Choose Your Elvis Adventure: 600 Seconds (The Edge Of Reality #6)

We’re journeying into an amazing realm whose limits are only that of imagination. Look! There’s the station up ahead. Our next stop… the edge of reality.

The Edge Of Reality

You have discovered a one-of-a-kind audio recorder that captures perfect sound quality.  What sets this device apart from those you can find at your corner electronics store is that it can also travel through time to any moment in the life of one Elvis Presley.

There are two conditions. It can only make one round-trip journey through time, and it can only record for ten minutes.

You hold the audio recorder in your hand now, considering your options. Elvis lived for over 22 million minutes. Which ten do you want to record?

Is it Elvis jamming with the Beatles on August 27, 1965? Is it Elvis singing for the last time at his piano on August 16, 1977? Or maybe some other time in some other place?

Explain what you would record and why in the comments below or by providing a link to a response on your blog or site.

Elvis on the edge of reality

Object known as a recorder, vintage uncertain, origin unknown. This recorder, this one’s unusual, because it happens to be a fact that the recordings that it makes can only be played back on… the edge of reality.

[With apologies to Serling.]

The Audition (The Edge Of Reality #5)

Witness one anxious singer as she enters her final audition, in a place located just north of… the edge of reality.

When was the last time she had truly auditioned for anything? She could not remember. As she sat in the little lobby, waiting her turn, someone continued pounding the piano in a bombastic style in the next room, just beyond a closed door.

Over the piano, she could also hear a male voice. “I need your love,” the captivating voice sang. He sounded so familiar, but she could not place him. “God… speed your love… to… me,” he finished on a high note and added a flourish of piano keys.

No trace of doubt. No trace of strain. Every note perfect.

Was this her competition?

How could she top that?

She hated that she had to ask those questions. At one time, it would not have mattered. Her voice would have carried her well beyond any challenger. But now, things were different.

Dressed in blue, the guard rose and fished through dangling keys on a ring before inserting one into the doorknob. “You can go in,” he said, holding the door open for her.

“You really have this place locked down. You must get a lot of crime here.”

“No, not exactly,” he said, and ushered her inside.

She walked into a large, dim studio. The only thing cutting through the darkness was a single spotlight, shining down on a young man sitting before a grand piano.

“Hello?” her voice squeaked. After hearing the awe-inspiring song from the lobby, she was completely nervous. So much for all the practicing.

“I’m ready when you are,” he said.

She could not even remember what she planned to perform.

As if sensing this, the young man began playing a quiet melody. She knew the song. She had practically grown up singing it.

“Yes, Jesus loves me…” she began singing. She knew immediately. Her voice, her gift, was finally back. Like it was before. Full of joy, she wanted to cry, but she kept going, “…for the Bible tells me so.”

The song seemed to come from within her. The more she sang, the more she realized this was not like before. Even then, she had not been able to sing like this.

She wanted to go on singing forever, but she soon came to the end of the song. She realized she was now within the warmth of the spotlight, too. The young man behind the piano was smiling.

“Have we met? You seem so familiar,” she said.

“Yes, but you were just a little girl back then.”

She laughed. “When I was a little girl? You’re not even half my age, you know.”

“It depends on the day,” he said. “And, by the way, welcome to the show.”

“You mean, I made it? I’m in? No call-backs?”

His blue eyes sparkled in amusement. “You made it as soon as he let you through that door,” he said.

“Then, what was all this?”

“I just wanted to hear you sing. Back then, I had to go, before I ever had the chance. Your voice is so powerful.”

“I know… I don’t know where that came from.” The tears began flowing from her eyes.

“Honey, don’t cry.” His voice was suddenly different, like that of a father. She looked at him again, and he seemed older. She felt younger, like she was six-years-old again.

She recognized him now.

His hands began playing another melody on the keyboard. An old country song. His voice boomed as he sang, “In the twilight glow, I see her…”

He stopped and said, “That new strength in your voice, part of it comes from joy, you see. Your music brings happiness to millions of people, and now you have all of that joy within you. They are sharing it with you.”

She understood now. “But I did so many things wrong,” she said.

“So did I,” he said and shook his head, lost in thought for a moment. “So did all of us.”

“Then, how did we make it here?” she asked.

“Our audience is very forgiving.”

“He’s here with us?”

“He always has been, Whitney. He always has been,” said Elvis.

Two legends, united in destiny and still making music on… the edge of reality.

[With apologies to Serling.]

The Audition


Last Saturday night, I was browsing through some of my favorite sites before I went to bed. I checked The Sheila Variations blog for any new pieces. The top story featured an embedded video of Whitney Houston singing “The Star-Spangled Banner.”

The story had no text, but Sheila’s headline was simple, effective, and haunting: How I Will Always Remember Her.

The words sent a chill through me. Why would she title her post something like that? My heart did not want to know, but my mind understood exactly what it meant.

Still feeling cold, I went to Yahoo News and confirmed the worst. Whitney Houston was dead. As I began to read the story, I queued up “The Greatest Love Of All,” the first Whitney song I’d ever heard. Memories of being a fifth-grader in elementary school came flooding back. My teacher, a gifted educator and vocalist, sang this to us one day and told us all about a young singer named Whitney Houston.

Next up, I played “I Will Always Love You,” a song that Whitney simply owned. No one, not even the songwriter, can sing that one like Whitney did in her prime. Not even close.

I’m not going to pretend I’ve been a huge Whitney Houston fan for all of these years. For a period of time in the early 1990s, though, she was one of my favorite singers. Eventually, I overplayed her albums and moved on to other artists.

I didn’t follow her as closely after that, but I still rooted for her. I was sorry to learn of her struggles, and I was always hoping that, somehow, she would work things out and stage a huge comeback.

“Now, she won’t get her comeback,” is actually one of the first things I thought about when learning she had passed away. In fact, that thought was the beginning of the above short story.

The night Whitney Houston died, I concluded my impromptu tribute by playing the “Star-Spangled Banner.” I remembered watching the live television broadcast of Super Bowl XXV in 1991 when she performed what would soon become the gold standard against which all other versions of the National Anthem are judged.

The song ended, but before I could close iTunes, Whitney’s version of “America The Beautiful” began. I just couldn’t turn it off, so I considered it an encore.

Farewell, Whitney. Thank you for the music.


This post is dedicated with respect to the memory of Whitney Houston, 1963-2012. Her music lives on.

Guest Blog #4: Elvis 1967 – That Wild Presley Beat (The Edge Of Reality #4)

What if the follow-up to the critically-acclaimed and Grammy-nominated Young Man With The Big Beat box set turned out to be something called That Wild Presley Beat, focusing on 1967? You’ve just crossed over into . . . the edge of reality.

 “THAT WILD PRESLEY BEAT” 5-CD Deluxe Set

1967 saw the beginning of Elvis Presley’s return to the charts with songs that were once again artistically significant. But it didn’t happen overnight. The once “young man with the big beat” from Memphis was still tied to the formula of making movies and recording soundtrack albums. By the end of that fateful year, though, he’d shown the world that he was still a force to be reckoned with.

That Wild Presley Beat

That Wild Presley Beat puts the focus on Elvis during 12 months, from February 1967 to January 1968. The package includes his RCA studio master recordings in Nashville; his soundtrack master recordings in Nashville and Hollywood; alternate masters, outtakes; home recordings, and much more. Taking its name from the poster for his movie Clambake, the super deluxe 5-CD, 12 inch square box set (with an amazing 80-page book with timeline) will be available on April 31.

The five CD’s comprise the following, all material originating from February 1967-January 1968:

CD One, Soundtrack Master Recordings
19 tracks recorded in Nashville and Hollywood, starting with nine songs from Clambake, (February 21-23, 1967) followed by 10 songs from Speedway, including the previously unreleased movie version of “Your Time Hasn’t Come Yet Baby” (June 20-21, 1967).

CD Two, Studio and Soundtrack Master Recordings
17 tracks recorded in Nashville, starting with 10 songs from the “Guitar Man sessions,” including the unedited masters of “Guitar Man” (with a fade-out jam on “What’d I Say”) and “High Heel Sneakers” (September 10-11, 1967), followed by three songs from Stay Away, Joe (October 1, 1967) and four more songs from the combined studio sessions/soundtrack recordings for Stay Away, Joe (January 15-16, 1968).

CD Three, The Outtakes I
Four outtakes from the Clambake soundtrack recordings (“The Girl I Never Loved,” “How Can You Lose What You Never Had,” “You Don’t Know Me,” “A House That Has Everything”), segueing into the complete session of October 1, 1967 (19 takes of “Stay Away, Joe,” three takes of “All I Needed Was The Rain” and five takes of “Dominick”).

CD Four, The Outtakes II
Nine outtakes from the “Guitar Man sessions” plus another 15 outtakes from the combined studio sessions/soundtrack recordings for Stay Away, Joe, including all 12 takes of “Too Much Monkey Business.”

CD Five, Home Recordings and Interview
Eight home recorded tracks done in early 1967, including “Suppose” that Elvis submitted to his producer Felton Jarvis for overdubbing (done on March 20, 1967) by musicians and backup vocalists. The other seven tracks are previously unreleased, among them “It’s Now Or Never” (with Charlie Hodge) and “Elvis Practicing Organ.” The CD ends with a newly discovered interview with Elvis on the set of Stay Away, Joe. The interview was done and taped by reporter Joseph Lewis, doing a story for the Cosmopolitan.

That Wild Presley Beat will feature an extraordinary book, where the focal point, spread across its 80 pages, will be a unique, meticulously-researched, day-by-day chronology of Elvis during 1967, including every recording date, film schedule, personal events in his life, and much more. A dazzling photo array of memorabilia will illustrate each day and entry. Movie posters, RCA memoranda, letters from fans, postcards from Elvis to his family, personal photos, magazine covers and articles, trade charts, fan club relics, RCA publicity photos, candid photos, and more will be a feast for the eyes and the imagination as 1967 unfolds.

That Wild Presley Beat will also include five rare 8×10 photographs, three original-size movie poster replicas, and a replica of the “specially autographed” wedding photo originally included as a special bonus inside the Clambake album.

Pre-order customers will also receive an exclusive “Stay Away, Joe” vinyl 7″. Sharing the same striking cover art as the movie poster, the EP features “Stay Away, Joe,” “Goin’ Home,” “All I Needed Was The Rain,” “Stay Away” and “Dominick.”

This imaginary box set is available only in . . . the edge of reality.

/Thomas, Elvis Today


Throughout 2011, The Mystery Train Blog has commemorated the 44th anniversary of 1967. Find out why here. This concludes our coverage.

Elvis 1967: The Once And Future Album (The Edge Of Reality #3)

There are infinite universes, beyond that which is known to man. Imagine, if you will, one such alternate dimension in which an entertainer named Elvis Aaron Presley set a slightly different course for his life. In that universe, one of the entertainer’s fans was also born thirty years sooner. This allowed him to document what happened when the entertainer took a stand in 1967. Submitted for your approval is this brief glance into… the edge of reality.

The Mystery Train Elvis Newsletter (November 1967)

The Mystery Train Elvis Newsletter (November 1967)

THE MYSTERY TRAIN ELVIS NEWSLETTER
Volume XII, Issue 4, Number 48
November 1967
– Page 2 –

Hitchhike all the way down to Memphis with Big El
A review of Elvis Sings Guitar Man by Ty.

Word has it that Elvis had a major blow-up with RCA Records over Elvis Sings Guitar Man, which hit record stores last week. RCA originally planned to issue some of these songs on a soundtrack record for the new Clambake movie, which will be playing at a theater near you later this month.

Elvis insisted on an album with no movie songs, though. If the rumors are true, he apparently even threatened to fire his long-time manager over the debacle until the Colonel worked it out with RCA. Meanwhile, Elvis’ newly hired personal attorney is still reviewing management and recording contracts he signed earlier this year. With two cancelled movie soundtrack albums in as many years, could major shakeups be on the way? Stay tuned.

Ironically, the similarly-titled Elvis Sings Memphis, Tennessee came about due to similar circumstances back in 1963. As you probably recall, the legend goes that Elvis nearly fired the Colonel back then, too. Seems the Colonel wanted to replace that album’s release with a new installment of the Golden Records series. Elvis’ instincts proved right back then, for the platinum-selling Memphis, Tennessee album made it to number three on the charts.

In any event, with the Clambake songs shelved for now, we Elvis fans get this album instead. Was he right to take the same stand for Guitar Man as he did for Memphis, Tennessee? Let’s find out.

SIDE 1

Guitar Man: Elvis has gone Country & Western? That’s what this first song tells us. Musically, this is much better than anything on the Double Trouble LP and the Easy Come, Easy Go EP from earlier this year. In terms of Elvis’ commitment, this is more on par with the How Great Thou Art LP Gospel album that kicked off this year. Can the whole album live up to this first song, though?

Tomorrow Is A Long Time: While writer Bob Dylan has not released this song himself, Folk music fans may have heard it on the Odetta Sings Dylan album that she put out a couple years ago. I must admit, I never expected Elvis to sing Dylan, though! Even more so than “Guitar Man,” this is a very unusual song compared to what we are used to from him. I like it as something different, but hope the entire album isn’t like this.

Big Boss Man: Some people think that Country & Western is about as far apart from the Blues as you can get. Apparently not Elvis, who delivers yet another fine performance. This time, it is a Blues song done in what is almost a Country & Western style. It was combining different styles of music that helped Elvis to create Rock ‘n’ Roll back in the old days anyway. Be sure to listen out for a slight change to the words. Instead of “I want a little drink of water, but you won’t let Jimmy stop,” he sings, “I want a little drink of water, but you won’t let Big El stop.” I like the sound of that. I think I’ll call him that from now on. Of note, RCA originally planned this for release on 45 in the fall. They even put out ads for it, but the single was held back – probably while waiting for the various parties to resolve the whole Clambake album controversy.

Love Letters: After such a start, this is a ballad for the ladies. Not as strong as “Can’t Help Falling In Love,” but more along the lines of “Ask Me.” You might remember that Big El had a bit of a hit last year with this on 45 RPM.

Indescribably Blue: We know this one already, too. It was a 45 earlier this year. Though it didn’t do very well, I still say it is one of his best records. Sounds a lot like a modern take on his early days. I don’t mind hearing it again in the context of what is starting to sound like, dare I think it, his finest album in years.

Fools Fall In Love: Now the B-side of the above single. I didn’t like this one as much. Stick with the Drifters for this one. From the sound of things, Big El might have thought this one was for a movie. Most albums have a little filler, though.

High Heel Sneakers: Finally, back to new songs. Big El takes the Blues head on here and triumphs. A real treat!

SIDE 2

Down In The Alley: Big El starts Side 2 in much the same way that he ended Side 1, with a Blues number. Not as effective as “High Heel Sneakers” and a little whiney for my tastes, but still an enjoyable performance. At least he sounds like he cares about these songs.

Come What May: This was the flip side to the “Love Letters” 45. Big El’s version is a little faster than Clyde McPhatter’s from ten years ago. Much like “Fools Fall In Love,” the arrangement here sounds like a movie song. He has to be more careful not to let that sound carry over into his “real” music. After taking his stand against RCA, would he have been better served to demand another recording session to properly finish this album? Maybe that’s expecting too much at once.

Mine: Here we are on the very next song and Big El makes up for “Come What May” and then some. “Mine” is a beautiful song, one of his very best love songs – right up there with “Can’t Help Falling In Love.” Way better than “Love Me Tender.”

Just Call Me Lonesome: And now the album turns Country & Western again! You can’t say you’re not getting variety here. Only Big El could pull off making all of these styles work as one album.

You Don’t Know Me: Ever since I first heard the Ray Charles version of this Eddy Arnold Country & Western song a few years ago, I always wondered what an Elvis version would sound like. Now, I no longer have to wonder. Big El turns in a somber performance that truly conveys the heartache of the lyrics. This is Elvis at his best. Look for a version of this when you go see Clambake. Is it possible that the rest of the Clambake songs were this good? I have a hard time believing that, but I guess we’ll know when the movie comes out.

Singing Tree: Big El stays in the Country & Western neighborhood for this one. While it does not compare to “Mine” or “You Don’t Know Me,” this song about lost love is still interesting and a fine performance.

I’ll Remember You: This one is another surprise, sounding like a cross between “Tomorrow Is A Long Time” from Side 1 and the Blue Hawaii soundtrack. With a little Country & Western thrown in. I’m not kidding! Again, only Big El could pull this off. Another beautiful song.

* * *

I don’t know in what insane universe RCA would waste these songs as filler on movie soundtracks, but I’m sure glad it’s not ours. 1967 has certainly been a year of change for Elvis. As covered in our previous newsletter, he married his longtime sweetheart just a few months ago. Early next year, he and Ann-Margret are expecting their first child (see article on page 1 of this issue). Let’s hope that How Great Thou Art and Elvis Sings Guitar Man mean more good things are on the way in 1968.

So, I know the completists among you are wondering about the songs recorded for the Clambake movie. Will we ever get to hear them on record? Word around the rumor mill (which sure has been busy this year) is that they might be combined with songs from last year’s cancelled Spinout soundtrack album to make an Elvis Double Feature album. Stranger things have happened.

Thanks for reading, everyone. Have a Happy Thanksgiving, a Merry Christmas, and a Happy New Year! See you in 1968!

A fairytale? A fantasy? A careless product of wild imagination? You can believe or disbelieve, accept or reject; but if this isn’t real, then we’re all condemned to… the edge of reality.

[With apologies to Serling.]


Throughout 2011, The Mystery Train is commemorating the 44th anniversary of 1967. Find out why here.

Elvis Sings The Spooktacular World Of Halloween (The Edge Of Reality #2)

Elvis’ two Christmas albums were among the strongest of his career, but what if he had assembled an album of spookier-themed cuts? You’ve just crossed over into . . . the edge of reality.

Elvis' Halloween Album

Elvis' Halloween Album

Elvis’ Halloween Album

Side A
Devil In Disguise
Mystery Train
Dark Moon
How The Web Was Woven
City By Night

Side B
Witchcraft
Ghost Riders In The Sky
Blue Moon
It’s Midnight
Edge Of Reality

What Might Have Been: The Home Recording Studio (The Edge Of Reality #1)

On the edge of reality. . . .

The rest of the world is asleep, but Elvis Presley is on a mission. As he bursts through the door, his friends Red and Charlie are already in the studio, setting up microphones. The small facility is just big enough for a piano, a few stools, and two or three of his favorite guitars.

Ignoring the piano for now, he grabs his trusty Gibson J200 and begins picking out the song that would not leave his head. “We’re rolling,” says Red, his hands moving over the control board with ease. The year is 1964, and Elvis is about to make his third album at his Graceland studio.

* * *

At least, that’s how I like to imagine what might have been.

Little moments in time can change history. Leave a few seconds early and avoid a car crash, leave a few seconds later and never make it back home.

At least one such potential life-altering moment in Elvis’ life jumped out at me when I first read a couple of key books about him.

It took me awhile to find the passage just now in Peter Guralnick’s Careless Love: The Unmaking of Elvis Presley (1999), which covers Elvis’ life from 1958 to 1977. I thought it occurred closer to the late 1960s. Turns out, it is about 1960. Here’s the moment:

RCA [. . .] even offered to build Elvis a studio in his home so he could record whenever the inspiration took him – but the Colonel wisely urged him to turn the company down, seeing their generosity for what it was, a desperate attempt to generate more product and thereby undercut the Colonel’s unassailable bargaining position” (p. 84).

Could this have changed everything? Prior to Elvis’ June 1961 Nashville session, the home recording studio receives another mention:

The idea of a home studio had been broached again a number of months earlier; this time Elvis actually indicated his interest in building a recording facility at Graceland, and initial plans were drawn up […]” (p. 112).

Ernst Jorgensen also mentions the fate of the studio project in 1998’s Elvis Presley: A Life In Music:

After initially promoting the idea, the label realized it would be a mistake to single one of its artists out above all others; eventually, the Colonel worked out a compromise in which Elvis received, among other considerations, some up-to-date RCA stereo equipment – and RCA got to keep Nashville’s Studio B as Elvis’s recording home base” (p. 150).

Considering that Elvis Presley was RCA’s most successful recording artist, the company should have made an exception in this case and built Elvis his studio. If other artists complained, they should have just been told that they could have their own studios, too – as soon as they sold as many records as Elvis.

Another huge recording artist of the 1960s, Ray Charles, had his own studio. What if, like Charles, Elvis had been able to record whenever the mood struck him, rather than being forced to create on demand at pre-determined studio times?

What kinds of music would he have produced if left to his own devices at Graceland? Sure, we have scratchy, home recordings made by Elvis on tape recorders, but what if he had been able to professionally record in his home?

Of course, Elvis eventually did record at Graceland –  in 1976 – but under markedly different circumstances. As Guralnick describes:

So desperate was RCA to lure Elvis back into the studio that they revived the old dream of recording him at home. This time, however, both the nature and the reason for the plan were a far cry from its original conception fifteen years before. […] And far from building him a new state-of-the-art plaything, they now proposed simply to install temporary equipment in the den behind the kitchen […]” (p. 593).

While the Graceland sessions that produced From Elvis Presley Boulevard and most of Moody Blue turned out to be special, I still can’t help but wonder what might have been if plans for building a true recording studio at Graceland had come to pass?

Would it have just been another intense but soon forgotten hobby – like slot cars or the Circle G?

Or would Elvis the artist have finally been able to fully realize his dreams?

* * *

After three takes, he puts down his guitar. He wants to focus only on the vocals. He nods to his friend, who kills the lights in the studio. The year is 2010. At home, Elvis begins to sing. . . .