The Mystery Train 1.0 Blog

REVIEW: Elvis – The Complete Masters Collection (Part 6)

/ TY

This is Part 6 of an occasional series reviewing Elvis: The Complete Masters Collection. Read Part 5.

CD Vol. 8: Country Roots

This volume of The Franklin Mint‘s 36-disc Elvis: The Complete Masters Collection (mastered by Vic Anesini) presents songs that the booklet describes as follows:

“Elvis’ renditions of some of the biggest country songs ever. His tribute to country music and the legends who created it: Hank Williams, Red Foley, and many others.”

This sounds like a potential winner to me, but let’s see how it plays out.

Elvis: The Complete Masters Collection - Volume 8

Elvis: The Complete Masters Collection – Volume 8

01. I Love You Because: Of the 21 songs that make up this CD, the compiler could not have made a choice worse than “I Love You Because” to use as the lead-off track. When Elvis Presley made this recording at SUN Records in 1954, owner and producer Sam Phillips wisely rejected it. Shortly thereafter, Elvis, bassist Bill Black, and guitarist Scotty Moore “stumbled upon” the rock ‘n’ roll sound when horsing around with “That’s All Right.” Unfortunately, RCA Records – beginning a trend that would last for the rest of Elvis’ life – dug “I Love You Because” out of the rejects pile and issued a spliced version in 1956 not only on the Elvis Presley LP but as the A-Side of a single! The single failed to chart, and this recording is of interest only as a historical curiosity. (Recorded: 1954)

02. Blue Moon Of Kentucky: “Blue Moon Of Kentucky,” on the other hand, is a perfect representation of “Elvis Country.” A rhytym & blues-infused take on a country/bluegrass song, “Blue Moon Of Kentucky” served well as the B-Side of “That’s All Right” (a country-infused take on a rhythm & blues number). In some markets, “Blue Moon Of Kentucky” was more popular than the A-Side – likely because the song was a little more conventional for those audiences than the comparatively wild “That’s All Right.” (Recorded: 1954)

03. I’ll Never Let You Go: “I’ll Never Let You Go” is another 1954 SUN reject that RCA issued in 1956 on the Elvis Presley LP and as an A-Side single. While not stellar, this one is far more listenable than “I Love You Because.” This one features a slow start before eventually speeding up – a precursor of what Elvis would do not only on “Milkcow Blues Boogie” later that year, but also on live versions of “Hound Dog” years later in 1972. (Recorded: 1954)

04. How’s The World Treating You: “How’s The World Treating You” is a decent recording by Elvis. This one is slow and sleepy, as with the beginning of “I’ll Never Let You Go.” Unlike that track, however, this one stays slow and sleepy. (Recorded: 1956)

05. Old Shep: Elvis had been singing Red Foley’s “Old Shep” since childhood before he formally recorded it in September 1956. As a dog-lover, I find this melodramatic yet effective song hard to listen to at certain points in my life – depending on how my dog is doing at the time. I take these things to heart. A great, classic Elvis recording. (Recorded: 1956)

06. Your Cheatin’ Heart: I love Elvis’ take on Hank Williams’ “Your Cheatin’ Heart,” though I slightly prefer a more enthusiastic alternate take over this master. It would be years before Elvis made such an overtly country recording again. (Recorded: 1958)

07. A Fool Such As I: There is very little country left in Elvis’ iconic version of “A Fool Such As I,” a song that had been previously recorded by Hank Snow. (Recorded: 1958)

08. It’s A Sin: “It’s A Sin” was first recorded by Eddy Arnold in 1947. Elvis’ version is pretty, but a little lethargic for my tastes. (Recorded: 1961)

09. Just Call Me Lonesome: In addition to the How Great Thou Art sessions, another early sign of the comeback was Elvis returning to country music. “Just Call Me Lonesome” is a great representative of that return. What I love about “Elvis Country” is that instead of whining sounds sometimes associated with the genre, Elvis usually provides velvet vocals. (Recorded: 1967)

10. You Don’t Know Me: Elvis’ moving rendition of Eddy Arnold’s “You Don’t Know Me” was unfortunately buried on the Clambake soundtrack album. The first version I ever heard of “You Don’t Know Me” was actually by Ray Charles. The first time I heard it, in the original theatrical cut of Groundhog Day, I remember wishing that Elvis had recorded it. I was pleasantly surprised a few years later when the unknown-to-me Elvis recording surfaced on From Nashville To Memphis: The Complete 60s Masters I. Incidentally, Elvis also recorded a different version of “You Don’t Know Me” for the Clambake movie, but it is far inferior to this re-recording and was not released until after his death (other than in the actual movie). (Recorded: 1967)

11. I’m Movin’ On: Next up are some songs recorded at American Sound Studios in Memphis in early 1969, not long after the successful airing of the ELVIS television special. At first, “I’m Movin’ On” sounds a little too country, but then Elvis rocks into it to produce a spectacular version. (Recorded: 1969)

12. I’ll Hold You In My Heart (Till I Can Hold You In My Arms): “I’ll Hold You In My Heart” is an appealing little song that Elvis sings into the ground, ultimately going nowhere. (Recorded: 1969)

13. After Loving You: One of the huge highlights of the American sessions, “After Loving You” features the “new” Elvis at his best. Elvis had been playing around with this song at home for years, even taking a stab at piano on an earlier take at this session before giving up the keys. One of the best recordings of his career. (Recorded: 1969)

14. It Keeps Right On A-Hurtin’: “It Keeps Right On A-Hurtin'” is another pretty song that really does little to stand out among Elvis’ stellar 1969 recordings. (Recorded: 1969)

15. Little Cabin On The Hill: Versions of the next five songs were featured on the 1971 album I’m 10,000 Years Old: Elvis Country, often considered one of his finest. However, these mixes and edits are actually from the 1995 Walk A Mile In My Shoes boxed set. They do not match the original masters from Elvis Country. Here, Elvis launches into a Bill Monroe impersonation he had been fooling around with since at least 1956, as evidenced by the Million Dollar Quartet jam session. Good stuff. (Recorded: 1970)

16. I Really Don’t Want To Know: Elvis owns “I Really Don’t Want To Know,” one of the best on Elvis Country or any of his other albums. I love the piano work on this one by David Briggs. (Recorded: 1970)

17. Faded Love: I much prefer the shorter edit of “Faded Love” as released during Elvis’ lifetime than this overly long 1995 version. Anyway, Elvis does a fine, if forgettable, job on the Bob Wills classic. (Recorded: 1970)

18. Tomorrow Never Comes: Elvis delivers one of his most powerful performances on “Tomorrow Never Comes.” The song starts softly and slowly builds into a breathtaking, accusatory crescendo that Elvis actually had to re-record as an insert. Again, one of the very best songs of his career. (Recorded: 1970)

19. Make The World Go Away: I love hearing Elvis’ version of well-known songs, and “Make The World Go Away” is no exception. That voice. You gotta listen to James Burton on guitar on this one, too. Burton helped define the sound of Elvis’ final decade, and it is no wonder Elvis was reluctant to take the stage without him. (Recorded: 1970)

20. Green, Green Grass Of Home: I first heard Elvis’ version of “Green, Green Grass Of Home” on an RCA cassette tape I had in the 1980s called Elvis Country, one of two tapes by that name I owned – both of which had completely different lineups from each other as well as his 1971 album of the same name. Though recorded five years later for the Today sessions, this song would have fit in well on the real Elvis Country album as well. As with the much-maligned “My Boy,” this is the kind of dramatic song that often spoke to Elvis and that I, for one, enjoy hearing him sing. (Recorded: 1975)

21. Are You Sincere: Coming right after “Green, Green Grass Of Home,” Elvis’ voice sounds comparatively weaker on “Are You Sincere.” This goes against conventional Elvis wisdom, as this one was recorded two years earlier. They were recorded in different studios with different equipment, so any number of factors could be involved. Still, “Are You Sincere” is a worthy performance, first released on his 1973 album Raised On Rock. (Recorded: 1973)

While it contains a number of terrific country songs, the individual parts of this CD do not add up to a high-quality whole. Whether due to kicking off with the lackluster “I Love You Because” or the uneveness of the remaining selections, Country Roots never takes off as a compilation. Instead, it feels more random than anything else.

[Read Part 7.]

King Creole: Alec falls just short of record in Elvis Trivialities #15 victory

/ TY / 1 Comment

Danny Fisher’s fake name did not fool Alec, who answered Elvis Trivialities #15 correctly before anyone else. Alec came just a minute short of tying Steve’s record time, which has stood for nearly two years.

And the answer is…

“George” is the name that Elvis Presley’s character first introduces himself as to Nellie (Dolores Hart) in the movie King Creole.

Though Danny meets her earlier in the film, he does not introduce himself to Nellie until he has her right outside of Room 205. Rather than give his real name, he tells her it is George. Within moments, however, he feels so guilty for propositioning her that he reveals his true identity. For a detailed breakdown of this scene, I refer you to the always fantastic work of Sheila O’Malley at the Sheila Variations blog.

Nellie (Dolores Hart) and "George" (Elvis Presley) outside of Room 205 in KING CREOLE

Nellie (Dolores Hart) and “George” (Elvis Presley) outside of Room 205 in KING CREOLE

First-time winner Alec not only gets a big batch of Southern Creole Bragging Rights, but also a spot among The Mystery Train’s Night Riders. An honorable mention also goes out to Gary Wells (AKA Wellsy) for giving the correct answer while Alec’s earlier comment was invisible due to being held for moderation.

* * *

Will you use your real name or a fake one if you win Elvis Trivialities next time? Subscribe to The Mystery Train Blog using the feature in the menu bar to the right. Then, you will be notified whenever there is a new post – because the next trivia challenge could come along at any moment. For all you know, I am typing it out right now.

The Mystery Train’s Night Riders

  • June 14, 2013: Alec (0:18) | Honorable Mention: Wellsy (3:01)
  • February 22, 2013: Thomas (13:36)
  • January 11, 2013: George Millar (4:19)
  • December 23, 2012: Thomas (0:36)
  • October 9, 2012: David (14:38) | Honorable Mention: John (22:06)
  • February 4, 2012: Thomas (13:52)
  • February 3, 2012: Thomas (2:18)
  • December 21, 2011: Wellsy (2:37)
  • October 31, 2011: Thomas (17:32)
  • October 1, 2011: Jimmy Cool (1:01)
  • September 9, 2011: Steve Brogdon (0:17) <— Record time
  • August 6, 2011: Thomas (2:26)
  • July 9, 2011: Thomas (5:26)
  • June 23, 2011: Fred Wolfe (0:18)
  • June 22, 2011: Ty stumps the train (no winner)

My grandmother worked in the ticket booth of a theater for decades. I dedicate this series of movie posts to her, who would have turned 103 this year. I often remember her when I watch movies.

King Creole: Elvis Trivialities #15

/ TY / 2 Comments

Welcome to another exciting edition of Elvis Trivialities!

Elvis Trivialities On TheMysteryTrainBlog.com

Your question is…

What name does Elvis Presley’s character first introduce himself as to Nellie (Dolores Hart) in the movie King Creole?

If you’re the first person to answer this question correctly in the comments below, you will take home a big batch of Southern Creole Bragging Rights.

Good luck!

My grandmother worked in the ticket booth of a theater for decades. I dedicate this series of movie posts to her, who would have turned 103 this year. I often remember her when I watch movies.

King Creole: A Stone For Danny Fisher

/ TY / 3 Comments

A Stone For Danny Fisher: Now A Major Motion Picture From Paramount

Herbert Baker and Michael Vincent Gazzo based the King Creole screenplay on the 1952 novel A Stone For Danny Fisher by Harold Robbins. Until I read the book, my knowledge of the author was limited to the following exchange between Jim Kirk and Spock in 1986’s Star Trek IV: The Voyage Home.

Jim Kirk and Spock discuss language on 20th century Earth in STAR TREK IV

Jim Kirk (William Shatner) and Spock (Leonard Nimoy) discuss language on 20th century Earth in STAR TREK IV: THE VOYAGE HOME (1986).

In the film, the Enterprise crew has journeyed back in time 300 years to 20th century Earth. Kirk has been trying to fit in with the natives.

Spock: Your use of language has altered since our arrival. It is currently laced with, shall I say, more colorful metaphors….
Kirk: You mean the profanity?
Spock: Yes.
Kirk: That’s simply the way they talk here. Nobody pays any attention to you unless you swear every other word. You’ll find it in all the literature of the period.
Spock: For example?
Kirk: Well, the collected works of Jacqueline Susann, the novels of Harold Robbins.
Spock: Ah. The giants.

With Vulcan sarcasm in mind, I was not quite sure what to expect from Robbins’ novel.

While I feel the acting potential of Elvis Presley was never fully realized, even I acknowledge that he probably would have been less than convincing in 1958 playing a Jewish boxer from Brooklyn. Who am I to say, though? Maybe he would have pulled it off.

While Danny Fisher morphs into a religiously-ambiguous singer from New Orleans in King Creole, the interesting thing about reading the novel is that it does feel like the same character. The book, then, acts as an excellent back story for the film. According to biographer Peter Guralnick, Elvis even read the novel as part of his preparations for the movie (Last Train To Memphis, page 450).

Guralnick’s claim is backed up by the sheer strength of Elvis’ performance in the role. The character seems more than what is on the page of the film script, and I believe Elvis reading the novel beforehand is part of what makes Danny so believable. This is a character who has already lived, already has a history, before the events of the movie begin. Compare that with Vince Everett of Jailhouse Rock, who seems to fade into existence just to serve the purpose of the movie.

A Stone For Danny Fisher is written in first person perspective, meaning in this case that Danny is actually the one telling his story. I could not help but imagine much of the book with Elvis as Danny.

As one would expect, the novel captures a much broader story than the film does. While the movie focuses on Danny at 19-years-old in 1958, the book covers his life from 8-years-old in 1925 up until 27-years-old in 1944.

Only touched upon in the film, one of the recurring elements of the novel is Danny’s house. Danny’s family moves from a tight apartment into a more spacious home. Moving day is his eighth birthday, and his father tells him the house is his present.

I turned and pressed my lips to the cool floor. “I love you, house,” I whispered. “You’re the most beautiful house in the whole world, and you’re mine and I love you.”

Danny’s father loses the house during the depths of the Great Depression in 1932, and they are forced to move again. From that point on, his relationship with his father is different.

That was the night when for the first time I admitted to myself that it was not my house, that it really belonged to someone else, and there was no heart left in me for tears.

As in the movie, Danny takes Nellie to see his old house, vowing to someday buy it back.

Nellie listens to Danny talk about his house in KING CREOLE

Nellie (Dolores Hart) listens to Danny (Elvis Presley) talk about his house in KING CREOLE (1958).

The movie version of the scene is illustrative of the issues in the relationship between Danny and Nellie. More so than any other point in the movie, Danny is being open with Nellie and sharing something that is extremely important to him. She misses this entirely, barely reacting at all. It is a telling moment, as the two characters appear to be in the middle of completely different conversations.

Danny: You see that house over there? Way over there. See it? That used to be our house. Pa bought it when I was about 8-years-old. It was kind of my birthday present. We sure had a lot of happy times there. I’m gonna buy that house back someday or one just like it. And I guarantee nobody’s gonna take it away from me. Nobody.
Nellie: I told my mother about you. I told her I met a million-dollar boyfriend in a five and ten cents store.

In the novel, Nellie is much more present in the scene. It draws them closer together, while the film version seems to distance them.

We were standing on a dark empty corner, almost ten o’clock at night, in a neighborhood in Brooklyn she had never even known about. I raised my hand and pointed across the street. “See it?” I asked. […] “It’s my house. I used to live there. Maybe soon we’ll be able to move back.”

A sudden light came into her eyes. She glanced quickly at the house, then back at me. Her mouth softened gently. “It is a beautiful house, Danny,” she said in an understanding voice.

My hand tightened on her arm. “Papa gave it to me for my birthday when I was eight years old,” I explained to her. […]

“And now you will move back here,” she whispered softly, pressing her face against my shoulder. “Oh, Danny, I’m so happy for you!”

As told through Danny’s eyes, the writing of the novel varies from crude to eloquent. Even the movie shows some of this dichotomy of character. Think of the crudeness of Danny propositioning the innocent Nellie outside of Room 205 versus the eloquence of him singing “As Long As I Have You,” for instance. While the overall tone is often gritty, I was surprised at the beauty of certain passages of the novel. Though a boxer and later a business man of questionable virtue, Danny has a poet’s soul.

I find Danny in King Creole to be a frustrating character because he seems to have a good heart, yet keeps taking the wrong steps or simply getting bad breaks. The novel version of Danny has many of the same qualities. Like his house, true happiness often seems just within his reach, before it is ripped away from him. Seeing this pattern, Nellie eventually becomes afraid of the house, afraid of what will happen when Danny finally obtains what he has sought for so long.

Reading the book made me realize that Baker and Gazzo’s screen adaptation represents a masterpiece of writing in its own right. It pulls bits and pieces from the novel and carves out a new, yet familiar story. To reference more recent Star Trek movies, King Creole feels like an alternate universe version of the Danny Fisher story.

It was almost as if I were watching this from a seat in the movies. I wasn’t really a part of it. It was another guy named Danny Fisher, and he had gone away two years ago and never really come back.

Though the fates of certain characters differ from the film, the book also offers the rare opportunity to find out “what happens next.”

While a departure from what I normally read, A Stone For Danny Fisher is a worthwhile, well-written novel that sheds more light on the story behind King Creole and the material that inspired how Elvis portrayed his character.

My grandmother worked in the ticket booth of a theater for decades. I dedicate this series of movie posts to her, who would have turned 103 this year. I often remember her when I watch movies.

Cinematic Justice: NOBODY short film to focus on 18-year-old Elvis Presley

/ TY / 4 Comments

“He said he was a singer. I said, ‘What kind of a singer are you?’ He said, ‘I sing all kinds.’ I said, ‘Who do you sound like?’ He said, ‘I don’t sound like nobody.'” –Memphis Recording Service office manager Marion Keisker recalling her Summer 1953 meeting with Elvis (1)

Elvis, circa. 1953

Elvis, circa. 1953

“My ultimate goal with Nobody is to give Elvis Presley the cinematic justice he deserves, even if only through an independent short film,” said William Bryan, writer/director/producer of Nobody. The film, currently seeking funding on Kickstarter, will portray Elvis in the waning days of his senior year in high school. A key event will be his performance at the April 1953 Humes High School talent show, which gave the shy singer enough confidence to walk into Memphis Recording Service just weeks later to record a demo.

Bryan, an Elvis fan since he was 11-years-old, has made an annual visit to Memphis for the last ten years. While studying at Columbia College Chicago, he made numerous short films. His goal for Nobody, which is also produced by 2011 Columbia College graduate Tom Radovich, is that it inspire today’s dreamers.

“Sure, this might sound a bit romanticized,” Bryan explained, “but think about who Elvis Presley was at the time of our story. He was a senior in high school who wasn’t the sports hero, didn’t have a girlfriend…he really was a nobody.”

While Nobody focuses on early Elvis, Bryan does not limit his fandom to that era. “I’ve been listening to a lot of ballad numbers that Elvis recorded between 1969 and 1971. ‘I’ll Never Know’ and ‘I’ve Lost You’ have been two of my favorites this week,” he said.

Nobody‘s Kickstarter campaign ends on June 1. If it can secure enough funding to proceed, the independent production promises a new look at Elvis compared to previous dramatizations of his life. “With all due respect to the filmmakers who have come before me and already told an Elvis story, many of the ‘Hollywood’ productions have unfortunately been less-than-tasteful, historically inaccurate, or worse, both,” said Bryan.

Reference

(1) ELVIS: The Biography by Jerry Hopkins, Plexus, London, 2007, p. 41.

Considering that as recent as four days ago, I noted that I no longer care to watch dramatizations of Elvis’ life, you may wonder why I chose to cover this particular story. I believe Nobody has a chance to distance itself from many of the other films made about Elvis over the years due to the most important ingredient in any creative endeavor: Passion. Bryan seems to have a strong passion for the subject, which will hopefully translate into a special film.

As with all Elvis dramatizations, though, another important aspect will be casting. This is even more important for a short film, I would say, because there is less time for the audience to connect with the character. For a movie such as Nobody to be taken seriously, a strong actor needs to be cast – not someone doing an Elvis caricature.

This should be a fun story to keep an eye on in the coming months. My thanks to William Bryan for taking part in an email interview for this article.

New and upcoming Elvis releases focus on slices of a diverse career

/ TY / 2 Comments

Get those sound systems (and wallets) ready, folks, new Elvis releases are on the way.

Stay Away, Joe

Stay Away, Joe (concept cover art)

May 2013

Follow That Dream Records, Sony’s collectors label for Elvis fans, is releasing this month:

  • From Elvis In Memphis (2-CD): One of Elvis’ best albums finally receives the FTD Classic Album treatment. This should make an excellent companion to the recent Back In Memphis release. Surely an “imaginary album” will be in the works at some point to feature the rest of the recordings from the 1969 American Sound Studio sessions.
  • Stay Away, Joe (CD): Speaking of imaginary albums, here is one that compiles October 1967 and January 1968 sessions. In addition to the Stay Away, Joe soundtrack, it includes “Too Much Monkey Business” and “US Male.” The January session features Jerry Reed on guitar, which is why I consider this a follow-up of sorts to the fantastic Elvis Sings Guitar Man.
  • On Stage-February 1970 (2-LP): This vinyl release includes the original On Stage-February 1970 album, recorded live in 1969 and 1970, as well as additional material Elvis recorded during his early 1970 Las Vegas engagement.
  • Summer of ’61 (Book & CD): In conjunction with Flaming Star publications, this book primarily focuses on the making of the movie Follow That Dream. A brief CD containing previously released Elvis tracks and two demos for “What A Wonderful Life” is also included.

June 2013

FTD has scheduled the following for release in June:

  • Sold Out! (2-CD): The ambiguous title of this one could refer to almost any Elvis concert from 1956 and beyond. [May 19, 2013, Update: The concerts on this release will be March 1, 1974, Tulsa, Oklahoma and June 21, 1974, Cleveland, Ohio.] This one is from the creative team behind Forty-Eight Hours To Memphis: Recorded Live On Stage In Richmond, Virginia – March 18, 1974 and 3000 South Paradise Road, so a quality presentation is expected.
  • Hot August Night (CD): This one features the August 25, 1969, Midnight Show in Las Vegas. The 1969 shows are all must-haves. Portions of this one contributed to the From Memphis To Vegas/From Vegas To Memphis (Elvis In Person) release in 1969. Many tracks are previously unreleased, however.
  • Elvis Recorded Live On Stage In Memphis (2-LP): This vinyl release features the complete March 20, 1974, Memphis concert, from which selections made up the original 1974 version of this album. I have to admit, I enjoy the truncated version of this show more than the full version. Other than “Steamroller Blues,” the songs edited out of the 1974 1-LP release featured some disappointing performances by Elvis.
  • Best of British: The HMV Years (Book): This is a reprint of the popular book exploring Elvis’ 1956-1958 releases on the HMV label in Great Britain, which sold out upon release in February. Though not noted in the press release, presumably the two CDs of previously released Elvis material from the original printing are also included.

The only physical store in the US authorized to sell FTD releases is Good Rockin’ Tonight, a Graceland gift shop in Memphis. However, FTD products may be obtained online from a variety of other Elvis stores, including Graceland’s ShopElvis.com.

August 2013

Sony has scheduled Elvis At Stax: Deluxe Edition, a 3-CD boxed set, as a main label, wide release in August. The set will include all of the masters Elvis recorded in Memphis at Stax Recording Studio in July and December of 1973. It will also include alternate takes of many of the songs. Here is the track listing:

DISC 1: The R&B and Country Sessions – The Outtakes

1. I Got A Feelin’ In My Body – take 1
2. Find Out What’s Happening – take 8/7
3. Promised Land – take 4
4. For Ol’ Times Sake – take 4
5. I’ve Got A Thing About You, Baby – take 14
6. It’s Midnight – take 7
7. If You Talk In Your Sleep – take 5
8. Loving Arms – take 2
9. You Asked Me To – take 3A
10. Good Time Charlie’s Got The Blues – take 8
11. Talk About The Good Times – take 3
12. There’s A Honky Tonk Angel – take 1
13. She Wears My Ring – take 8
14. Three Corn Patches – take 14
15. I Got A Feelin’ In My Body – take 4
16. If You Don’t Come Back – take 3
17. Promised Land – take 5

DISC 2

Part 1 – The Pop Sessions – The Outtakes

1. Mr. Songman – take 2
2. Your Love’s Been A Long Time Coming – take 4
3. Spanish Eyes – take 2
4. Take Good Care Of Her – takes 1,2,3
5. It’s Diff’rent Now (unfinished recording)
6. Thinking About You – take 4
7. My Boy – take 1
8. Girl Of Mine – take 9
9. Love Song Of The Year – take 1
10. If That Isn’t Love – take 1

Part 2 – The July 1973 Masters

11. Raised On Rock
12. For Ol’ Time Sake
13. I’ve Got A Thing About You, Baby
14. Take Good Care Of Her
15. If You Don’t Come Back
16. Three Corn Patches
17. Girl Of Mine
18. Just A Little Bit
19. Find Out What’s Happening
20. Sweet Angeline

DISC 3: The December 1973 Masters

1. Promised Land
2. It’s Midnight
3. If You Talk In Your Sleep
4. Help Me
5. My Boy
6. Thinking About You
7. Mr. Songman
8. I Got A Feelin’ In My Body
9. Loving Arms
10. Good Time Charlie’s Got The Blues
11. You Asked Me To
12. There’s A Honky Tonk Angel
13. Talk About The Good Times
14. She Wears My Ring
15. Your Love’s Been A Long Time Coming
16. Love Song Of The Year
17. Spanish Eyes
18. If That Isn’t Love

I have mixed feelings on this release. I think it is wonderful for the main label to focus on an overlooked period in the recording career of Elvis Presley. For those fans who do not already have the corresponding FTD Classic Album 2-CD sets (Raised On Rock, Good Times, and Promised Land), this is an excellent, budget-conscious alternative to hear highlights of this material.

However, the first thing I noticed is that Sony really blew the sequencing of these tracks. Why, oh, why would the compiler of this collection choose to kick things off with the dreadful “I Got A Feelin’ In My Body”? Especially when “Promised Land” is sitting there, practically begging to begin this set in the right manner?

Short of starting from scratch, one simple alternative that I can suggest would be the following:

  • Swap Disc 1 with Disc 3
  • Swap Disc 2 – Part 1 with Disc 2 – Part 2

Just making the simple changes above would result in a much better listening experience from start to finish. Again, it is great to see a release focusing on 1973, but it should not just be grudgingly thrown together. While Sony’s Elvis team may disagree, some of us love this material. Treat it right.

Sony is also releasing in August a 1-CD version and a 2-LP version collecting some of the above Stax material.

One for Mom, the rock ‘n’ roll rebel (Playlist Recipes #6)

/ TY / 4 Comments
Elvis Aloha Finale

Elvis, 1973

I am a second-generation Elvis fan. My mom first heard Elvis in 1956, during the initial wave of his national success. By the end of that year, after multiple television appearances and a movie role in Love Me Tender, Elvis had earned millions of new fans. Mom was one of them.

Through marriage and kids, good times and bad times, she stuck with Elvis over the years. By the time I came along in the mid-1970s, both my mom and my brother were fans. You could say I was born an Elvis fan.

Many of the first records I ever heard were Mom’s old 45s from the 1950s and 1960s. Though I remember listening to them when I was about two-years-old, I cannot recall specific songs. The earliest ones that I can remember are “My Way” and “America The Beautiful,” two sides of a single that came out in the months after Elvis’ death in 1977.

I have told stories here before about Mom blasting cassette tapes of As Recorded At Madison Square Garden and Elvis In Concert in the car when I was young. Though she has upgraded to CDs and expanded her selection of albums, she still does this.

Though Mom is a first-wave Elvis fan, she does not turn her nose up at his post-Army work like some of her contemporaries. She actually prefers his 1970s music above all.

That being said, she also prefers songs with a beat. This makes my work difficult when trying to buy her a CD, as Elvis had evolved beyond rock ‘n’ roll in her favorite time period.

I will share a couple of recent examples. I was playing a bit of A Boy From Tupelo for her. This is the ultimate boxed set collecting his 1953 to 1955 recordings. I wanted her to hear the “dry” 45-RPM SUN version of “That’s All Right.”

Ty: Listen to this. Isn’t this cool? This is how it sounded back in 1954, before RCA changed it.
Mom: I never did like that song.
Ty: You don’t like “That’s All Right”? That was his first record. The one that started it all!
Mom: I just never liked it.
Ty: You like the 1970s versions, though, right? Like on Madison Square Garden?
Mom: No, not even that one.
Ty: I can’t believe you don’t like it. I never knew that, after all of these years.
Mom: I’m sorry.
Ty: All I can say is… that’s all right, Mom.

I also gave her the FTD compilation Our Memories of Elvis, which contains alternate mixes of various 1970s songs. I had enjoyed the release the first time I heard it, so I thought the unique mixes would be a sure-fire winner.

Ty: What did you think of Our Memories of Elvis?
Mom: Oh, I liked it. I think I played it once.
Ty: Wait. You played it once? Are you sure you liked it?
Mom: It was okay. It just wasn’t fast enough. Too many slow songs.
Ty: I know, it didn’t have “Suspicious Minds” on it. [Any album that has a 1970 or later version of “Suspicious Minds” on it is an instant hit for Mom.]
Mom: I like a beat!
Ty: I know, Mom. I know!

I am actually picking on her a little here, which is not a nice thing to do on Mother’s Day. For one thing, even I did not not enjoy Our Memories of Elvis as much the second time through. I must have been in a fantastic mood the first time I played it. I actually thought it was one of the best releases ever. I am sure glad I did not review it, because then my initial overreaction would be preserved on the Internet for all to see.

For every example like the above, I should point out, there are dozens of examples of Elvis recordings and albums that Mom does love. Her favorite album is Aloha From Hawaii via Satellite. Her favorite song, as you might have guessed, is “Suspicious Minds,” especially the version on The Alternate Aloha, which has the drums more prominent in the mix.

Though she may not enjoy 1950s recordings as much anymore, Mom still has a rebellious streak in her. She likes to do things her way, no matter what anyone says. I have inherited that trait, I must admit.

Another funny thing is, while most moms are after their sons to get haircuts, my mom thinks I get my hair cut too short.

We joke around often. I love talking about Elvis and other topics with her. Elvis music is but one of many gifts she has given me. I am very proud to have such a gentle and loving woman as my mom.

With much love, here is a playlist in her honor.

Elvis: Sweet Rock ‘n’ Roll

  • Burning Love [Burning Love And Hits From His Movies, Volume 2]
  • Johnny B. Goode (Rehearsal) [Elvis On Tour: The Rehearsals]
  • Proud Mary (Live) [Close Up]
  • Suspicious Minds (Live) [Prince From Another Planet (Disc 1)]
  • Polk Salad Annie (Live) [3000 South Paradise Road]
  • One Night (Live) [Memories]
  • Blue Suede Shoes (Live) [Burbank 68]
  • Jailhouse Rock (Live) [Burbank 68]
  • Don’t Be Cruel (Live) [Burbank 68]
  • Stranger In The Crowd (Master, Rough Mix) [That’s The Way It Is (2008 FTD Edition)]
  • Baby, Let’s Play House (Rehearsal) [A Life In Music]
  • A Fool Such As I (Rehearsal) [That’s The Way It Is (2000 Special Edition)]
  • Whole Lotta Shakin’ Goin’ On [Walk A Mile In My Shoes]
  • Wearin’ That Loved-On Look (Alternate) [Memphis Sessions]
  • Rubberneckin’ [Almost In Love]
  • Hey Jude [Elvis Now]
  • Power Of My Love (Alternate) [A Life In Music]
  • After Loving You [From Elvis In Memphis]
  • Any Day Now (Alternate) [Memphis Sessions]
  • Runaway (Live) [Elvis: Viva Las Vegas (2007 Limited Edition)]
  • My Babe (Live) [Today, Tomorrow & Forever]
  • Baby, What You Want Me To Do (Live) [Elvis At The International]
  • All Shook Up (Live) [Live In Vegas: August 26, 1969 Dinner Show]
  • Hound Dog (Live) [Live In Vegas: August 26, 1969 Dinner Show]
  • Mystery Train/Tiger Man (Live) [Live In Vegas: August 26, 1969 Dinner Show]
  • A Big Hunk O’ Love (Live) [Aloha From Hawaii via Satellite]
  • Promised Land [Promised Land]
  • Steamroller Blues (Live) [A Life In Music]

Thank you, Mom.