville Marathon” in June, an energetic and highly wrought reworking of the refined Dusty Springfield hit of 1966. I once heard Vicky Wickham say that Dusty Springfield never oversung a note in her life. Elvis’ melodramatic vocal gave the song an added emotional charge. Recording healthy sales of 800,000 indicates that there was a substantial audience for the new, more mature, Elvis as the mature singer. The B side was a powerful rocker “Patch it Up,” written by Eddie Rabbit. Elvis was combining romantic balladry with energetic rock performance. It was quite a combination, but high maintenance.

The single was a US #11 and a UK #9.

You Don’t Have To Say You Love Me

Vicki Wickham/Simon Napier-Bell/Pino Donaggio/Vito Pallavicini. Recorded June 6, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Patch It Up

Eddie Rabbitt/Rory Bourke. Recorded June 8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

ELVIS’ CHRISTMAS ALBUM

RELEASED:NOV. 1, 1970

And here we have the other Elvis, the endlessly recycled and reissued Elvis. The danger is that over time the lesser Elvis would come to displace the greater Elvis, both artistically and commercially. “Elvis’ Christmas album” was a fine record in its own right. This budget release added “If Every Day Was Like Christmas” and “Mama Liked The Roses” to the album from 1957. It was a way of issuing the old album, again, with a couple of incentives for those who already had it to buy again. It sold little and failed to chart in its initial release but picked up sales year after year to become Elvis’ biggest selling US album, with over nine-million certified sales and still counting.

Blue Christmas

Silent Night

White Christmas

Santa Claus Is Back In Town

I’ll Be Home For Christmas

If Every Day Was Like Christmas

Here Comes Santa Claus (Right Down Santa Claus Lane)

Gene Autry/Oakley Haldeman. Recorded September 6, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires 08) Oh Little Town Of Bethlehem - Philips Brooks/Lewis Redner. Recorded September 7, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: Millie Kirkham, The Jordanaires

Santa Bring My Baby Back (To Me)

Mama Liked The Roses

THAT’S THE WAY IT IS

RELEASED:NOV. 1, 1970

A stunning album which showcases the new Elvis perfectly, combining tracks from the Nashville session in June with live performance. The album shares the title with the forthcoming MGM rockumentary which captured the events of Elvis’ August 1970 show, giving it the character of a soundtrack album. The album switched between live and studio performance, succeeding in capturing who Elvis was in a way that had never quite happened before and would never again. Elvis had always had several careers running parallel with each other, it was well-nigh impossible to bring them together in one place. This album did it better than any. The quality music, the thought given to song selection and sequencing, the packaging and cover art marked this out as a substantial album. That it sold in similar quantities to the haphazard budget collections meant that Elvis had a fight on if artistic integrity was to prevail. Unfortunately, it was often impossible to tell which side his own fans were on. All I can say as a fan is that I bought both and enjoyed both. As a discerning fan, as opposed to a fanatic who says ‘everything’ Elvis did was great, I could always distinguish the substantial from the ephemeral. Elvis had the ability to make the throwaway endearing. He could redeem the poorest material with his voice. The problem with rating ‘everything’ as being of the same level is that, when it comes to market choices, it is more reasonable to choose the more inexpensive option over the more expensive. The best of Elvis was being undercut by the worst. Critics and the non-Elvis public will draw the conclusion that the most visible Elvis, the one that prevails in the price wars, is the real Elvis and the only Elvis.

“That’s the Way It Is” is an exceptional album showing Elvis to be contemporary singer of the very highest class. Some critics lament that the musical breakthrough at American Sound in 1969 was not followed up. That’s not quite true, as the material on “Elvis Country” shows, not to mention the southern fried soul versions of country and contemporary material in live performance. It also tends to be forgotten that Elvis attempted a number of sophisticated MOR ballads at American Sound – “This is the Story,” “The Fair is Moving On,” “Do You Know Who I Am?” for instance – that were fine but a little leaden. In 1970 Elvis realized that ballad sound perfectly.

I Just Can’t Help Believin’

Cynthia Weil/Barry Mann. Recorded August 11, 1970, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Millie Kirkham, The Sweet Inspirations, The Imperials, Joe Guercio and His Orchestra

Twenty Days And Twenty Nights

Ben Weisman/Clive Westlake. Recorded June 4, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

How The Web Was Woven

Clive Westlake/Dave Most. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

Patch It Up

Eddie Rabbitt/Rory Bourke. Recorded August 12, 1970, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Millie Kirkham, The Sweet Inspirations, The Imperials, Joe Guercio and His Orchestra

Mary In The Morning

Johnny Cymbal/Michael Rashkow. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

You Don't Have To Say You Love Me

Vicki Wickham/Simon Napier-Bell/Pino Donaggio/Vito Pallavicini. Recorded June 6, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

You’ve Lost That Lovin’ Feeling

Cynthia Weil/Barry Mann. Recorded August 12, 1970, midnight show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Millie Kirkham, The Sweet Inspirations, The Imperials, Joe Guercio and His Orchestra

I’ve Lost You

Ken Howard/Alan Blaikley. Recorded August 11, 1970, dinner show, at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Millie Kirkham, The Sweet Inspirations, The Imperials, Joe Guercio and His Orchestra

Just Pretend

Doug Flett/Guy Fletcher. Recorded June 6, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Stranger In The Crowd

Winfield Scott. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

The Next Step Is Love

Bridge Over Troubled Water

Paul Simon. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

I REALLY DON’T WANT TO KNOW

RELEASED:DEC. 8, 1970

Saturating the market and confusing the picture even more, RCA released a single announcing a forthcoming country album just weeks after the release of “That’s The Way It Is.” There is no sense in a release strategy such as this that Elvis’ work possessed any artistic integrity and enduring quality for a period that stemmed much beyond the initial release. The biggest sales are gathered over a period of time. RCA’s release schedule allowed no such pacing, simply moving to the next release slot. Clearly, the ‘product’ was aimed directly at an already existing Elvis market. Instead of winning Elvis new fans for the long run, the intention was to keep emptying the pockets of existing fans.

“I Really Don’t Want To Know” is another Elvis cover of a classic Eddy Arnold country ballad, and another song written by one of Elvis’ best writers, Don Robertson. Elvis had performed many Robertson’s songs before, often very gentle and refined ballads. This time he delivers a powerfully soulful vocal, making it a counterpart to “True Love Travels on a Gravel Road.” The sound is hard to define, something best described as country soul. The single sold a substantial 700,000 copies. It just missed out on the top twenty, reaching #21 on the charts, with the result that it tends to be one of those Elvis classics that few people actually realize was a hit record.

In 1970 the Elvis releases comprised five singles, three budget albums, two new albums, two re-release LPs, and a box set. There were still two albums of 1970 material and more singles to come. Elvis was prolific, certainly, but that’s an awful lot of product for anyone, even fanatics, to digest. There was a serious risk of exhausting patience and pockets. Once you have given everything, with all bases covered, what more could people want? There was no sign of product management. At some point people will start to be picky, and from there will start to defer choice until another time, a time that never comes. The seeds of the collapse in the Elvis market are right here in a clear example of commercial greed and confusion.

I Really Don’t Want To Know

Howard Barnes/Don Robertson. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

There Goes My Everything

Dallas Frazier. Recorded June 8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

ELVIS COUNTRY

RELEASED:JAN. 2, 1971

“Elvis Country” is a classic Elvis album with a claim to be one of his best five albums. The trouble is that “That’s the Way It Is” shares that status, and had been released just two months earlier. Instead of maximising the impact of “That’s the Way It Is,” “Elvis Country” was rushed out. In truth, ten of its twelve tracks were from the June sessions in Nashville from which the studio cuts on “That’s the Way It Is” were drawn. Whereas the earlier album had a focus on contemporary ballads, the latter has a more pronounced country profile. The distinction is not, however, clear cut, with the country ballad “Mary in the Morning” on “That’s the Way” being easily located on “Country.”

As if the public was too dim-witted to get its head around the idea that this was a coherent country album, some genius decided to take the excellent country gospel “I Was Born About Ten Thousand Years Ago” and cut it into snippets linking the songs on the album together to form a “concept” album. That act of vandalism was entirely unnecessary given the extent to which the songs blended seamlessly into each other. The result was not merely to lose one cracking track, but to ruin the beginnings and endings of all the other tracks.

The album makes a superb follow-up to “From Elvis in Memphis,” with Elvis revisiting and reinventing material by Bob Wills, Bill Monroe, Eddy Arnold, and Ernest Tubb. There is a soulful rendition of “Funny How Time Slips Away,” a hard-rock version of “Whole Lot-ta Shakin’ Goin’ On,” a blues country in (“The Fool”), suggesting Howlin’ Wolf’s “Smokestack Lightnin’”, and a warm and rich performance of a country ballad that could easily have fitted on “That’s the Way It Is,” “There Goes My Everything.”

Artistically, the album was a triumph. Commercially, it didn’t make any further advance on previous albums, suggesting that the Elvis market had peaked at around half a million copies and would begin to solidify and then fade from that level. With “From Elvis in Memphis,” “That’s the Way It Is,” and “Elvis Country” it is difficult to see how Elvis could have done more. Appreciate these albums, artistically and musically this is as good as it gets. Among all the critical comments I am making here, it is worth making that point crystal clear.

Snowbird

Gene MacLellan. Recorded September 22, 1970 at RCA’s Studio B, Nashville. Guitar: Eddie Hinton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary (Jeannie) Green, Mary Holladay, Ginger Holladay, The Jordanaires. OVERDUBS, Guitar: Harold Bradley. Percussion: Farrell Morris. Vocals: Millie Kirkham, Dolores Edgin, Sonja Montgomery, June Page, The Imperials

Tomorrow Never Comes

Ernest Tubb/Johnny Bond. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Little Cabin On The Hill

Bill Monroe/Lester Flatt. Recorded June 4, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

Whole Lot-ta Shakin’ Goin’ On

Dave Williams/Sunny David. Recorded September 22, 1970 at RCA’s Studio B, Nashville. Guitar: Eddie Hinton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary (Jeannie) Green, Mary Holladay, Ginger Holladay, The Jordanaires. Percussion: Farrell Morris. Vocals: Millie Kirkham, Dolores Edgin, Sonja Montgomery, June Page, The Imperials

Funny How Time Slips Away

Willie Nelson. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

I Really Don’t Want To Know

There Goes My Everything

It’s Your Baby, You Rock It

Shirl Milete/Nora Fowler. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

The Fool

Naomi Ford. Recorded June 4, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

Faded Love

Bob Wills/John Wills. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

I Washed My Hands In Muddy Water

Joe Babcock. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Make The World Go Away

Hank Cochran. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

I Was Born About Ten Thousand Years Ago

Adapted by Elvis Presley. Recorded June 4, 1970 at RCA’s Studio B Nashville.Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

RAGS TO RICHES

RELEASED:FEB. 23, 1971

Rags To Riches

Richard Adler. Recorded September 22, 1970 at RCA’s Studio B, Nashville. Guitar: Eddie Hinton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary (Jeannie) Green, Mary Holladay, Ginger Holladay, The Jordanaires. OVERDUBS, Piano: David Briggs. Percussion: Farrell Morris. Vocals: Millie Kirkham, Dolores Edgin, Sonja Montgomery, June Page, The Imperials

Where Did They Go, Lord

Dallas Frazier/Arthur L. Owens. Recorded September 22, 1970 at RCA’s Studio B, Nashville. Guitar: Eddie Hinton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary (Jeannie) Green, Mary Holladay, Ginger Holladay, The Jordanaires. Percussion: Farrell Morris. Vocals: Millie Kirkham, Dolores Edgin, Sonja Montgomery, June Page, The Imperials

Elvis returned to the studio in September and recorded a few more tracks. Two were issued on “Elvis Country,” (“Whole Lotta Shakin’” and “Snowbird,” two tracks as unalike as it was possible to be). This single paired two remaining tracks. “Where Did They Go, Lord?” is a country gospel of a kind that Elvis would record more as the seventies progressed. It is not a commercial song, so its presence here can be attributed to the fact that it was going spare. “Rags To Riches” an operatic ballad that was a hit for Tony Bennett in 1953, re-imagined by Elvis as a big-voiced operatiuc soul number, via his influences Roy Hamilton and Jackie Wilson. For whatever reason, Elvis was edgy and impatient in the session. His wired version of “Whole Lotta Shakin’” gives an idea of his mood. Instead of a carefully crafted performance in the manner of “It’s Now or Never” or “Surrender,” Elvis takes the ballad by storm. He comes in loud and never lets up. It’s thrilling but a little ragged. It’s as if he comes in with the dramatic big ending and then has nowhere to go. Sales of 400,000 indicated a downward trend.

YOU’LL NEVER WALK ALONE

RELEASED:MAR. 1, 1971

The shops were not short of quality Elvis albums to tempt the public, but neither time nor space was allowed to allow attentions to focus. Just two months after the release of “Elvis Country” came “You’ll Never Walk Alone,” yet another budget release. A Christmas budget album had released, so a gospel compilation could have been anticipated. Of the tracks, only “Let Us Pray” and “Who Am I?” were previously unreleased. It’s a decent album, but putting the tracks from the “Peace In the Valley” EP with film material and scattered gospel and gospel influenced gems (“We Call on Him” and “You’ll Never Walk Alone”) smacks of expediuency. The album sold just 200,000 copies in its initial relase, representing a sizeable drop in relation to the previous budget albums, but it continued to sell over time, reaching sales in excess of two million.

You'll Never Walk Alone

Who Am I?

Charles Rusty Goodman. Recorded February 22, 1969 at American Sound Studio, Memphis. Recorded February 17, 1969 at American Sound Studio, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Let Us Pray

Buddy Kaye/Ben Weisman. Recorded for the motion picture Change Of Habit. Recorded March 5 & 6, 1969 at Decca Universal Studio, Hollywood.Guitar: Dennis Budimir, Mike Deasy, Howard Roberts, Robert Bain. Bass: Joe Mondragon, Lyle Ritz, Max Bennett. Drums: Carl O’Brian. Piano: Roger Kellaway. OVERDUBS, Vocals: B.J. Baker, Sally Stevens, Jackie Ward, The Blossoms

(There’ll Be) Peace In The Valley (For Me)

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

We Call On Him

Fred Karger/Ben Weisman/Sid Wayne. Recorded September 10 & 11, 1967 at RCA's Studio B Nashville. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Organ: Hoyt Hawkins. Organ, Harmonica & Guitar: Charlie McCoy. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

I Believe

It Is No Secret (What God Can Do)

Sing You Children

Take My Hand, Precious Lord

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

LIFE

RELEASED:APR. 27, 1971

Life

Shirl Milete. Recorded June 6, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Only Believe

Paul Rader. Only Believe - Paul Rader. Recorded June 8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

This is an ambitious, oddball single, the kind of which occasionally comes out of leftfield to score an unanticipated big hit. “Life” is that kind of wordy, meaning of life song that the likes of Jimmy Webb and Kris Kristoffersohn were writing at the time. Elvis is certainly to be praised for making a spirited effort at this ambitious “New-Age” spiritual. The performance is earnest and heart-felt and the s entiment admirable, but the material isn’t strong enough to have made a hit. We can call it an ambitious failure, which is a marked improvement on tracks like “Do the Clam” and “Long Legged Girl,” which failed more miserably but without any kind of ambition by way of redeeming qualities.

The inspirational “Only Believe” is a song that Elvis had planned to record since the 1960 sessions for “His Hand in Mind.” It is a great country spiritual, with an irresistible swing to draw us in and take us along. Both songs were recorded at the June 1970 sessions, indicating how prolific had been in those five days in Nashville. The single didn’t catch fire and made little impact on the charts, hitting #53. That low position could either have been a response to the single’s lack of commercial appeal or an indication that Elvis’ profile as a singles artist was dipping again, or a combination of both. The fate of the next single, an Elvis classic recording, suggests Elvis was on a downward chart spiral again.

LOVE LETTERS FROM ELVIS

RELEASED:JUN. 16, 1971

This album contains the remainders from the June 1970 session in June and so critics described it as a collection of leftovers. That’s a little harsh, since there are a number of tracks on here which could easily have found places on the “That’s The Way It Is” (the soulful “Love Letters” and the excellent “I’ll Never Know” certainly, with “This Is Our Dance” of the style) and “Elvis Country” albums (“When I’m Over You” could have made a better opener than “Snowbird,” “If I Were You” and “It Ain’t No Big Thing (But It’s Growing)” are fine country performances, whilst “Got My Mojo Working/Keep Your Hands Off Of It” makes form a blues counterpart to the country barnstormer “I Was Born About Ten Thousand Years Ago”) (and have done on reissues, with no appreciable drop in quality). The album also included the “Life” / “Only Believe” single and also the intriguing “Heart Of Rome,” an attempt to revisit “It’s Now or Never” that went the way of “Rags to Riches.”

In fine, the album is nowhere near as bad as critics would lead people to think. When you look at the quality of material contained on the “That’s the Way It Is” and “Country” albums, there is no disgrace in having missed the cut. Here, it is possible to have some sympathy with RCA, if only some. A tight quality control would insist that these tracks remained unreleased, allowing attention to focus on the two albums of June 1970. Instead, along with the budget albums, “Love Letters from Elvis” was released on the principle that nothing would be left unused. The problem is that too much quickly material ends up cancelling itself out. It was now exactly one year on from the time this material had been recorded, and Elvis had recently recorded another thirty tracks in another mammoth Nashville session. Instead of maximising the impact of the quality material of 1970 and whetting the appetite for the quality of 1971 about to come, RCA broke the laws of economics and created a glut. The risk was not merely one of exhausting fans’ pockets but their patience. How many new Elvis albums can an audience absorb?

“Love Letters from Elvis” sold 300,000 copies, representing a significant drop, albeit from fairly substantial figures.

Love Letters

Edward Heyman/Victor Young. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

When I’m Over You

Shirl Milete. Recorded June 7, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

If I Were You

Gerald Nelson. Recorded June 8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Got My Mojo Working/Keep Your Hands Off Of It

Preston Foster-Adapted by Elvis Presley. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

Heart Of Rome

Geoff Stephens/Alan Blaikley/Ken Howard. Recorded June 6, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Only Believe

Paul Rader. Recorded June 8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

This Is Our Dance

Les Reed/Geoff Stephens. Recorded June 6, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Cindy, Cindy

Buddy Kaye/Ben Weisman/Dolores Fuller. Recorded June 4, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

I’ll Never Know

Fred Karger/Sid Wayne/Ben Weisman. Recorded June 5, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

It Ain’t No Big Thing (But It’s Growing)

Neal Merritt/Alice Joy/Shorty Hall. Recorded June 6, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Life

I’M LEAVIN’

RELEASED:JUN. 22, 1971

I’m Leavin’

Michael Jarrett/Sonny Charles. Recorded May 20, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham,The Imperials

Heart Of Rome

The A-side “I’m Leavin’” is one of Elvis’ greatest songs, period. It is a folk inflected with complex dynamics that demanded a lot of hard work from Elvis in the studio. Elvis identified the quality of the song and sought to do it justice: “Phew, man, it’s tough, but the thing is worth working on.” Eventually, he got it spot-on with one of his finest performances. This sophisticated, haunting song may have been too demanding on the ears and too troubling to the emotions to have the commercial impact its quality deserved. Sales of 300,000 were not commensurate with the high expectations the track excited.

The chart position of #36 returned Elvis to the dog days of 1967-68 before “If I Can Dream” and the “comeback.” It’s not that the quality of material was poor – “I’m Leavin’” is as exceptional as was “Guitar Man” – but that Elvis’ image and musical profile was becoming confused and losing his connection with the non-Elvis public again. The warning signs were there, which surely should have incited an appropriate response from those charged with managing Elvis’ long-term career.

What did we get?

C’MON EVERYBODY

RELEASED:JUL. 1, 1971

Just one month after the release of “Love Letters from Elvis,” itself dismissed as an album of leftovers akin to a ‘budget’ album, RCA released another budget album. It has all the hallmark of a saturation strategy designed to glut the market, collapse prices and ruin a product or a business. Given that couldn’t have been the intention of either management or recording company, we can put it down to good old-fashioned greed, stupidity, incompetence and ineptitude.

“C’mon Everybody” is composed of movie songs that previously only been released on EP. The title track, “Follow that Dream,” and “King of the Whole Wide World” are classics that got away or were thrown away by bad management in the past. Now they return to get in the way of Elvis’ current releases. Sales of 100,000 marked a halving of interest, but so long as such numbers of people continued to buy a product with no production costs whatsoever, such albums would surely come still to be issued. As for what Elvis though of this endless recycling of his music as ‘product,’ the mind boggles. He must have thought that he was being stalked by a doppelganger. Or two.

Simply, the songs here had had its day and needed to be left alone, or properly packaged, presented, and sold. Instead, the market was flooded with cheap product, the old Elvis undercutting the new, giving the impression to the world of an artist in decline.

C'mon Everybody

Joy Byers. Recorded for the motion picture Viva LAs Vegas. Recorded July 9, 1963 at Radio. Recorders, Hollywood. Guitar: Billy Strange, Scotty Moore, Tiny Timbrell. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Frank Carlson. Piano: Floyd Cramer, Dudley Brooks. Organ: Calvin Jackson. Saxophone: Boots Randolph. Vocals: The Jordanaires. 02) Angel - Sid Tepper/Roy C. Bennett. Recorded for the motion picture Follow That Dream. Recorded July 2, 1961 at RCA’s Studio B, Nashville. Guitar: Hank Garland, Scotty Moore, Neal Matthews. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Angel

Easy Come, Easy Go

A Whistling Tune

Follow That Dream

King Of The Whole Wide World

I'll Take Love

I’m Not The Marrying Kind

This Is Living

Today, Tomorrow And Forever

THE OTHER SIDES – ELVIS WORLDWIDE GOLD AWARD HITS, VOL. 2

RELEASED:AUG. 1, 1971

Vol.1 had sold 150,000 copies, which was good enough to earn a Gold record. Vol.2 sold only a third of that number at 50,000 copies. These were the lesser hits, the B-sides and none-hits. 50,000 is still quite a decent number for a four-disc album.

Puppet On A String

Witchcraft

Trouble

I Want To Be Free

Poor Boy

Doncha' Think It's Time

Young Dreams

The Next Step Is Love

Paul Evans/Paul Parnes .Recorded June 7, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

You Don’t Have To Say You Love Me

Vicki Wickham/Simon Napier-Bell/Pino Donaggio/Vito Pallavicini.Recorded June 6, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

Paralyzed

My Wish Came True

When My Blue Moon Turns To Gold Again

Lonesome Cowboy

My Baby Left Me

It Hurts Me

I Need Your Love Tonight

Tell Me Why

Titus Turner. Recorded January 12, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Please Don’t Drag That String Around

Young And Beautiful

Hot Dog

New Orleans

We're Gonna Move

New Orleans

King Creole

I Believe In The Man In The Sky

Dixieland Rock

The Wonder Of You

They Remind Me Too Much Of You

Don Robertson. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

Mean Woman Blues

Claude DeMetrius. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires 30) Lonely Man - Bennie Benjamin/Sol Marcus. Recorded for the motion picture Wild In The Country. Recorded November 7, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Myer Rubin. Drums: D.J. Fontana. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

Lonely Man

Any Day Now

Don’t Ask Me Why

(Marie's The Name) His Latest Flame

I Really Don’t Want To Know

(Youre So Square) Baby I Don’t Care

Jerry Leiber/Mike stoller. Recorded for the motion picture Jailhouse Rock. Recorded May 3 & 8, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black, Neal Matthews, Elvis Presley. Drums: D.J. Fontana. Piano: Dudley Brooks, Mike Stoller. Vocals: The Jordanaires

I’ve Lost You

Ken Howard/Alan Blaikley.06) I Really Don’t Want To Know - Howard Barnes/Don Robertson. Recorded June 4, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Let Me

Vera Matson/Elvis Presley. Recorded for the motion picture Love Me Tender. Recorded September 4, 1956 at Fox Stage 1, Hollywood. Guitar: Vito Mumolo. Bass: Mike “Myer” Rubin. Drums: Richard Cornell. Banjo: Luther “Red” Roundtree. Accordion: Carl Fortina, Dominic Frontieri. Vocals: Rad Robinson, Jon Dodson, Charles Prescott

Love Me

Got A Lot O’ Livin’ To Do!

Fame And Fortune

Rip It Up

There Goes My Everything

Dallas Frazier. Recorded June 8 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Lover Doll

One Night

Dave Bartholomew/Pearl King. Recorded February 23, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires 45) Just Tell Her Jim Said Hello - Mike Stoller/Jerry Leiber. Recorded March 19, 1962 at RCA’s Studio B, Nashville. Guitar & Vibes: Grady Martin. Guitar: Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires

Just Tell Her Jim Said Hello

Ask Me

Domenico Modugno/Bill Giant/Bernie Baum/Florence Kaye). Recorded January 12, 1964 at RCA's Studio B, Nashville. Guitar: Grady Martin, Harold Bradley, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Vibes: Boots Randolph. Vocals: Millie Kirkham, The Jordanaires.

Patch It Up

Eddie Rabbitt/Rory Bourke. Recorded August 11 & 12, 1970 at The International Hotel, Las Vegas. Guitar: James Burton, John Wilkinson, Elvis Presley. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Millie Kirkham, The Sweet Inspirations, The Imperials, Joe Guercio and His Orchestra

As Long As I Have You

You’ll Think Of Me

Wild In The Country

ELVIS SINGS THE WONDERFUL WORLD OF CHRISTMAS

RELEASED:SEP. 1, 1971

Given that Elvis had recorded a lot of material in May 1971 indicating an ambitious folk and ballad experimentation going on, this release seems incongruous as the main business of the year (now that the mopping up of the overflow of the previous year had finally finished). Of course, that the main business of that May session had been to record a Christmas and gospel album may strike us as bizarre given the momentum established by “From Elvis in Memphis,” “That’s the Way It Is,” and “Elvis Country.”

As with the 1957 Christmas album this album had little commercial impact at first, but saw sales build year after year until half-a-million copies were reached. Sales now stand in excess of three million. The album contains a number complex arrangements of Christmas carols, on which Elvis acquits himself well. The interest of the album lies in the folk, blues and the ballads and the insight these give into the possible secular album Elvis could have been recording at this time. “I’ll Be Home On Christmas Day,” “Merry Christmas Baby,” and “Holly Leaves And Christmas Trees” deserve a wider audience whilst “If I Get Home On Christmas Day” is a nice warm ballad.

O Come, All Ye Faithful

Arranged by Elvis Presley. Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

The First Noel

On A Snowy Christmas Night

tanley Gelber. Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

Winter Wonderland

Dick Smith/Felix Bernard. Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

The Wonderful World Of Christmas

Charles Tobias/Al Frisch. Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

It Won’t Seem Like Christmas (Without You)

J.A. Balthrop. Recorded May 15, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

I’ll Be Home On Christmas Day

Michael Jarrett. Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

If I Get Home On Christmas Day

Tony Macaulay. Recorded May 15, 1971 at RCA’s Studio B, Nashville.Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

Holly Leaves And Christmas Trees

Red West/Glen Spreen. Recorded May 15, 1971 at RCA’s Studio B, NashvilleGuitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

Merry Christmas Baby

Lou Baxter/Johnny Moore. Recorded May 15, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Guitar solo: Eddie Hinton, Drums & Percussion: Larry Londin, Percuission: Farrell Morris. Vocals: Millie Kirkham, The Imperials

Silver Bells

Ray Evans/Jay Livingston. Recorded May 15, 1971 at RCA’s Studio B, Nashville. Guita0r: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percission: Farrell Morris. Vocals: Millie Kirkham, The Imperials

IT’S ONLY LOVE

RELEASED:SEP. 21, 1971

It’s Only Love

Mark James/Steve Tyrell. Recorded May 20, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham,The Imperials

The Sound Of Your Cry

Bill Giant/Bernie Baum/Florence Kaye. Recorded June 4, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, The Jordanaires, The Imperials

An excellent single pairing two contrasting ballad styles, a rhythmic ballad and a dramatic, somewhat overwrought emotional ballad. The selections were both Elvis’ choice, but it was to prove a commercial flop, with sales down to the all-time lows of 1968. It’s difficult to pinpoint the reason for the collapse on the material. “It’s Only Love” is radio friendly medium paced rock ballad whose commercial qualities were realized a decade later when it hit #3 on the UK chart. It had a good pedigree, having been written by Mark James (author of “Suspicious Minds,” “Always on My Mind,” and “Moody Blue.”) Elvis worked hard on it in the studio and, artistically, his efforts were rewards. It hit only #51 on the charts, a dire performance. The reasons for commercial collapse cannot lie in the material. The only conclusion to be drawn is that the saturation strategy of Elvis releases had effectively drowned the new Elvis in a glut of product. There was simply too much Elvis for there to have been much excitement over new material.

The endless recycling of old Elvis product did not help matters.

I GOT LUCKY

RELEASED:OCT. 1, 1971

Looking at this release schedule, I can only recall what one of the Jordanaires report being told by an official at RCA when starting to work for Elvis in 1956 – get your money up front because Elvis is not going to be around long. There was this relentless flogging of Elvis giving the impression that the market was about to collapse. Persist with that approach, and the market eventually will collapse.

The only thing that could have stopped the issue of yet another budget album would have been if people simply stopped buying them. As it was, 100,000 sales and zero production costs represented clear profit. What the approach cost Elvis commercially in the long run, not to mention artistically, is incalculable. Suffice to say, I bought this album as a young person and enjoyed it very much. I was young and hadn’t heard the songs. Tracks like “I Got Lucky” and “What A Wonderful Life” were catchy, “I Need Somebody To Lean On” classy, and “Fools Fall In Love” and “If You Think I Don't Need You” thrilling. Critics seeing the whole can tend to presume fixed standards, missing that a lot depends on context in the Elvis world. Many fans weren’t even born when these tracks were first released, and so these albums served as an introduction. That was my experience. I can also testify to only being able to purchase a number of Elvis albums. In rationing my choices there was a tendency to go for those most easily available. That meant that budget Elvis was beating heavyweight contemporary Elvis to the punch. I had friends who were Elvis fans and doing the same. There came a point when they lost interest. Instead of graduating to the contemporary Elvis they moved to other contemporary artists.

The approach had been in place from the very start, issuing Elvis products in all formats to cater for all pockets and price levels. It is a strategy designed to mop up every last cent in the current market. It exhausts that market but does nothing to cultivate a new one. Elvis had been sold to death.

I Got Lucky

What A Wonderful Life

I Need Somebody To Lean On

Yoga Is As Yoga Does

Riding The Rainbow

Fools Fall In Love

The Love Machine

Gerald Nelson/Fred Burch/Chuck Taylor. Recorded September 29, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

Home Is Where The Heart Is

You Gotta Stop

Bill Giant/Bernie Baum/Florence Kaye. Recorded September 29, 1966 at Paramount Studio Recording Stage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica, Organ & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman, Hal Blaine, Curry Tjader, Larry Bunker. Percussion: Emil Radocchia. Harpsichord: Michel Rubini. Trumpet: Mike Henderson, Anthony Terran. Trombone: Butch Parker. Saxophone: Jerry Scheff, Meredith Flory, Willam Hood. Vocals: The Jordanaires

If You Think I Don't Need You

MERRY CHRISTMAS BABY

RELEASED:NOV. 9, 1971

Merry Christmas Baby (Single Edit)

O Come All Ye Faithful

Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

“Merry Christmas Baby” is a marvellous blues, one of Elvis’ very best performances of the seventies. It just has us wanting much more in a similar vein. It was one of the tracks that gave “The Wonderful World of Christmas” something of a schizophrenic character. On the one hand there are the grand and ambitiously Christmas carols and sentimental Christmas songs, on the other there are the blues, folk, and pop material. “Merry Christmas Baby” is a blues jam in which Elvis revisits the 1948 Charles Brown classic in a way that is something less than holy, which indeed is wholly profane. This was Elvis’ ‘back in town’ moment on an album that contained “O Come all Ye Faithful” and “Silver Bells.” The single was edited down to a playable three minutes and fifteen seconds, but therein was the problem. The attraction of this blues jam is its relentless intensity in building and building to a climax that never quite comes. Cut back, it isn’t quite as good. The single sold poorly and failed even to chart. But its qualities did come to the attention of many, suggesting that there was still a lot of life in an artist who gave the impression he was fading away again.

UNTIL IT’S TIME FOR YOU TO GO

RELEASED:JAN. 4, 1972

Until It’s Time For You To Go

Buffy Sainte-Marie. Recorded May 16, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

We Can Make The Morning

Jay Ramsey. Recorded May 20, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

Elvis had released two quality singles in “I’m Leavin’” and “It’s Only Love” and both had bombed. The high hopes for the folk inflected inventions of the 1971 Nashville sessions stood in danger of being dashed. Both these tracks were Elvis’ own choices for single, and so it was for the next choice, also from the May 1971 session. Buffy Sainte-Marie’s “Until It’s Time For You To Go” was undoubtedly a beautiful folk ballad, but was possibly a foolhardy single release. The song was already familiar through a number of cover versions, including the Neil Diamond single which had peaked at #53 the previous year. Elvis clearly felt he could do better, and the song was representative of the direction he saw his music going. The aborted session in March had to be cut short for health reasons. The four songs recorded make it clear that Elvis had in mind his own distinctive take on “folk-rock.” Elvis delivered a perfectly teary-eyed reading of “Until It’s Time For You To Go.” Andrea Warner, biographer of the song’s writer Buffy Sainte Marie, argues that that the song is really to be sung from a woman’s perspective, but nevertheless singles out Elvis’ version for particular tribute: “Presley's interpretation amps up the song's sentimental side. His drawl tucks the words inside his mouth, like one of those enveloping hugs that makes you feel safe until you start to feel smothered. But his emotional treatment is effective — if you can listen to it in full with dry eyes, email me the secrets of your robot heart — and it's Presley's version that most people associate with the song.”

https://www.cbc.ca/music/from-elvis-to-barbra-streisand-a-brief-history-of-one-of-buffy-sainte-marie-s-most-covered-songs-1.5402635

Elvis delivered another fine performance on another quality song, but the evidence of a growing disconnect with the public was increasing. The single sold and charted a little better than the recent singles, with “Until It’s Time For You to Go” peaking at #40. An improvement on Neil Diamond, but so much less than Elvis had hoped for and expected given the quality of the material and the emotions he had invested in it.

ELVIS NOW

RELEASED:FEB. 20, 1972

Elvis’ ambition for a ‘folk/rock/ballad’ album at the Nashville sessions of 1971 had been thwarted by two-month break imposed by ill-health in March. The album that finally emerged showed a few traces of that original concept but was undermined by the random nature of the material. With unreleased tracks from 1969 and 1970 alongside “I Was Born Ten Thousand Years Ago,” previously issued in snipetts on the “Elvis Country” album, “Elvis Now” was anything but representative of the Elvis of 1971. The album was full of filler and padding, which served only to detract from the few tracks of quality. It was a patchwork quilt without any internal cohesion. The excellent tracks here show how great the potential for a ‘folk rock’ album had been. The album sold a respectable 400,000. If that suggested that Elvis had, for the first time in his career, become an albums artist rather than a singles artist, then the real test would be learn how many would be so impressed by this uneven affair to return to purchase the next album.

Help Me Make It Through The Night

Kris Kristofferson. Recorded May 17, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham,The Imperials

Miracle Of The Rosary

Lee Denson. Recorded May 15, 1971 at RCA’s Studio B, Nashville. Guita0r: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percission: Farrell Morris. Vocals: Millie Kirkham, Ginger Holladay, Temple Riser, The Imperials

Hey Jude

John Lennon/Paul McCartney. Recorded January 20, 1969 at American Sound Studio, Memphis. Guitar & Sitar: Reggie Young, Guitar: Elvis Presley.,Bass: Tommy Cogbill, Mike Leech. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie Milsap. Organ: Bobby Emmons. Steel Guitar: John Hughey. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Andrew Lowe, Glen Spreen, J.P.Luper. Trombone: Ed Logan, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, June Page, Hurshel Wiginton, Joe Babcock, Ginger Holladay, Millie Kirkham, Sandy Posey

Put Your Hand In The Hand

Gene MacLellan. Recorded June 8, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Charlie McCoy. Vocals: June Page, Millie Kirkham, Sonja Montgomery, The Imperials

Until It’s Time For You To Go

Buffy Sainte-Marie. Recorded May 17, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham,The Imperials

We Can Make The Morning

Jay Ramsey. Recorded May 20, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham,The Imperials

Early Mornin’ Rain

Gordon Lightfoot. Recorded March 15, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary Holladay, Ginger Holladay, The Nashville Edition

Sylvia

Geoff Stephens/Les Reed. Recorded June8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Fools Rush In (Where Angels Fear To Tread)

Rube Bloom/Johnny Mercer. Recorded May 18, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham,The Imperials

I Was Born About Ten Thousand Years Ago

Adapted by Elvis Presley. Recorded June 4, 1970 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion and Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Banjo: Bobby Thompson. Fiddle: Buddy Spicher. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, T

HE TOUCHED ME

RELEASED:FEB. 29, 1972

Tom Parker was addicted to soft, easy markets. There was a rationale to some of his thinking. The religious and Christmas material may not have been a spectacular seller, but it was a solid performer over time. Any number of Easter singles had bombed in the past, but Parker never lost faith in the Easter radio special. This single comprised two songs from the spring 1971 sessions to announce the forthcoming release of a new Elvis gospel album, “He Touched Me.” The single sold poorly and failed to chart. But it was publicity.

He Touched Me

William Gaither. Recorded May 18, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. OVERDUBS, Drums & Percussion: Larry Londin, Percussion: Farrell Morris. Vocals: Millie Kirkham, The Imperials

Bosom Of Abraham

William Johnson/George McFadden/Phillip Brooks. Recorded June 9, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Charlie McCoy. Vocals: June Page, Millie Kirkham, Sonja Montgomery, The Imperials

HE TOUCHED ME

RELEASED:APR. 3, 1972

“He Touched Me” was Elvis’ third gospel album, and was again as different as the previous two had been from each other. Elvis eschewed his taste for traditional and explored a rock gospel approach with a “contemporary Christian” feel. The approach was very much in keeping with Elvis’ folk-rock experimentation, and only makes us regret the fact proceedings were cut short by ill-health. Elvis is frequently criticized for being conservative and reluctant to change. He was certainly subject to commercial and popular pressures that were resistant to change and favoured the familiar. But in 1972 he was now a radically different artist to the one he had been in 1967. Elvis made the deliberate attempt to change his style and broaden his repertoire in his secular music, and he did the same here with gospel, covering contemporary new material from both black (Andrae Crouch) and white (Bill Gaither) sources. The music was both adventurous and ambitious. As with the previous two gospel albums, “He Touched Me” sold a modest 200,000 copies to begin with before building over the years to sell in excess of a million copies. The album earned Elvis his second Grammy award. The first had also come for a gospel album, “How Great Thou Art.”

He Touched Me

William Gaither. Recorded May 18, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials

I've Got Confidence

Andrae Crouch. Recorded May 18, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials

Amazing Grace

Arranged by Elvis Presley. Recorded March 15, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary Holladay, Ginger Holladay, The Nashville Edition. OVERDUBS, Vocals: Millie Kirkham, Mary Holladay, Ginger Holladay, The Nashville Edition, The Imperials

Seeing Is Believing

Red West/Glen Spreen. Recorded May 19, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials

He Is My Everything

Dallas Frazier. Recorded June 9, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Charlie McCoy. Vocals: June Page, Millie Kirkham, Sonja Montgomery, The Imperials

Bosom Of Abraham

An Evening Prayer

C. Maude Battersby/Charles Gabriel. Recorded May 18, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials

Lead Me, Guide Me

Doris Akers. Recorded May 17, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials

There Is No God But God

Bill Kenny. Recorded June 9, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Charlie McCoy. Vocals: June Page, Millie Kirkham, Sonja Montgomery, The Imperials

A Thing Called Love

Jerry Reed. Recorded May 19, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials

I, John

William Johnson/George McFadden/Phillip Brooks. Recorded June 8-10, 1971 at RCA’s Studio B, Nashville.Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Charlie McCoy. Vocals: June Page, Millie Kirkham, Sonja Montgomery, The Imperials. Oversub Vocals: Millie Kirkham, Dolores Edgin, June Page, Sonja Montgomery

Reach Out To Jesus

Ralph Carmichael. Recorded June 8, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Charlie McCoy. Vocals: June Page, Millie Kirkham, Sonja Montgomery, The Imperials

AN AMERICAN TRILOGY

RELEASED:APR. 4, 1972

An American Trilogy

Mickey Newbury. Recorded live February 16, 1972, midnight show, at The Las Vegas Hilton. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

The First Time Ever I Saw Your Face

Ewan McColl. Recorded March 15, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Harmonica: Charlie McCoy. Vocals: Millie Kirkham, Mary Holladay, Ginger Holladay, The Nashville Edition

Whilst “An American Trilogy” is recognized as a bona fide Elvis classic, the facts and figures do not show that. RCA recorded Elvis performing live in Las Vegas in the February of 1972, recording enough material for about half an album. Another album along the lines of “That’s the Way It Is,” balancing live performance with studio cuts, was in the offing. As far as a single release was concerned, Elvis favoured releasing his live version of “The Impossible Dream” from “The Man From La Mancha.” He identified with the message and his performance registered an immense emotional investment on his part. He nevertheless desisted and opted for “An American Trilogy.” Elvis had heard and loved Mickey Newbury’s folk take on the Confederate anthem “Dixie,” the slavery folk song “All My Trials,” and the stirring Union rallying cry “Battle Hymn Of The Republic.” The medley suggested the kind of unity to Elvis that he had sung about in “If I Can Dream,” promising the future resolution of deep divisions. Elvis was prepared to embody that unity and perform an act of unity in song. The arrangement was appropriate grand, not to say grandiose, inflating the song well beyond Newbury’s version. Elvis delivered an impassioned performance in staking his claim to personify American unity in diversity. If anyone could make that claim, it was Elvis. Again, Elvis’ choice for the single was not rewared by commercial success, with “An American Trilogy” reaching a miserable #66 compared to Newbury’s #26 that same year. But the song soon became a highlight and setpiece of his stage shows, and a song that in no time became most associated with him.

ELVIS SINGS HITS FROM HIS MOVIES VOL. 1

RELEASED:JUN. 1, 1972

I can only plead guilty and confess that I was one of the 130,000 who bought this album. Others can give their reasons why, my reason was that it contained tracks that I didn’t have and hadn’t heard. There was too much Elvis product and it was released in a very haphazard way. There were gaps everywhere. Budget albums like this were within reach. That’s the view of a fan desperate for a little bit of Elvis for a little bit of money. Those in charge of Elvis’ career ought to have been more concerned in preserving the quality of the product and the reputation of the artist. This is a seriously stupid album which seems to express the conscious intent the pit the very best of Elvis against the very worst in a constant negation. Any casual fan tempted to buy this through quality tracks like “Big Boss Man” and “Guitar Man” will have heard “Confidence,” “Long Legged Girl (With The Short Dress On),” “How Would You Like To Be,” and “Old MacDonald” and never returned within distance of an Elvis album ever again, unless armed with garlic, a silver bullet and a stake. The only relief is that “Queenie Wahine’s Papaya,” “Yoga is as Yoga Does,” and “I Love Only One Girl” were absent. Look at a release like this I am struck by parallels with the character traits of the manipulative personality which deliberately sends out mixed message to confuse and prevent the formation of clear conclusions. No one with taste would go near a release like this. A release like this is designed to identify the Elvis audience as tasteless.

Down By The Riverside And When The Saints Go Marching In

Bill Giant/Bernie Baum/Florence Kaye. Recorded for the motion picture Frankie And Johnny. Recorded May 12, 1965 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Guitar & Harmonica: Charlie McCoy. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano: Larry Muhoberac. Trumpet: George Worth. Trombone: Richard Noel. Saxophone: Gus Bivona. Tuba: John Johnson, Robert Corwin. Vocals: Eileen Wilson, The Jordanaires

They Remind Me Too Much Of You

Confidence

Sid Tepper/Roy C. Bennett. Recorded February 22, 1967 at RCA's Studio B, Nashville. Elvis' vocals recorded March 6, 1967. Guitar: Scotty Moore, Chip Young. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer, Hoyt Hawkins. Steel Guitar: Pete Drake. Saxophone: Norm Ray. Vocals: Millie Kirkham, The Jordanaires. OVERDUBS, Vocals: June Page, Priscilla Hubbard, Dolores Edgin, Millie Kirkham, Ray Walker

Frankie And Johnny

Guitar Man

Long Legged Girl (With The Short Dress On)

John Leslie McFarland/Winfield Scott. Recorded June 29-30, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

You Don't Know Me

How Would You Like To Be

Ben Raleigh/Mark Barkan. Recorded September 22, 1962 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Billy Strange. Bass: Ray Siegel. Drums: D.J. Fontana, Frank Carlson. Piano: Don Robertson. Organ: Dudley Brooks. Saxophone & Clarinet: Clifford Scott. Vocals: The Mello Men

Big Boss Man

Old MacDonald

Randy Starr. Recorded June 29-30, 1966 at and MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

ELVIS AS RECORDED AT MADISON SQUARE GARDEN

RELEASED:JUN. 1, 1972

It is tempting to write critically of the live concert releases of the seventies as taking the place of the movie soundtracks of the sixties. Just as the soundtracks contained a lot of good or entertaining material, so the concerts have their merits. This release documents Elvis’ conquest, finally, of New York. This was Elvis’ first appearance in New York and he had doubts about whether or not he would be succeed. This was Sinatra country, and its press had always been critical of Elvis. Elvis smashed attendance records, selling out four shows in a row, and delivered a thrilling performance. It was an unqualified triumph, Elvis was the undisputed King of America in 1972. RCA recorded both shows on June 10 and then rushed an album of the evening show out in less than two weeks in order to beat the bootleggers. The review in the New York Times was ecstatic. “Like a prince from another planet” it read:

“On the Ed Sullivan show, they used to shoot Elvis from the waist up, so the grinding of his hips wouldn't drive little girls wild, and mothers bemoaned their daughters’ infatuation. Almost 20 years later, those daughters brought their own teen‐agers to hear the man whose appeal bridges a generation gap.

Once in a great while, a special champion comes along, a Joe Louis, a Jose Capablanca, a Joe DiMaggio, someone in whose hands the way a thing is done becomes more important than the thing itself. When DiMaggio hit a baseball, his grace made the act look easy and inevitable; whether it turned into a pop fly or a home run, it was beautiful, because he did what he did so well.

Friday night, at Madison Square Garden, Elvis was like that. He stood there at the end, his arms stretched out, the great gold cloak giving him wings, a champion, the only one in his class.

Like a Prince from Another Planet, June 18, 1972, Section D, Page 14

New York Times

The album sold an impressive 500,000 copies within the first two months of its release. It was an event that people needed to be in on. A few tracks would have been new, “Never Been to Spain,” “For the Good Times,” The Impossible Dream.” But much was familiar.

I never cared for the album. It never sounded right to me. The album lasted a suspiciously short forty five minutes, with some songs barely much more than a minute long. It later transpired that the tapes had been speeded up so that extra tracks could be squeezed in. Remastered, the show sounds excellent!

People bought the historical importance of the event as they did the music. It was to become one of Elvis’ biggest selling albums in time. Its success, however, put an end to another live album that had been planned, an album which was effectively the soundtrack album announcing the forthcoming MGM documentary film, “Elvis On Tour.” Indeed, the album had already been advertised on the cover of the “American Trilogy” single as “Standing Room Only.” That album was now shelved. “Elvis On Tour” was released in November and earned a Golden Globe award. Poor singles’ performances apart, Elvis was riding high.

Also Sprach Zarathustra

Richard Strauss. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

That’s All Right

Arthur Crudup. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Proud Mary

John Fogerty. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Never Been To Spain

Hoyt Axton. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

You Don’t Have To Say You Love Me

Vicki Wickham/Simon Napier-Bell/Pino Donaggio/Vito Pallavicini. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

You’ve Lost That Lovin’ Feeling

Barry Mann/Cynthia Weill. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Polk Salad Annie

Tony Joe White. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Love Me

Jerry Leiber/Mike Stoller. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

All Shook Up

Otis Blackwell/Elvis Presley. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Heartbreak Hotel

Mae Boren Axton/Tommy Durden/Elvis Presley. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Teddy Bear/Don’t Be Cruel

Kal Mann/Bernie Lowe-Otis Blackwell/Elvis Presley. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Love Me Tender

Elvis Presley/Vera Matson. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

The Impossible Dream

Mitch Leigh/Joe Darion. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Introductions by Elvis

Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Hound Dog

Suspicious Minds

Mark James. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

For The Good Times

Kris Kristofferson. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

An American Trilogy

Mickey Newbury. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Funny How Time Slips Away

Willie Nelson. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

I Can’t Stop Loving You

Don Gibson. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Can’t Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded live June 10, 1972 (evening show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

BURNING LOVE

RELEASED:AUG. 1, 1972

Burning Love

Dennis Linde. Recorded March 28, 1972 at RCA’s Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Emory Gordy. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: J.D. Sumner & The Stamps. OVERDUBS - Percussion: Jerry Carrigan. Guitar: Dennis Linde

It’s A Matter Of Time

Clive Westlake. Recorded March 29, 1972 at RCA’s Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Emory Gordy. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: J.D. Sumner & The Stamps. OVERDUBS - Percussion: Jerry Carrigan. Guitar: Dennis Linde

Just as it seemed that Elvis’ chart career was on a permanent downward trajectory, he pulled this explosive number out of the hat and took it to the very top. The success of “Burning Love” strongly suggests that part of the problem with recent Elvis singles was that they were not rock and rhythm songs, but ballads, and too many of them. In keeping with Elvis’ recent choices of singles material, Elvis was not even keen on recording “Burning Love” but had to be cajoled into doing it. The song had smash hit written all over it and everyone at the March 1972 Hollywood session could see it apart from Elvis. Elvis himself was suffering grief after his recent divorce and evidently was not in the mood to be singing a hard-rocking song boasting of being ‘a hunk of burning love.’ Instead, Elvis’ emotions were almost entirely wrapped up in songs of loss, breakdown, and regret: “Separate Ways,” “Always On My Mind,” “For The Good Times.” After further cajoling Elvis finally gave a spirited, if not wholly committed, performance of the song. His thoughts were elsewhere. At the press conference before his shows at Madison Square Garden Elvis was asked about the new direction of his material in relation to rock. Elvis’ response was duplicitous, although whether he was lying to himself or to the wider world is an interesting question. In his response Elvis said “It’s very difficult to find find any good, hard rock songs. If I could find them, I would do them.” His response suggests that he didn’t realize that he had just recorded a classic. The huge success of “Burning Love” in hitting #2 (and it should have been a #1 smash for weeks) proved that not only was there good rock material out there, the public was hungry for it, and especially from Elvis. It was Elvis who wasn’t hungry for rock, and hence he wasn’t looking and not seeing. “Burning Love” sold in excess of a million copies and was his highest-charting single since “Suspicious Minds.” Despite its huge success, Elvis never warmed to it, which we should bear in mind whenever we write of Elvis as a crowd pleaser who was willing to compromise his music for reasons of entertainment. He was making a clear decision in favour of ballads against rock here, even when commerce gave the verdict in the other direction. We can criticize Elvis for making the wrong musical decisions with regard to direction, but in doing so we need to recognize that he was making choices of his own. Good or bad, they were his choices, indicating he was imposing artistic direction as he saw fit.

BURNING LOVE AND HITS FROM HIS MOVIES

RELEASED:OCT. 1, 1972

True to form, Elvis’ manager and his recording company looked at Elvis’ triumphs at Madison Square Garden and the singles chart and, instead of thinking and acting big with an album of new material, released a cheap and tawdry cash-in that could have been designed to destroy momentum. To all intents and purposes, Tom Parker and RCA seem to have been working in a parallel universe, the one in which all the wrong decisions and wrong turns were made. Elvis strikes gold big time again, and the first thing that the people paid good money to run his career can think of is how to eke a few dollars more out of their cheap and nasty ‘budget’ sideline. The genius idea this time was to take “Burning Love,” a Credence style rock single that had renewed interest in Elvis as a contemporary artist, and make it the title track on a motley collection of non-hits from the movies, selling it under the utterly specious title of “Burning Love and Hits From His Movies.”

As if to confirm that the tasteless, tacky, and tawdry approach is the way to go, the album sold 700,000 copies. If Elvis knew of any of this, he could only have despaired. If you want to know how and why Elvis Presley, a man seemingly on top of the world, could have gone to an early grave so quickly, just add the abominations like this up and wonder at what point he simply sat down and asked himself “what’s the point?”

The thing to do here is to picture a young music fan who has heard of Elvis’ reputation as the King of Rock’n’Roll, but doesn’t know his past hits much, only the new smash hit “Burning Love.” This album is in the shops and can be obtained at a reasonable price. Said young fan makes a purchase and sits down to investigate further. Imagine what said young fan would be thinking hearing the tracks that follow after “Burning Love.” Tracks such as “Guadalajara,” “Santa Lucia,” “We’ll Be Together,” and last and very definitely least “I Love Only One Girl.” Does anyone imagine that anyone tempted by “Burning Love” to investigate Elvis’ music through this album would ever return to Elvis in the future after a mugging like this? Treat people like fools and they go elsewhere. The remarkable thing is that Elvis retained such a huge fan base. That is a remarkable testament to the quality of Elvis’ voice. Much else in his career could have been designed to repel rather than attract. This album is repulsive.

Burning Love

Tender Feeling

Am I Ready

Tonight Is So Right For Love

Guadalajara

Pepe Guisar. Guadalajara - Pepe Guisar. Recorded for the motion picture Fun In Acapulco. Recorded January 23, 1963 at Radio Recorders, Hollywood. Elvis’ vocal for track was recorded on February 27, 1963. Guitar: Barney Kessel, Scotty Moore. Guitar & Mandolin: Tiny Timbrell. Bass: Ray Siegel. Drums: D.J. Fontana, Hal Blaine. Percusssion: Emil Radocchia. Piano: Dudley Brooks. Trumpet: Anthony Terran, Rudolph Loera. Vocals: The Jordanaires, The Amigos

It’s A Matter Of Time

No More

Santa Lucia

We’ll Be Together

Charles O’Curran/Dudley Brooks. Recorded for the motion picture Girls! Girls! Girls! Recorded March-May1962. Recording location unknown. Guitar: Robert Bain, Alton Hendrickson. Vocals: The Amigos

I Love Only One Girl

Sid Tepper/Roy C. Bennett. Recorded June 29, 1966 at MGM Soundstage, Hollywood. Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker

SEPARATE WAYS

RELEASED:OCT. 31, 1972

Separate Ways

Red West/Richard Mainegra. Recorded March 27, 1972 at RCA’s Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Emory Gordy. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: J.D. Sumner & The Stamps. OVERDUBS - Percussion: Jerry Carrigan. Guitar: Dennis Linde

Always On My Mind

Wayne Carson/Johnny Christopher/Mark James. Recorded March 29, 1972 at RCA’s Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Emory Gordy. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: J.D. Sumner & The Stamps. OVERDUBS - Percussion: Jerry Carrigan. Guitar: Dennis Linde

This would undoubtedly have been Elvis’ first choice of single ahead of “Burning Love.” The single pairs two very similar songs on the same theme, intimate ballads about love, loss, and separation. Elvis delivers a heartfelt vocal on both, touching a universal chord that unites all humanity. In the UK the A-side was “Always On My Mind,” reaching #8. It always came as a surprise to learn that in the US the A-side was “Separate Ways,” a song scarcely known in the UK outside of Elvis circles. Both songs are of the highest quality. The single sold fairly well to chart at #20, a decent showing but nothing like the performance of “Burning Love.” More rock and blues seemed to be the order of the day.

SEPARATE WAYS

RELEASED:DEC. 1, 1972

Yet another budget album, and yet another hi-jacking of the most recent single to promote a random collection. This album is actually a very good selection of sad, sweet, and sentimental songs, but being the third budget album to be issued in just six months, it indicated a pattern of a budget release every two months. Here was the soundtrack substitute, a guaranteed income stream. “Separate Ways” headed side one and “Always on My Mind” side two. It’s a pleasant collection, reminiscent of the ballad selections on 1965’s “Elvis for Everone.” It sold a solid 300,000, and was one of the first two Elvis albums I ever owned.

Separate Ways

Sentimental Me

In My Way

I Met Her Today

What Now, What Next, Where To

Always On My Mind

I Slipped, I Stumbled, I Fell

Is It So Strange

Forget Me Never

Old Shep

ALOHA FROM HAWAII VIA SATELLITE

RELEASED:FEB. 15, 1973

“Aloha From Hawaii” is quite simply Elvis’ crowning moment. He was now, as his song had declared in the early sixties, “King of the Whole Wide World.” It was a triumph of both style and substance. There was marketing and hype aplenty around the global transmission of Elvis’ show in Hawaii, but Elvis had the range and diversity of material to be all things to all people the world over. It was a big musical statement from Elvis and he made it stick. At the same time there was the usual duplicity from Tom Parker, who announced in July that “It is Elvis’ intention to please all of his fans throughout the world” – but since it was “impossible for us to play in every city” he would perform this global concert. The implication of that statement was that Parker was going to carry on touring Elvis around the same places in the US, and this concert, like the movies in the previous decade, was the only way the rest of the world was going to see Elvis.

This global transmission took the triumph at Madison Square Garden and inflated it to the world scale. It was hugely ambitious, and must have been a huge weight on Elvis. Elvis worked hard, lost weight, put a lot of thought into song selection, added new material, combined his old hits with some immense ballad performances. The concert, shot in Honolulu on January 14, 1973, was spectacular, transmitted directly to most countries in the Far East on the night of the show, to twenty-eight European countries linked by EuroVision later in the day, and to the U.S. some three months later, where it received a 57 percent audience share. It wasn’t shown in the UK until after Elvis’ death in 1978. Parker had asked for an extortionate fee. Real interest had been growing to bring Elvis to the UK, and big money was being offered. Parker just cut the UK out. The album of the event hit #1 in the charts and sold two million copies on first release in the U.S. alone. Both event and album were enormous successes.

Also Sprach Zarathustra

Richard Strauss. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

See See Rider

Arranged by Elvis Presley. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Burning Love

Dennis Linde. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Something

George Harrison. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

You Gave Me A Mountain

Marty Robbins. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Steamroller Blues

James Taylor. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra - Single 74-0910, released March 4, 1973

My Way

Paul Anka/Jacques Reveaux/Claude Francois. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Love Me

Jerry Leiber/Mike Stoller. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Johnny B. Goode

Chuck Berry. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

It's Over

Jimmie Rodgers. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Blue Suede Shoes

Carl Perkins. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

I'm So Lonesome I Could Cry

Hank Williams. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

I Can't Stop Loving You

Don Gibson. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Hound Dog

What Now My Love

Carl Sigman/Gilbert Becaud. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Fever

John Davenport/Eddie Cooley. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Welcome To My World

Ray Winkler/John Hathcock. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Suspicious Minds

Mark James. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Introductions by Elvis.

Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

I'll Remember You

Kuiokalaani Lee. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Long Tall Sally/Whole Lot-ta Shakin' Goin' On

Robert Blackwell/Enortis Johnson/Richard Penniman- - David Williams/Sunny David. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

An American Trilogy

Mickey Newbury. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

A Big Hunk O' Love

Aaron Schroeder/Sid Wyche. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

Can't Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded live January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra

STEAMROLLER BLUES

RELEASED:MAR. 4, 1973

Steamroller Blues

Fool

Carl Sigman/James Last. Recorded March 28, 1972 at RCA’s Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Emory Gordy. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: J.D. Sumner & The Stamps. OVERDUBS - Percussion: Jerry Carrigan. Guitar: Dennis Linde

This single was a kind of double promotion, of the the Aloha concert before its being shown in the US and of the forthcoming “Fool” album. The chart performance showed a slight improvement on the previous single, hitting #17. But despite being a blues rock number, it was no “Burning Love.”

ELVIS (FOOL)

RELEASED:JUL. 16, 1973

At some point you start to wonder if anyone is in control and has any kind of a clue as to what they are doing. It is evident that the main, and perhaps only, considerations behind the decisions taken on the release of the music were financial. To those who look only at the music, much is just baffling. The background story here is that on March 1, 1973 RCA had acquired sole ownership of all past Elvis masters for a payment of $5.4 million. It is worth mentioning that that payment was split 50-50 between manager and artist, with Elvis being his half share as a lump sum taxed at the highest rate. He effectively received a pittance for his life’s work, because Tom Parker was greedy for money up front for himself. There was no sense of the long-term and no awareness of the value of a music catalogue. Neither Elvis nor Parker had any voice with regard to the future release of this material, and no claim on future royalties. To the greedy and the stupid, it looked like a lot of money. In truth, it was shockingly inept judgement and short-sighted valuation of Elvis’ back catalogue. Parker had his own motivations. Why Elvis wasn’t paying attention is anyone’s guess. The only conclusion is that Elvis, paying his manager 50%, may have thought he was entitled to expect Parker to be serving his best long term interests well. He wasn’t.

This was the first album to be issued in the aftermath of the agreement. There was a shortage of new material, so unreleased tracks from 1971 and 1972 were rounded up, including several impromptu performances from Elvis singing alone at the piano, “I Will Be True,” “It’s Still Here,” and “I’ll Take You Home Again Kathleen.” There’s no doubting the quality of the songs and their performance, but together, along with more low-key ballads and random selections, the effect is depressing. The title and front cover – Elvis in jumpsuit – also betray a lack of imagination. Sales of 200,000 indicate that the public had lost interest in Elvis’ new albums. This album did nothing to reassure those who had lost trust. Trust could have been restored with a more considered approach. There is enough material on this album and the previous album to have been combined with singles like “I’m Leavin’” and “It’s Only Love” to make for that folk-rock-ballad album that Elvis had planned all along. Instead, two weak grab-bags were issued. It’s impossible to find any artistic logic in an album that combines songs by Gordon Lightfoot and Bob Dylan with “It’s Impossible” and “Padre.” Whatever is left over, put it on and put it out. Yet another warning off sign to the public.

Fool

Where Do I Go From Here

Paul Williams. Recorded March 27-29, 1972 at RCA’s Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Emory Gordy. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: J.D. Sumner & The Stamps. OVERDUBS - Percussion: Jerry Carrigan. Guitar: Dennis Linde

Love Me, Love The Life I Lead

Tony Macaulay/Roger Greenaway. Recorded May21 , 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Vocals: Millie Kirkham, June Page, Temple Riser, Percussion: Larrie Londin, The Imperials

It’s Still Here

Ivory Joe Hunter. Recorded May 19, 1971 at RCA’s Studio B, Nashville. Piano: Elvis Presley, BAss: Norbert Putnam.

It’s Impossible

Sid Wayne/Armando Manzanero. Recorded live February 16, 1972, dinner show, at The Las Vegas Hilton. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

(That’s What You Get) For Lovin’ Me

Padre

Jack LaRue/Paul Hebster/Alain Romans. Recorded May 15,1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy

I’ll Take You Home Again Kathleen

Arranged by Elvis Presley. Recorded May 19, 1971 at RCA’s Studio B, Nashville. Piano: Elvis Presley 09) I Will Be True - Ivory Joe Hunter. Recorded May 17-21, 1971 at RCA’s Studio B, Nashville. Piano: Elvis Presley

Don’t Think Twice, It’s All Right (edited version)

Bob Dylan. Recorded May 16, 1971 during a break at the Christmas sessions. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: June Page, Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Percussion: Larry Londin. Vocals: Millie Kirkham, Ginger Holladay, Temple Riser, June Page, The Imperials

RAISED ON ROCK

RELEASED:SEP. 1, 1973

At the same time that RCA acquired Elvis’ catalogue they also struck a contract that obliged Elvis to record two albums and four singles a year for the next seven years for a guaranteed annual payment against royalties of at least $500,000. This was a remarkable deal for an artist who was RCA’s top-selling artist to have struck. Elvis was effectively been reduced to being a contract singer under obligation to generate product as per terms of the deal. The company moved quickly to make clear to Elvis that they intended to enforce thos e obligations, with George Parkhill writing Elvis on behalf of the company to issue the demand that “in order to have the merchandise available, we are planning a recording session in the middle of July.” The bluntness of that command to an artist of Elvis’ standing suggests very strongly that Tom Parker was also involved. The pressure was now being put on Elvis to produce. The implication that Elvis had somehow been slacking in recent years is staggering. Elvis had been prolific, both in concert and in the studio. It was the greed for endless product and releases that made it appear that there was a shortage of material. Now it was clear that Elvis was to be worked even harder by manager and record company in collusion. Elvis was hog-tied to a killing treadmill in a music factory. People who know the price of everything and the value of nothing were issuing demands and commands as to what the contracted artist was to produce for them - one new pop album, two new singles, and an album of religious music. The command was issued in the most forceful terms, so forcefully that the collusion of Tom Parker can be assumed. Parker had frequently been in conflict with RCA in an attempt to screw a better deal out of them. Here he uttered not a word of protest.

The recording session was scheduled at Stax Records in Memphis, a short distance from Graceland. Elvis was in no fit state physically and emotionally to be recording. You can’t just switch inspiration, enthusiasm, interest, and creativity on and off, as if working in an industry of song. With marital break up on his mind and health failing, Elvis had other things on his mind. Elvis didn’t appear for the first day of recording and when he did his manner and appearance shocked the musicians, who did not recognize him. In the context, it is remarkable that ten songs were recorded in the six scheduled nights of recording. The single paired the two songs by which the album was to be titled.

“Raised On Rock” has a good pedigree in being written by Mark James, but is utterly incongruous in having Elvis, a man who is claimed to have invented, or at least led, the rock’n’roll revolution, singing about being “raised on rock.” It’s contrived, has a good beat, but Elvis is professional rather than passionate. It’s as if the best he could do given his physical and psychological state was to acquit himself professionally and go home. It doesn’t convince. It’s a good band performance. “For Ol Times Sake” written by Tony Joe White is much better, a little regretful swamp folk, though hardly commercial. The single sold less than 300,000 copies, reaching only #41 on the charts.

Raised On Rock

Mark James. Recorded July 23, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

For Ol' Times Sake

Tony Joe White. Recorded July 23, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

RAISED ON ROCK/FOR OL’ TIMES SAKE

RELEASED:OCT. 1, 1973

Two of the ten tracks from the Stax session were selected for future single release and so removed from the new album. In their place was added two that Elvis was induced to record at his Palm Springs home with rudimentary accompaniment in September. The album has its moments, particularly “Are You Sincere?”, “I Miss You,” and “For Ol Times Sake,” but has an unfinished quality. The rhythm material is good but sounds like a work in progress. And a few songs are just plain weak. A decidedly average album of uneven quality, it sold less than 200,000 copies.

Raised On Rock

Are You Sincere

Wayne Walker. Recorded September 23, 1973 at Elvis' home in Palm Springs. Guitars: James Burton, Charlie Hodge. Bass: Thomas Hensley. Piano: Donnie Sumner. Vocals: Voice

Find Out What's Happening

Jerry Crutchfield. Recorded July 23, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

I Miss You

Donnie Sumner. Recorded September 23, 1973 at Elvis' home in Palm Springs. Guitars: James Burton, Charlie Hodge. Bass: Thomas Hensley. Piano: Donnie Sumner. Vocals: Voice

Girl Of Mine

Les Reed/Barry Mason. Recorded July 24, 1973 at Stax Studios, Memphis. Elvis' vocal on track 10 ""recorded on September 22 in his Palm Springs home. Guitar: Bobby Manuel, Johnny Christopher, Charlie Hodge. Bass: Donald Dunn. Drums: Al Jackson, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps.

For Ol' Times Sake

If You Don't Come Back

Jerry Leiber/Mike Stoller. Recorded July 21, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

Just A Little Bit

John Thornton/Piney Brown/Ralph Bass/Earl Washington. Recorded July 21, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

Sweet Angeline

Chris Arnold/Geoff Martin/David Morrow. Recorded July 25, 1973 at Stax Studios, Memphis. Elvis' vocal recorded on September 22 in his Palm Springs home. Guitar: Bobby Manuel, Johnny Christopher, Charlie Hodge. Bass: Donald Dunn. Drums: Al Jackson, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: James Burton. Vocals: Voice

Three Corn Patches

I’VE GOT A THING ABOUT YOU BABY

RELEASED:JAN. 11, 1974

I've Got A Thing About You Baby

Tony Joe White. Recorded July 22, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

Take Good Care Of Her

Ed Warren/Arthur Kent. Recorded July 21, 1973 at Stax Studios, Memphis. Guitar: James Burton, Reggie Young, Charlie Hodge. Bass: Tommy Cogbill. Drums: Ronnie Tutt, Jerry Carrigan. Piano: Bobby Wood. Organ: Bobby Emmons. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Ginger Holladay, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde

This single paired two tracks from the July session at Stax. “I Got a Thing About You Baby” may well have been the best track recorded at the session. It’s only rival was “For Ol’ Times Sake.” Both songs had been contributed by swamp rocker Tony Joe White. “Take Good Care Of Her” was a fine country ballad which receives a mature reading from Elvis.

The single sold and charted similarly to the last, hitting #39.

ELVIS – A LEGENDARY PERFORMER VOL. 1

RELEASED:JAN. 15, 1974

This release marks the first real attempt by RCA to release the newly acquired Elvis catalogue. The compilation was assembled by Joan Deary and displays a judicious approach to the material, putting the well-known hits alongside songs of historic importance, rarities, and outtakes, to give a good overview of Elvis’ career. The deluxe package (including a photo suitable for framing and a booklet) indicated that at last Elvis’ historical and cultural importance as an artist was being recognized. The approach was in marked contrast to the way that RCA in cahoots with Tom Parker was treating the, for now, still living Elvis. The impression given by “A Legendary Performer” was that Elvis was already dead and his legacy was being celebrated in his absence. I remember buying this album and being aware of having a strange feeling that the Elvis in this document was no longer with us in some way, was distinct from the current Elvis. The album gathered sales of more than 500,000 in the first few months of its release and has now sold in excess of two million.

That’s All Right

Arthur Crudup. Recorded July 5, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I Love You Because (take 2)

Leon Payne. Recorded July 5, 1954 at Sun Record's studio. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Heartbreak Hotel

Don’t Be Cruel

Otis Blackwell/Elvis Presley. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

Elvis, excerpt from interview of September 22, 1958.

Love Me

Jerry Leiber/Mike Stoller. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Trying To Get To You

Charles Singleton/Rosemarie McCoy. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Love Me Tender

(There’ll Be) Peace In The Valley (For Me)

Thomas A. Dorsey. Recorded January 13, 1957 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Gordon Stoker. Vocals: The Jordanaires

Elvis' Farewell To His Fans. Excerpt from interview of September 22, 1958.

(Now And Then There's) A Fool Such As I

Tonight's All Right For Love

Sid Wayne/Abner Silver/Joseph Lilley. Recorded for the motion picture G.I. Blues. Recorded May 6, 1960 at Radio Recorders, Hollywood. Guitar: Scotty Moore, Tiny Timbrell, Neal Matthews. Bass: Ray Siegel. Drums: D.J. Fontana, Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Tambourine: Hoyt Hawkins. Vocals: The Jordanaires

Are You Lonesome Tonight?

Roy Turk/Lou Handman. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Can’t Help Falling In Love

GOOD TIMES

RELEASED:MAR. 20, 1974

Elvis returned to Stax in better shape and a better state of mind and recorded a greater quantity of material than he had in July. “Good Times” is the first album released from this material and is infinitely superior to its predecessor. To ensure a better sound, RCA brought its own sound truck. The album is dotted with standout tracks such as “Loving Arms,” “If That Isn’t Love,” “I Got A Feeling In My Body,” “I Got a Thing About You Baby,” “My Boy,” “Good Time Charlie’s Got The Blues,” closing with the Jerry Reed number “Talk About the Good Times.” “Good Times” is a strong album of country soul, a mature update of the American Sound Memphis material. It is noteworthy that the substantial improvement in material and performance was not rewarded with a similar upturn in commercial fortunes. The album sold as poorly as its patchy predecessor. Somewhere along the way, Elvis had lost connection with the public. I’ve detailed a number of contributory factors above in relation to marketing and release strategies, and shan’t repeat myself. I would suggest that by this stage, especially after the “Aloha from Hawaii,” Elvis had grown so big as to have transcended the ordinary sphere inhabited by mere mortals. The album “A Legendary Performer” gives us a clue, Elvis had ceased to be a real living person but had instead enterted the realm of myth and legend. He had lost the contemporary audience precisely because his iconic status belonged somewhere other than the contemporary world. People had ceased to see him as a real contemporary artist who had anything to offer. Long before he died, Elvis had ceased to exist as a flesh and blood artist. Despite being a very good album, “Good Times” sold in the meagre amounts as the previous three and decidedly patchy studio albums – less than 200,000 copies.

Take Good Care Of Her

Loving Arms

Tom Jans. Recorded December 13, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

I Got A Feelin' In My Body

Dennis Linde. Recorded December 10, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

If That Isn't Love

Dottie Rambo. Recorded December 16, 1973 at Stax Studios, Memphis.""Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

She Wears My Ring

Boudleaux & Felice Bryant. Recorded December 16, 1973 at Stax Studios, Memphis.""Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

I've Got A Thing About You Baby

My Boy

Claude Francois/Jean-Pierre Bourtayre/Bill Martin/Phil Coulter. Recorded December 13, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Spanish Eyes

Bert Kaempfert/Charles Singleton/Eddie Snyder. Recorded December 16, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Talk About The Good Times

Jerry Reed. Recorded December 14, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Good Time Charlie's Got The Blues

Danny O'Keefe. Recorded December 13, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

IF YOU TALK IN YOUR SLEEP

RELEASED:MAY. 10, 1974

Fantastic contemporary soul single with great arrangement and accompaniment, and something of a venture into new ground for Elvis. The single received a lot of radio play, which possibly accounts for a decent chart performance at #17.

If You Talk In Your Sleep

Red West/Johnny Christopher.Recorded December 11, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Help Me

Larry Gatlin. Recorded December 11, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

ELVIS RECORDED LIVE ON STAGE IN MEMPHIS

RELEASED:JUN. 15, 1974

Yet another live recording. The releases of live concert performances had marked Elvis’ rise to the conquest of the world, from his return to live performance in 1969, his new repertoire in 1970, his Madison Square Gardens triumph in 1972 and the global concert from Hawaii in 1973. Now Elvis was coming back down from the top and returning home. Memphis was a return to musical roots, a going home, and Elvis is in good spirits. The show may lack the intensity of the ‘event’ concerts, but there is a looser, more relaxed feel, and for the first time a country gospel and a gospel song that won Elvis another Grammy award. Despite a familiar repertoire, the album sold 400,000 copies.

See See Rider

Traditional Arranged by Elvis Presley. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

I Got A Woman/Amen

Ray Charles/Jester Hairston. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Love Me

Jerry Leiber/Mike Stoller. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra - - 07""Trying To Get To You - Rosemarie McCoy/Charles Singleton. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Trying To Get To You

Rosemarie McCoy/Charles Singleton. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Long Tall Sally/Whole Lot-ta Shakin' Goin' On/Your Mama Don't Dance/Flip, Flop And Fly/Jailhouse Rock/Hound Dog

Enotris Johnson/Richard Penniman/Robert Blackwell-Dave Williams/Sunny David-Kenny Loggins/Jim Messina-Joe Turner-Jerry Leiber/Mike Stoller-Jerry Leiber/Mike Stoller. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Why Me Lord

Kris Kristofferson. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

How Great Thou Art

Stuart K. Hine. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Blueberry Hill/I Can't Stop Loving You

Al Lewis/Larry Stock/Vincent Rose-Don Gibson. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Help Me

Larry Gatlin. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

An American Trilogy

Mickey Newbury. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Let Me Be There

John Rostill. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

My Baby Left Me

Arthur Crudup. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Lawdy, Miss Clawdy

Lloyd Price. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Can't Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Closing Vamp

Recorded live March 20, 1974 at Mid-South Coliseum, Memphis. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Voice, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

PROMISED LAND

RELEASED:SEP. 27, 1974

“Promised Land” was really the product of a studio jam during the December 1973 sessions at Stax. Elvis freewheels as electric piano and guitar duet with each other. It was good to hear Elvis rocking hard again and the single received good airplay. The track was a #9 in the UK and a #14 in the US. I remember following its progress up the charts at the time and, frankly, having the distinct impression whilst the song was so good it should have charted much higher than it did, there was a prevailing feeling that considered Elvis not to be a contemporary artist at all but a figure from a past era who didn’t belong in present company. Whether than accounts for relatively poor sales, regardless of quality, is a question to be discussed another time. One thing that can be stated categorically is that the B-side, a powerful country ballad, is exceptional. It is also strong meat of a quality that transcends worries about chart positions.

Promised Land

Chuck Berry. Recorded December 15, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

It's Midnight

Billy Edd Wheeler/Jerry Chesnut. Recorded December 10, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

HAVING FUN WITH ELVIS ON STAGE

RELEASED:OCT. 1, 1974

A talking album only. (Previously released on the Boxcar label.)

Am I glad I was never mug enough to buy this piece of nonsense? The only question to consider is how low Tom Parker would have to sink before the stench of his wretched mismanagement of Elvis would cause the Elvis world to vomit his filfth back all over him. A cheap and tawdry little man, and a dull, unimaginative, financial incompetent to boot. By “spoken word” album is meant an album that contained only snippets of Elvis speaking on stage in Vegas. RCA had rights only to Elvis singing, not speaking, so Parker issued an album of Elvis’ in between words on his own Boxcar label. Not that RCA were outraged about being undercut in some way. On the contrary, they were soon in on the scam, releasing it to the general public on their own label. Perhaps the most shocking thing about this album is its sales. Selling in excess of 100,000 it was just over half the totals of recent Elvis albums, which suggests the existence of a lot of diehard Elvis fans who would buy everything, leaving less than 100,000 who were actually interested in the quality of the music. Contemplation of facts like that would have any artist asking the question: why bother?

MY BOY

RELEASED:JAN. 3, 1975

My Boy

Thinking About You

Tim Baty. Recorded December 12, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

The A-side is an emotionally supercharged ballad of French origins (co-written by Claude Francois, writer of “Comme d’Habitude,” which was to become “My Way” in English translation. It was a big hit in the UK, reaching #5, causing it to be released in the US, where it hit #20, giving Elvis three top 20 hits in a row. The days when Elvis would score three #1’s in a row were now long gone. But of the fifties artists, even sixties, Elvis was the only one retaining a chart presence. Ray Charles hadn’t seen the inside of the top twenty since “Here We Go Again” in 1967.

PROMISED LAND

RELEASED:JAN. 15, 1975

“Promised Land” is often described as the second pick of the December Stax sessions, which cannot be true of any album containing songs as strong as the title track, Waylon Jennings’ “You Asked Me Too,” “It’s Midnight,” and “There's A Honky Tonk Angel” cannot be considered an album of leftovers. With many of the remaining songs in the categorty of easy listening country, for which there was an audience of a decent size, as well as two top twenty hit singles in “Promised Land” and “If You Talk in Your Sleep”, it was perhaps inevitable that this album would show a marked improvement in sales compared to the previous two Stax releases, doubling their numbers. That said, it is at least arguable that “Good Times” contains material of a significantly higher quality, and in greater quantity. The disparity in numbers has nothing to do with the quality of material.

Promised Land

There's A Honky Tonk Angel (Who Will Take Me Back In)

Troy Seals/Danny Rice. Recorded December 15, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Help Me

Larry Gatlin. Recorded December 12, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Mr. Songman

Donnie Sumner. Recorded December 12, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Love Song Of The Year

Chris Christian. Recorded December 12, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

It's Midnight

Your Love's Been A Long Time Coming

Rory Bourke. Recorded December 15, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

If You Talk In Your Sleep

Red West/Johnny Christopher. Recorded December 11, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

Thinking About You

You Asked Me To

Waylon Jennings/Billy Joe Shaver. Recorded December 11, 1973 at Stax Studios, Memphis. Guitar: James Burton, Johnny Christopher, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Organ: David Briggs, Per-Erik Hallin. Vocals: Kathy Westmoreland, Mary (Jeannie) Greene, Mary Holladay, Susan Pilkington, Voice, J.D. Sumner & The Stamps. OVERDUBS Guitar: Dennis Linde, Alan Rush. Percussion: Rob Galbraith. Piano: Bobby Ogdin. Organ: Randy Cullers. Vocals: Ginger Holladay, Mary Holladay, Mary Cain

PURE GOLD

RELEASED:MAR. 1, 1974

Freed from all pre-1973 royalty obligations to Elvis, RCA was free to exploit the Elvis catalogue as it wished. “Pure Gold” was an opportunist run throughout the back catalogue, with no obvious theme to unite it. That it went on to sell 2.5 million copies makes the point yet again that in the eyes of the public Elvis was a figure of myth and legend who had long since to exist as a flesh and blood figure on the contemporary pop scene. The real Elvis was effectively competing for public attention with his own iconic status. The absence of “Pure Gold” from the album charts was down to the fact that it was not a full-price album.

Kentucky Rain

Eddie Rabbitt/Dick Heard.Recorded February 20, 1969 at American Sound Studios, Memphis. Guitar: Reggie Young, Elvis Presley.,Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R.F.Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J.P.Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery

Fever

It’s Impossible

Sid Wayne/Armando Manzanero. Recorded live February 16, midnight show, 1972 at The Las Vegas Hilton. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps. Joe Guercio and His Orchestra

Jailhouse Rock

Don’t Be Cruel

Otis Blackwell/Elvis Presley. Recorded July 2, 1956 at RCA Studios, New York. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Shorty Long. Vocals: The Jordanaires

I Got A Woman

Ray Charles. Recorded January 10, 1956 at RCA Studios, Nashville. Guitar: Scotty Moore, Chet Atkins, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Floyd Cramer

All Shook Up

Loving You

In The Ghetto

Love Me Tender

T-R-O-U-B-L-E

RELEASED:APR. 22, 1975

Following the relative success of “Promised Land” and going back to the roaring success of “Burning Love,” a hard-rocking single sounds like just what was needed to reignite chart interest. T-R-O-U-B-L-E is a super rocker in the Jerry Lee Lewis mould. It’s wordy, but Elvis attacked it with some relish. It has obvious hit written all over it but for some reason failed to take off, selling only 200,000 copies and charting barely inside the top 40 at #35. The lack of interest in the single did not augur well for the album that was to be released in just a few weeks time.

T-R-O-U-B-L-E

Jerry Chesnut. Recorded March 11, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Clavinet: David Briggs. Vocals: Voice. OVERDUBS Guitar: Chip Young, Johnny Christopher. Bass: Mike Leech, Norbert Putnam. Fiddle: Buddy Spicher. Steel Guitar: Weldon Myrick. Bells & Percussion: Farrell Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Mr. Songman

TODAY

RELEASED:MAY. 7, 1975

The “Today” album was the product of sessions in March sessions, recorded at RCA’s Hollywood studios. There was a shortage of new material of acceptable quality. Elvis’ publisher’s were now almost entirely in the hands of Freddy Bienstock and his interests, a situation that was responsible for the short supply of good, original material for years. The material had now almost dried up. Elvis instead resorted to the familiar. The problem was that the material was also familiar to the public. “And I Love You So” and “Green, Green Grass Of Home” brought the best out of Elvis, but were very well known in recent hit versions, the same with respect to Billy Swan’s “I Can Help.” Elvis also recorded a number of country and R&B songs that were well-liked but also well-known. Possibly the standout track on the album, after the title track, was the regretful “Pieces of My Life.” The album seemed to pass the world by, as if it found the material familiar and idle. As the years pass, though, and memories of other versions fade, Elvis’ performances endure. The album had little impact on the contemporary music world, but still managed to sell close to 400,000 in its initial release.

T-R-O-U-B-L-E

And I Love You So

Don McLean. Recorded March 10, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Clavinet: David Briggs. Vocals: Voice. OVERDUBS Guitar: Chip Young, Johnny Christopher. Bass: Mike Leech, Norbert Putnam. Fiddle: Buddy Spicher. Steel Guitar: Weldon Myrick. Bells & Percussion: Farrell Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Susan When She Tried

Don Reid. Recorded March 11, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Clavinet: David Briggs. Vocals: Voice. OVERDUBS Guitar: Chip Young, Johnny Christopher. Bass: Mike Leech, Norbert Putnam. Fiddle: Buddy Spicher. Steel Guitar: Weldon Myrick. Bells & Percussion: Farrell Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Woman Without Love

Jerry Chesnut. Recorded March 11, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin, Tony Brown. Clavinet: David Briggs, Greg Gordon. Vocals: Voice. OVERDUBS ""Guitar: Johnny Christopher, Chip Young. Bass: Norbert Putnam, Mike Leech. Percussion: Richard F. Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Shake A Hand

Joe Morris. Recorded March 11, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin, Tony Brown. Clavinet: David Briggs, Greg Gordon. Vocals: Voice. OVERDUBS ""Guitar: Johnny Christopher, Chip Young. Bass: Norbert Putnam, Mike Leech. Percussion: Richard F. Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Pieces Of My Life

Troy Seals. Recorded March 12, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin, Tony Brown. Clavinet: David Briggs, Greg Gordon. Vocals: Voice. OVERDUBS ""Guitar: Johnny Christopher, Chip Young. Bass: Norbert Putnam, Mike Leech. Percussion: Richard F. Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Fairytale

Anita Pointer/Bonnie Pointer. Recorded March 10, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Clavinet: David Briggs. Vocals: Voice. OVERDUBS Guitar: Chip Young, Johnny Christopher. Bass: Mike Leech, Norbert Putnam. Fiddle: Buddy Spicher. Steel Guitar: Weldon Myrick. Bells & Percussion: Farrell Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr.

I Can Help

Billy Swan. Recorded March 10, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Clavinet: David Briggs. Vocals: Voice. OVERDUBS Guitar: Chip Young, Johnny Christopher. Bass: Mike Leech, Norbert Putnam. Fiddle: Buddy Spicher. Steel Guitar: Weldon Myrick. Bells & Percussion: Farrell Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Bringin' It Back

Gregg Gordon. Recorded March 12, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin, Tony Brown. Clavinet: David Briggs, Greg Gordon. Vocals: Voice. OVERDUBS ""Guitar: Johnny Christopher, Chip Young. Bass: Norbert Putnam, Mike Leech. Percussion: Richard F. Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Green, Green Grass Of Home

Claude Putnam, Jr.. Recorded March 10, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Clavinet: David Briggs. Vocals: Voice. OVERDUBS Guitar: Chip Young, Johnny Christopher. Bass: Mike Leech, Norbert Putnam. Fiddle: Buddy Spicher. Steel Guitar: Weldon Myrick. Bells & Percussion: Farrell Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

BRINGING IT BACK

RELEASED:SEP. 20, 1975

The March sessions for “Today” had yielded just the ten tracks, just enough for one album but no more. Elvis had not been in the studio the previous year, meaning that RCA had no new material to release. There were no signs of Elvis returning to the studio, either. RCA thus decided to release two more tracks from “Today” as a single. The public were being expected to buy familiar material not merely once but twice. Predictably, they didn’t. The single sold poorly and peaked at a miserable #65. Elvis was back to where he was in 67-68. “Bringing it Back” was a decent country song, but not catchy enough to impress the pop charts. “Pieces of My Life” is a quality song and performance, but tough meat to see much by way of chart action.

Bringin' It Back

Gregg Gordon. Recorded March 12, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin, Tony Brown. Clavinet: David Briggs, Greg Gordon. Vocals: Voice. OVERDUBS Guitar: Johnny Christopher, Chip Young. Bass: Norbert Putnam, Mike Leech. Percussion: Richard F. Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

Pieces Of My Life

Troy Seals. Recorded March 12, 1975 at RCA's Studio C, Hollywood. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Duke Bardwell. Drums: Ronnie Tutt. Piano: Glen D. Hardin, Tony Brown. Clavinet: David Briggs, Greg Gordon. Vocals: Voice. OVERDUBS Guitar: Johnny Christopher, Chip Young. Bass: Norbert Putnam, Mike Leech. Percussion: Richard F. Morris. Saxophone: Charles L. Rose. Trombone: Harvey L. Thompson. Trumpet: Harrison Calloway, Jr. Baritone Saxophone: Ronald Eades. Vocals: The Holladays

ELVIS – A LEGENDARY PERFORMER VOL. 2

RELEASED:JAN. 1, 1976

This was the second volume in the deluxe Legendary Performer series compiled by Joan Deary. The format was so successful first time round that it was kept for the second release, mixing Elvis’ best tracks with alternate takes and rareties. The album was superbly packaged (for the day) and included a collectable souvenir book. The selling point for Elvis experts was the inclusion of a newly discovered Sun recording, “Harbor Lights,” the song Elvis recorded before he kind of stumpled into “That’s All Right.” The track selection is as varied as Elvis’ career, with popular hits (“Blue Christmas,” “Jailhouse Rock,” “It’s Now Or Never”) alongside alternate takes (“I Want You, I Need You, I Love You”), recordings from from the ’68 Special (“Blue Suede Shoes,” “Baby, What You Want Me To Do”), unreleased movie songs of interest to collectors … (“Cane And A High Starched Collar (takes 1,2 & 6)”), songs recorded in the aftermath of the Aloha concert (“Blue Hawaii”), and towering spiritual performances (“How Great Thou Art” and “If I Can Dream”). Serious Elvis fans would have a lot of this, but would also want the rest. For casual fans, there was little to disgrace the reputation of Elvis and plenty to incite further, deeper interest. Elvis was effectively competing with his own past. The living, breathing, struggling artist of the present day was having to measure up to his peerless past achievements. Even worse, with the sale of the pre-1973 catalogue, there would be no artist’s royalties payable to Elvis. The album sold 600,000 in its initial release and continued to gather sales as the years passed.

Harbor Lights

Jimmy Kennedy/Hugh Williams. Recorded July 5, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black"

Interview (1956)

Wichita Falls, Texas. 1956

I Want You, I Need You, I Love You (alternate take)

Blue Suede Shoes

Carl Perkins. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

Blue Christmas

Jailhouse Rock

It’s Now Or Never

Cane And A High Starched Collar (takes 1,2 & 6)

Sid Tepper/Roy C. Bennett. Recorded for the motion picture Flaming Star. Recorded August 8, 1960 at Radio Recorders, Hollywood. Guitar: Howard Roberts, Tiny Timbrell. Bass: Myer Rubin. Drums: Bernie Mattinson. Piano: Dudley Brooks. Accordion: Jimmie Haskell. Vocals: The Jordanaires

Presentation of awards to Elvis

Excerpt from a press conference. Honolulu, Hawaii. March 25,1961.

Blue Hawaii

Leo Robin/Ralph Rainger. Recorded on stage after the show January 14, 1973 at H.I.C. Arena, Honolulu. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps

Such A Night (takes 1,2,3)

Baby, What You Want Me To Do

Jimmy Reed. Recorded live June 27, 1968, second show, at NBC Studios, Burbank. Guitar: Elvis Presley, Scotty Moore, Charlie Hodge. Percussion: D.J. Fontana, Allan Fortas. Tambourine: Lance LeGault

How Great Thou Art

If I Can Dream

Recorded June 23, 1968 at Western Recorders, Hollywood. Guitar: Tommy Tedesco, Mike Deasy, Al Casey. Bass: Charles Berghofer. Bass & Keyboards: Larry Knechtel. Piano: Don Randi. Drums: Hal Blaine. Percussion: John Cyr, Elliot Franks, Frank DeVito. Harmonica: Tommy Morgan. Vocals: The Blossoms Orchestra conducted by Billy Goldenberg.

THE SUN SESSIONS

RELEASED:MAR. 1, 1976

I bought this as “The Sun Collection” in the UK, issued one year earlier in 1975. The success of the UK release prompted RCA to release a virtually identical collection as “The Sun Sessions” in the US. Regardless of RCA’s virtual ordering of Elvis to record new material as per the terms of his contract, Elvis could not be persuaded to enter the studio. Instead, RCA had to send a mobile recording unit to his home in Graceland. The new album was still in the assembly stage, leaving a slot to fill. It is remarkable to think that this was the first time that the historic Sun recordings, not just the bedrock of Elvis’ music but the cornerstone of rock ‘n’ roll, had been released in one place. It is also remarkable to consider that its release now was because RCA found itself at a loose end, with nothing else to release. The effect was nothing short of the rebirth of Elvis or, more accurately, the birth of ‘Elvis.’ Before the real Elvis actually died, ‘Elvis’ the icon and legend, was up and running and towering over the entire soundscape. Here was the real Elvis, the Elvis that sparked a revolution and created a new pop music. He were the musical roots of the icon that now dwarfed the contemporary artist. Elvis’ revolutionary synthesis of blues, country, gospel, and pop was released at no cost to RCA, yielding to royalties to Elvis. The album sold a respectable 200,000 copies in its initial release, and continued to sell over the years. More importantly, it helped to secure Elvis’ artistic reputation for all-time.

I bought “The Sun Collection” in the UK. It’s joyous, energetic, spontaneous, and fresh feel made me not only glad to be alive but want to go out and face the world. The album is a remarkable collection of songs and confirmed to me that Elvis Presley was the greater there ever was or ever could be. At the same time I do distinctly remember being disappointed by the extent to which the current Elvis was not singing in this manner, sounding terribly old and down. Of course, I was young at the time, pre-teen. But the wider world was saying something similar, that Elvis was ‘fat and forty’ and too old to rock’n’roll. There was a reluctance on the part of many to accept the legitimacy of the new mature Elvis. I think history will be kinder to his seventies material than the fans and critics of the day were.

That’s All Right

Arthur Crudup. Recorded July 5, 1954. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Blue Moon Of Kentucky

Bill Monroe. Recorded July 7, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I Don’t Care If The Sun Don’t Shine

Mack David. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Good Rockin’ Tonight

Roy Brown. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Milkcow Blues Boogie

Kokomo Arnold. Recorded November-December, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

You’re A Heartbreaker

Jack Sallee. Recorded November-December, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I’m Left, You’re Right, She’s Gone

Stan Kesler/Bill Taylor. Recorded February-March 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Jimmie Lott

Baby Let’s Play House

Arthur Gunter. Recorded February-March 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Mystery Train

Junior Parker/Sam Phillips. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

I Forgot To Remember To Forget

Stan Kesler/Charlie Feathers. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

I’ll Never Let You Go (Little Darlin')

Jimmy Wakely. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I Love You Because

Leon Payne. Recorded July 5, 1954 at Sun Record's studio. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Trying To Get To You

Charles Singleton/Rosemarie McCoy. Recorded July 21, 1955 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black. Drums: Johnny Bernero

Blue Moon

Richard Rodgers/Lorenz Hart. Recorded August 19, 1954 at Sun Records’ Studio, Memphis. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

Just Because

Bob Shelton/Joe Shelton/Sid Robin. Recorded September, 1954 at Sun Records’ Studio, Memphis. The most likely dates are in mid-September. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

I Love You Because (take 2)

Leon Payne. Recorded July 5, 1954 at Sun Record's studio. Guitar: Scotty Moore, Elvis Presley. Bass: Bill Black

HURT

RELEASED:MAR. 12, 1976

Hurt

Jimmie Crane/Al Jacobs. Recorded February 5, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

For The Heart

Dennis Linde. Recorded February 5, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

Elvis had not returned to the studio since recording the material for “Today.” Nearly a year had passed, but Elvis’ enthusiasm for recording had not returned. Unable to tempt Elvis into the studio, let alone order him by way of a reminder of his contractual obligations (if ever an approach was designed to kill the creative spark … ) RCA sent a mobile recording unit over to Graceland, converting the Jungle Room into a makeshift recording studio, with the RCA remote sound truck and engineers outside. It seemed to make little difference, with Elvis performing regular disappearing acts during the sessions. The fifteen singers and musicians were a tight squeeze in cramped quarters and the sound was compromised. A week’s work managed to deliver twelve masters, though, reassuring, if not cheering, RCA that singles and an album were in prospect.

The single release paired two of the highlights of the session. Indeed, both sides stand as highpoints of Elvis’ career, regardless of the context in which they were recorded. “Hurt” is a vocally demanding song that enabled Elvis to blend R&B balladry with operatics in the manner of one of his most favourite singers Roy Hamilton. Elvis’ reading of “Hurt” is very much influenced by Hamilton’s version. It was a huge vocal challenge and Elvis, for all his troubles, rose to the occasion to deliver a towering operatic performance.

“For The Heart” is a country rocker that swings like the clappers. Written by “Burning Love” author Dennis Linde, the song was strong enough to have been released as the A-side. The song injected a much needed joyous feel into Elvis’ music and represented a change of pace amidst all the sad and melancholic material that Elvis was recording at this time. The record sold a respectable 300,000 copies and charted at #28 to make for a modest hit. The quality of both sides merited a much greater recognition. As happened with Travis Tritt’s version of T-R-O-U-B-L-E, the artistic and commercial qualities of “For the Heart” were made clear years later in the hit version by mother-daughter duo, the Judds. Judging by the relative commercial neglect of his recent releases, Elvis may have seemed to have fallen off the pace in these final years. The truth is that, at his best, he was actually ahead of the game, pioneering the new country that would become huge in the 1990s. The problem is that he wasn’t always at his best. In truth, he was down and depressing, issuing songs as a hundred cries for a help that would never come.

FROM ELVIS PRESLEY BOULEVARD, MEMPHIS, TENNESSEE

RELEASED:MAY. 17, 1976

This album contained ten tracks from the twelve recorded at Graceland, including both sides of the recent single. Two sides were kept back for future single release. Instead of being grateful for anything recorded despite Elvis’ obvious troubles, RCA was still thinking ahead in anticipation of new material and new releases. A quick look at the song titles recorded at these sessions give a good indication of Elvis’ state of mind. “Hurt,” “Blue Eyes Crying In The Rain,” “Bitter They Are, Harder They Fall,” “Danny Boy,” “Solitaire,” “Love Coming Down,” “I'll Never Fall In Love Again,” “Never Again,” and “The Last Farewell.” Buying a new album, people will look at the title and the cover, the photos, and then they will scrutinize the song titles and create a sound image of the songs in anticipation. I did this with “From Elvis Presley Boulevard,” and drew some very clear conclusions. These were not just songs “For the Heart,” they were the songs of and for the broken-hearted. Elvis needed time out to recuperate. He was allowed none.

It’s not a great album considered in pure musical terms. Elvis is plainly struggling in parts, and the sound quality and mixing leaves a lot to be desired. The engineers seem to have heard the cracks in Elvis’ voice and decided to cover reality up in the mix. The overdubbing drowns Elvis’ voice, the very thing we want to hear. It depends on how much reality people can face, and whether they have the nerve to face life as raw and exposed. People like a smiling face. Elvis was no longer smiling. These are his songs of experience. Not being a writer, Elvis had no option but to search in the material that came to him for a way of conveying all he had to say. Technically, Tom Jones sang “I’ll Never Fall in Love Again” much better than Elvis. But not with more meaning. You knew fine that Tom Jones, in the flowering of full manhood as he was the time he sung the song, would be falling in love again in no time. With Elvis, it really did sound like a case of “Never Again.” His breaking voice and aching heart make us worry that he will not even make it to the end of the record.

The album sold twice as much as the Sun compilation, but came at many times more the expense in terms of time, trouble, and money dealing with an artist who was reluctant to record. It is difficult to avoid the conclusion that releasing albums of past material recorded by ‘Elvis’ the icon and legend was easier and more financially rewarding than actually having to deal with the real Elvis. Elvis more than likely got that message too, having seen his recent releases constantly swamped by his past releases in a crowded market. When the question ‘will the real Elvis Presley stand up’ was asked, the real Elvis remained sat.

Hurt

Never Again

Billy Edd Wheeler/Jerry Chesnut. Recorded February 8, 1976 at Elvis' home Graceland, Memphis.Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

Blue Eyes Crying In The Rain

Fred Rose. Recorded February 2-7, 1976 at Elvis' home Graceland, Memphis. Guitar: Bill Sanford, John Wilkinson, Charlie Hodge. Bass: Norbert Putnam. Drums: Ronnie Tutt. Piano & Electric Piano: David Briggs. Electric Piano: Bobby Emmons. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

Danny Boy

Frederic Weatherly. Recorded February 5, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

The Last Farewell

Roger Whittaker/Ron Webster. Recorded February 2, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

For The Heart

Bitter They Are, Harder They Fall

Larry Gatlin. Recorded February 2, 1976 at Elvis' home Graceland, Memphis.Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

Solitaire

Neil Sedaka/Phil Cody. Recorded February 3, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

Love Coming Down

Jerry Chesnut. Recorded February 6, 1976 at Elvis' home Graceland, Memphis.Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

I'll Never Fall In Love Again

Lonnie Donegan/Jimmy Currie. Recorded February 4, 1976 at Elvis' home Graceland, Memphis. Recorded February 2-7, 1976 at Elvis' home Graceland, Memphis.Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

MOODY BLUE

RELEASED:NOV. 29, 1976

Moody Blue

Mark James. Recorded February 4, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

She Thinks I Still Care

Dickey Lee. Recorded February 2, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

This single contains two sides taken from the February sessions at Graceland and not released on the “Boulevard” album. “Moody Blue” is an excellent up-beat mid-tempo country rocker written by Mark James. The song has obvious hit potential written all over it. When it was released in the UK it was well received as a joyous and uplifting tune. I remember well cheering its advance up the charts. It peaked at #6, but I always felt it could have gone higher. We thought that Elvis was back. Apart from two re-releases (“Suspicion” and “Girl of My Best Friend” both top ten), the contemporary Elvis hadn’t made the UK top twenty since “My Boy.” “Moody Blue” promised better days to come.

The prospect of Elvis tackling George Jones’ immense “She Thinks I Still Care” is one to relish. Elvis delivers an earnest, impassioned performance but was still not satisfied after seventeen takes. In his head, Elvis could hear something better than he was delivering. Whatever that was, it evaded his abilities at this moment in time. It remains a weighty performance nonetheless.

In the US, the single fared about the same as the previous single, selling slightly more but charting slightly lower at #31.

WELCOME TO MY WORLD

RELEASED:MAR. 1, 1977

In the absence of new material to pad out its greedy, frankly creatively and physically impossible release schedule – a schedule, let it be said, that worked Elvis to death – RCA decided to release another compilation. Why not concentrate marketing on making the most of each of Elvis’ new releases as and when they come, maximising sales over the long run? Instead, there were slots to be filled on the conveyor belt of releases. As RCA compilations of Elvis go, “Welcome to My World” has an identifying theme bringing coherence to the material. It therefore merited its full price listing. The song selection is judicious and showcases the country side of Elvis, making it a good companion piece to “Elvis Country.” There are a number of tracks in the mould of the “country soul” that Elvis was pioneering in 1969/70 (“Gentle On My Mind,” “I Really Don’t Want To Know,” “Make The World Go Away,” “Release Me.”) There are country ballads, either easy listening (“Welcome To My World”) or folk (Kris Kristofferson’s “For the Good Times), plus more contemporary material from Kristofferson (“Help Me Make It Through The Night”). It’s good to hear Elvis’ version of Hank Williams’ “I'm So Lonesome I Could Cry” in a country context, plus his version of Hank’s “Your Cheatin’ Heart,” recorded in 1958 but unreleased. A further attraction is Elvis’ uptempo reading of Don Gibson’s “I Can't Stop Loving You,” this version from the afternoon show at Madison Square Garden, June 10, 1972.

It’s a fine album with obvious commercial appeal and, for once, a cohering artistic theme. In time is sold in excess of one million copies.

Welcome To My World

Help Me Make It Through The Night

Kris Kristofferson. Recorded May 17-21, 1971 at RCA’s Studio B, Nashville. Guitar: James Burton, Chip Young. Bass: Norbert Putnam. Drums: Jerry Carrigan, Kenneth Buttrey. Piano: David Briggs, Joe Moscheo. Organ: Glen Spreen. Organ, Harmonica & Percussion: Charlie McCoy. Vocals: June Page, Millie Kirkham, Temple Riser, Ginger Holladay, The Imperials. OVERDUBS, Percussion: Larry Londin. Vocals: Millie Kirkham, Ginger Holladay, Temple Riser, June Page, The Imperials

Release Me

I Really Don’t Want To Know

Howard Barnes/Don Robertson. Recorded June 6-8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

For The Good Times

Make The World Go Away

Hank Cochran. Recorded June 6-8, 1970 at RCA’s Studio B Nashville. Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials

Gentle On My Mind

I'm So Lonesome I Could Cry

Your Cheatin’ Heart

I Can't Stop Loving You

Don Gibson. Recorded live June 10, 1972 (afternoon show) at Madison Square Garden, New York. Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra.

WAY DOWN

RELEASED:JUN. 6, 1977

Way Down

Layng Martine, Jr. Recorded October 29, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Chip Young, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, Sherrill Nielsen, J.D. Sumner & The Stamps. OVERDUBS Steel Guitar: Weldon Myrick. Percussion: Randy Cullers. Moog Synthesizer: Shane Keister. Additional overdubs were done by the members of Elvis' live band in January 1977 at Creative Workshop in Nashville

Pledging My Love

Fats Washington/Don Robey. Recorded October 29, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Chip Young, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, Sherrill Nielsen, J.D. Sumner & The Stamps. OVERDUBS Steel Guitar: Weldon Myrick. Percussion: Randy Cullers. Moog Synthesizer: Shane Keister. Additional overdubs were done by the members of Elvis' live band in January 1977 at Creative Workshop in Nashville

Little did we know that this was to be the last single to be released during Elvis' lifetime. The easiest thing to say – and the critics have all said it – is that the huge success of this single was entirely due to Elvis’ death. That statement of the obvious tends to cloud two things that need pointing out. First of all, although Elvis no longer had the chart impact he once had, he did still have something of a profile. His previous single had hit #6 in the UK charts. In the US he was hovering around #30, which was not brilliant, but still far greater than anything that his fifties and even a lot of his sixties peers could manage (name one fifties artist with anything like the same chart presence). Secondly, “Way Down” is simply a cracking song! I was a young Elvis fan at a time of disco, hard rock, and punk. There were a few Elvis fans in school, but not that many. I remember overhearing one of my super cool music friends talking about the new Elvis single, anticipating the usual abuse. But no, he was enthusing over it, “that new Elvis song is £”&$ing ace!” he declared. And this was before Elvis’ death.

Unable and unwilling to leave Elvis alone to recover and regain his bearings, RCA pressured him for more recordings. The mobile unit was sent to Graceland in October for a second session of “home recordings.” Elvis was in no mood for recording, though, and the session ended abruptly after just four songs. RCA evidently envisaged another twelve sides, enough for a single and an album. The greed and short-sightedness is breath-taking. They were effectively trying to squeeze not one but two albums out of a desperately sick man. The remarkable thing is that they got anything. “He just wasn’t interested,” Elvis’ pianist Tony Brown recounted. “He couldn’t maintain any attention span.” At the end of an unproductive session on the second night, Elvis apologized to the band. His promise that one day soon they’ll all get together and record properly once more, maybe in Nashville, would be his last farewell. Although a Nashville session was indeed scheduled for January 1977, Elvis never turned up.

“Way Down” was the most contemporary sounding song that Elvis had recorded for a long while, raising intriguing thoughts of further adventures in the field of “country disco rock.” Whatever that is. It could even have led to various misadventures. We shall never know now. But I can distinctly remember hearing this single when it came out at the time and thinking that Elvis is really “with it.” And Ray Dorset of Mungo Jerry fame was thinking along the same lines, writing "It Feels Like I'm In Love" for Elvis in precisely this style around this time. Elvis died before he could here the song. Kelly Marie took it to UK #1 in 1980.

It wasn’t to be. The B-side was the blues ballad “Pledging My Love,” written by Ferdinand Washington and Don Robey, and best known in the 1954 hit version by the man whom Paul Simon described as ‘the late, great Johnny Ace.’ Ace’s version was released in December 1954, soon after the singer’s death playing Russian roulette backstage. Or so those who wish to romanticize the tale would have it. Ace had been touring with Big Mama Thornton. Thornton's bass player, Curtis Tillman, witnessed the event: "I will tell you exactly what happened! Johnny Ace had been drinking and he had this little pistol he was waving around the table and someone said ‘Be careful with that thing…’ and he said ‘It’s okay! Gun’s not loaded… see?’ and pointed it at himself with a smile on his face and ‘Bang!’ — sad, sad thing. Big Mama ran out of the dressing room yelling ‘Johnny Ace just killed himself!'"

Johnny Ace was late and he was great. And so too was Elvis, the white guy who sang a black woman’s song (Thornton, "Hound Dog"), as the detractors would have it. Elvis stole nothing, he blended it all to create an expansive popular music that transcended the old boundaries. “Pledging my Love” was one of Elvis’ favourite songs. Johnny Ace’s hit version was released at the very end of the year in which Elvis had taken off at Sun, 1954. Here, at the end, was a song which allowed Elvis to go back to the beginning of his story. It is impossible to know what Elvis was thinking when he recorded the song. He was at the end of his tether personally and professionally and didn’t want to be recording. With the voice he had left, he gave a beautiful reading of this blues ballad. Knowing the events that were shortly to come, we may be inclined to see this as a piece of melancholic nostalgia on Elvis’ part. It is treacherous to draw conclusions here. Elvis had been constantly revisiting his blues and country favourites in the seventies, some sad, some not so. We can just state the facts and let any conclusions that need to be drawn draw themselves.

The single hit #18 in the US and a much more fitting #1 in the UK. Elvis went out on top of the world. Or the UK anyway. I always knew we British persons were of sound taste and judgement. We know how to treat Kings in this country.

MOODY BLUE

RELEASED:JUN. 19, 1977

Unchained Melody

Alex North/Hy Zaret. Recorded April 24, 1977 at Crisler Arena, Ann Arbor. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown, Elvis Presley . Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Alan Rush. Bass: Dennis Linde, Norbert Putnam. Drums: Randy Cullers. Percussion: Farrell Morris. Piano: Bobby Ogdin. Organ: Tony Brown. Vocals: Dennis Linde, Alan Rush, J.D. Sumner & The Stamps

If You Love Me (Let Me Know)

John Rostill. Recorded April 26, 1977 at Wings Stadium, Kalamazoo. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Alan Rush. Bass: Dennis Linde, Norbert Putnam. Drums: Randy Cullers. Percussion: Farrell Morris. Piano: Bobby Ogdin. Organ: Tony Brown. Vocals: Dennis Linde, Alan Rush, J.D. Sumner & The Stamps

Little Darlin'

Maurice Williams. Recorded April 24, 1977 at Crisler Arena, Ann Arbor. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Alan Rush. Bass: Dennis Linde, Norbert Putnam. Drums: Randy Cullers. Percussion: Farrell Morris. Piano: Bobby Ogdin. Organ: Tony Brown. Vocals: Dennis Linde, Alan Rush, J.D. Sumner & The Stamps

He'll Have To Go

Joe Allison/Audrey Allison. Recorded October 30, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Chip Young, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, Sherrill Nielsen, J.D. Sumner & The Stamps. OVERDUBS Steel Guitar: Weldon Myrick. Percussion: Randy Cullers. Moog Synthesizer: Shane Keister. Additional overdubs were done by the members of Elvis' live band in January 1977 at Creative Workshop in Nashville.

Let Me Be There

Way Down

Pledging My Love

Moody Blue

Mark James. Recorded February 4, 1976 at Elvis' home Graceland, Memphis. Recorded February 2-7, 1976 at Elvis' home Graceland, Memphis.Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

She Thinks I Still Care

Dickey Lee. Recorded February 2, 1976 at Elvis' home Graceland, Memphis. Recorded February 2-7, 1976 at Elvis' home Graceland, Memphis.Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Piano & Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, J.D. Sumner & The Stamps. OVERDUBS Guitar: Chip Young. Bass: Dennis Linde. Congas & Timpani: Farrell Morris. Moog Synthesizer: Shane Keister. Vocals: Wendellyn Suits, Dolores Edgin, Hurshel Wiginton

It's Easy For You

Andrew Lloyd Webber/Tim Rice. Recorded October 29, 1976 at Elvis' home Graceland, Memphis. Guitar: James Burton, John Wilkinson, Chip Young, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: David Briggs. Vocals: Kathy Westmoreland, Myrna Smith, Sherrill Nielsen, J.D. Sumner & The Stamps. OVERDUBS Steel Guitar: Weldon Myrick. Percussion: Randy Cullers. Moog Synthesizer: Shane Keister. Additional overdubs were done by the members of Elvis' live band in January 1977 at Creative Workshop in Nashville.

Although no-one suspected it at the time, this was to be Elvis’ final album, and it is a terrible album to finish on, be judged on, and be remembered by. Elvis Presley had never received due recognition for his historical importance and artistic achievement. His own recording company had never treated his catalogue with respect, and its release policy had served to constantly undermine Elvis’ status as an artist. This was no different. Elvis shouldn’t even have been recording, he should have been recuperating. RCA never let up the pressure for new material, despite the fact that Elvis had delivered more than enough. Part of the problem was that Parker and RCA took Elvis’ remarkable productivity and work ethic to be the benchmark, and kept him to it relentlessly. By the end, Elvis was burned out. But still his recording company issued all available tracks, identified as ‘product.’ And they would fill and pad out as necessary, regardless of the damaging impact it would have on Elvis’ standing as an artist.

There simply wasn’t enough new material for a new album, given the meagre four tracks Elvis had recorded at Graceland in October. RCA thus added the two sides of his previous single, three live performances from 1977, including the simply execrable “Little Darlin,’” and, in an act of sheer desperation, one live performance already released on the 1974 "Live In Memphis" album. The record was haphazard and patchy, with its weak points glaring. It was released to no great acclaim. A few weeks later, Elvis died, and millions went out and bought the album, taking it to #3 in the charts. Of all the albums to go out on, this was not the one. The weak moments on here could have done nothing but confirm that the critics were right and that Elvis was not only some way past his best but very nearly finished with nowhere else to go. Rarely have so many people bought so slapdash an album. It would have been better if “Welcome to My World” had been the current album, because at least it gives a decent country-themed overview of his final years and would have encouraged listeners to investigate further. This haphazard album is a deterrence against buying any more Elvis records. That’s the problem with RCA’s endless recycling and patchy releases, you may attract interest here and there and pick up a little transitory business, but sell people shoddy goods once and they won’t return a second time. RCA abused Elvis' loyal following time and again. They abused Elvis too, and finally his body gave way.

But maybe that view is overly harsh. Despite its troubled origins and haphazard nature, the album contains plenty that is worthy. So I shall end by making this point: even at his very worst, on the brink of death, Elvis Presley was an artist of weight and merit. My real complaint about this album is the way it was padded out with live tracks. Some people like Olivia Newton John’s saccharine country “If You Love Me (Let Me Know)” and “Let Me Be There,” Elvis for one. They fill a slot in a concert, but the latter had already been out and wasn’t even from 1977 but 1974. That smacks of desperation. “Little Darlin'” is an abomination, as was the original. In fact the fifties original is everything that Elvis’ rock’n’roll stood against. I don’t want to hear Elvis doing it. If it’s a little throwaway for a concert, then throw it away there and not here as a permanent record. In a different league entirely is “Unchained Melody,” a powerful operatic reading by Elvis. On “He'll Have To Go,” Elvis turns a country crooner into a classic blues ballad. This offers a very mature blend of his original Sun synthesis. Then there are the four sides that comprise the two singles, “Way Down,” “Pledging My Love,” “Moody Blue,” and “She Thinks I Still Care.” These are excellent, but if you bought the singles, and also have the Live in Memphis concert from 1974, then you are effectively buying only half an album, comprising two or three live cuts that are average to poor.

Finally, there is a song that is always overlooked, the only Tim Rice-Andrew Lloyd Weber song Elvis ever recorded, the dramatic ballad “It's Easy For You.” It’s a vocally demanding piece but Elvis handles its complexities well. It is very poorly recorded, though. It's a fine song, though, powerful and emotional, and Elvis clearly identifies with its message.

ELVIS IN CONCERT

RELEASED:MAY. 22, 1992

Elvis Fans’ Comments/Opening Riff

Also Sprach Zarathustra

Richard Strauss. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

See See Rider

Arranged by Elvis Presle Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

That's All Right

Arthur Crudup. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Are You Lonesome Tonight

Roy Turk/Lou Handman. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

(Let Me Be Your) Teddy Bear/Don't Be Cruel

Kal Mann/Bernie Lowe - Otis Blackwell/Elvis Presley.Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Elvis Fans’ Comments 2

You Gave Me A Mountain

Marty Robbins. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Jailhouse Rock

Jerry Leiber/Mike Stoller. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Elvis Fans’ Comments 3

How Great Thou Art

Stuart K. Hine. Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Elvis Fans’ Comments 4

I Really Don’t Want To Know

Howard Barnes/Don Robertson. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Elvis Introduces His Father

Hurt

Jimmie Crane/Al Jacobs. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Hound Dog

Jerry Leiber/Mike Stoller. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

My Way

Paul Anka/Jacques Reveaux/Claude Francois. Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Can't Help Falling In Love

Hugo Peretti/Luigi Creatore/George Weiss. Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Closing Riff/Special Message From Elvis’ father

Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

I Got A Woman/Amen

Ray Charles - J. Hairston. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Elvis Talks

Love Me

If You Love Me (Let Me Know)

John Rostill. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

O Sole Mio/It's Now Or Never

Traditional - Aaron Schroeder/Wally Gold Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Trying To Get To You

Rosemarie McCoy/Charles Singleton. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Hawaiian Wedding Song

Charles King/Al Hoffman/Dick Manning.Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Fairytale

Anita Pointer/Bonnie Pointer. Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Little Sister

Doc Pomus/Mort Shuman. Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Early Morning Rain -

Gordon Lightfoot. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

What'd I Say

Ray Charles. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

Johnny B. Goode

Chuck Berry. Recorded June 21, 1977 at Rushmore Civic Center, Rapid City. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

And I Love You So

Don McLean. Recorded June 19, 1977 at Civic Auditorium, Omaha. Guitar: James Burton, John Wilkinson, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Tony Brown. Electric Piano: Bobby Ogdin. Vocals: Kathy Westmoreland, The Sweet Inspirations, Sherrill Nielsen, J.D. Sumner & The Stamps. Joe Guercio And His Orchestra. OVERDUBS Guitar: Chip Young. Bass: Mike Leech. Drums: Larry Londin. Percussion: Randy Cullers. Piano: Bobby Ogdin. Vocals: Jane Fricke, Lea Jane Berinati, Sherilyn Kramer, Yvonne Hodges

This double album was the soundtrack from the CBS TV special “Elvis In Concert,” filmed and recorded just weeks before Elvis died. In indolent fantasies, this TV special was to be another ‘comeback,’ with Elvis reaching inside of himself to work the magic he worked in 1968. A mere nine years separated these television specials. In sound and vision the gap looks like an eternity. The Elvis of 1977 is a very different Elvis to the one of 1968. Comparisons like that are an invitation to hasty judgement and lazy criticism, past glories blinding us to the merits of present realities. To certain critics, everything Elvis did in these final years, and particularly this final year, was bad. That’s not true. Things are different, in the way that the Elvis of 1968 is different to the Elvis of 1960, the Elvis of 1960 is different to the Elvis of 1957, and the Elvis of 1956 is different to the Elvis of 1954. With change comes growth and maturity as well as decline. At this distance, having absorbed the shock of Elvis’ death, we are better placed to appreciate the merits of the final years.

So I shall review this final album as dispassionately as a passionate Elvis fan can.

“Elvis in Concert” is a double album comprising material from different live shows in 1977. The album was released on October 7, 1977, less than two months after Elvis’ death on August 16. The first album is the soundtrack of the CBS TV special, the second album comprises a number of recordings selected from concerts in Omaha and Rapid City. The performances on the soundtrack album are uneven, varying from the painful and pathetic to the moving and the immense. I hesitate to be critical. Many of the weakest performances are endearing given what we now know – and could then see and hear if we had allowed our senses to overrule our idolatrous minds – with respect to Elvis’ poor physical and emotional state. The man was a trooper taking the stage and facing the public without shirking, risking his crown knowing how little he had to draw on. Given Elvis’ weakened condition, it is all the more remarkable that the best performances of the CBS show tend to be on the most vocally, and emotionally, demanding songs. His version of “You Gave Me a Mountain” is good, whilst the wonderfully bluesy rendition of “I Really Don’t Want to Know” is also a standout, albeit that the song is much shortened. The two best performances, though, are the simply astonishing “How Great Thou Art” and the operatic “Hurt.” These are towering performances in their own right, and among the best of his entire career, regardless of context. He also delivers a fine version of “My Way,” which sounds far more sorrowful and regretful than bombastic, whatever the lyrics say. It is worth making that point, given the tendency to write everything off at the end as poor. Elvis lost his bearings, he lost his hope, he lost his health, and finally he lost his life; but he did not lose his voice, nor his soul.

The second album is also uneven, but in a more interesting way given that it is comprised of selections from concerts rather than an actual concert. There are some perfunctory performances of rock’n’roll which give a quick thrill, and there are reminders what great songs the likes of “It’s Now or Never,” “Little Sister” and “Early Mornin’ Rain” are and what great versions Elvis delivered of them. The performance of “Fairytale” is a highlight, looser than the studio version on the “Today” album. There are moving renditions of “Hawaiian Wedding Song” and “And I Love You So.” Best of all, though, is a belting rendition of the last thing he recorded at Sun, “Tryin’ to Get to You.” This is the song that Elvis had trouble recording at first at Sun. He nailed it just before his contract was sold to RCA. Had Elvis stayed at Sun, this would have been his next single. He signed to RCA and “Trying to Get to You” got lost in the transition. It is one of Elvis’ finest recordings and it seems he could never deliver anything less than a knockout performance of the song. It’s a song of boundless freedom and the yearning to get that elusive something we all want, whatever and whoever that may be. Elvis gave voice to that yearning. Whether or not he, or we, ever find that elusive something or someone is a question only life can answer. Elvis lost his way somewhere and could never find his way back. He was badly let down. He found few he could share that vision with. It’s lonely at the top, Billy Stanley reports Elvis as saying, by which he meant he had no one to share his vision with. That lonely road could end only the one way. The tragic end towers over the Elvis story, but it is far from being the compelling truth many concerned to deliver a trite morality tale hold it to be. There were reasons for Elvis’ early demise, relating particularly to exploitative control of his music and hence his life. For me, it is the young singer who, however introverted and shy, had the nerve and the ambition to let the world hear his voice, opening up possibilities and broadening horizons, that continues to hold the imagination. And it is the mature singer who was still reaching out for something beyond the parameters of the contemporary world that also continues to inspire.

One of Elvis’ biggest tragedies is to have fallen into the clutches of his parasite manager, Tom Parker. It is a bigger tragedy still that once he was caught he could never escape. It’s too simple to say that Elvis simply ‘sold out’ and took the money for a quiet life. Elvis complained about the direction his career took. He may not have complained effectively, or to the right people. The evidence is that he never confronted Parker directly. But he was unhappy about plenty going on in his career, and was expressing his doubts early on. The truth seems to be that Elvis trusted his manager and recording company, signed on the dotted line, and became a contracted cog-worker in his own factory, a factory where the decisions were taken by others. Elvis represented the highest and the purest of values, insofar as a belief in the redemptive power of pop music could ever be couched in those terms. Rightly or wrongly, Elvis saw freedom and happiness down that pilgrim journey. In complete contrast, Tom Parker represented the lowest, the meanest, and the most cynical values of an industry that can be as low, mean, and cynical as anything can be. Elvis' naivety and humble upbringing made him the perfect mark for Tom Parker. Parker was a parasite and a bully. And an incompetent on a grand scale. He sold Elvis short, took fifty percent, and then blew it through his gambling addiction. He was cheap and tawdry, and he took Elvis down the same route. Elvis’ mass appeal fed his fantasy that he was a wheeler-dealer of genius when in truth he was mug, a high roller who lost fortunes. After Elvis’ death, Parker ended up working as a "consultant" for Hilton Hotels, with many believing that he was working in this role to pay off the debts owed to the casino through his constant gambling during Elvis’ engagements. Elvis himself felt that Parker was gambling at his expense, locking him into a killing schedule at the International in order to pay for his manager’s addiction. Elvis stayed loyal, though. After Elvis’ death, Parker kept the same fourth-floor suite that he had occupied when Elvis was alive, but he was evicted in 1984, amidst reports that his gambling debts were rising to levels he could no longer pay now that Elvis was dead. Attorney Blanchard E. Tual, appointed as Lisa Marie Presley’s guardian ad litem, investigated the entire period of Parker's management of Elvis Presley, finding that Parker's management deal of 50% was extortionate compared to the industry average of 15–20% and concluding that Parker's handling of Elvis’ business affairs was "unethical" and poorly handled. That included the decision to sell off past royalties to RCA for $5.4 million in 1973. The man was not just a crook, he was cheap and incompetent and utterly tasteless. Elvis stuck with him instead of replacing him and that loyalty was his tragedy. The road from purity to debauchery is well trodden in a world of money and power, and Elvis blazed a trail of his own down this road. It wasn’t the trail he had envisaged. Elvis opened many doors for those who followed, but he could never quite manage to go through those doors himself. Not the right ones. In many respects, he carried on blazing a trail, trying to get to some place that exists nowhere except in fantasies divorced from realities.

Wherever it was Elvis was trying to get to, and whatever problems that search implicated him in, there remains something joyous, hopeful, and optimistic in the example of someone who refused to accept things the way they are and set out to do and be something different. That assertion of a freedom beyond the boundaries was there at the end as it was at the beginning. Elvis may have learned that possibilities were narrower than his youthful self had imagined, and in the context of a performance of “How Great Thou Art” so raw in its emotionalism that it suggests he could see Heaven’s Gate opening in front of him, the gospel root of “Trying to Get to You” becomes even more explicit. With Elvis, though, the holy and the profane blended into one seamless whole, sanctifying life in its living. He dreamed big and he reached high, and he found that when he needed help he was alone. But he got the big calls right, it ain’t no sin to be glad you’re alive … so long as you remember there’s a greater life to come, and a greater Love than any known on Earth. I’d say that we should remember Elvis’ joyous striving for freedom and happiness this way.

Elvis Elvis Presley

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