1968

On The Elvis Beat: “A Touch Of Gold” is actually platinum

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On The Elvis Beat

Today, I want to point you over to an Elvis site I’ve been enjoying for a few years now. Neal Umphred’s Elvis – A Touch Of Gold is one of those factual deep-dive yet personal blogs that I love. Here are just a few of my favorite pieces:

From Graceland To Burbank To Graceland: Covers the 1968 ELVIS (Comeback) special and its aftermath. There’s a wonderful anecdote near the beginning of the post that you must read. Ironically, this same sort of thing happened to me when a couple of months back I read a great post by Neal about Mac Davis and wanted to comment on it. When I scrolled to the comments, I found that I had already responded to it years ago. The same thing has happened to me over on Sheila O’Malley’s blog as well. It’s actually kind of unnerving.

An Alternative “Back In Memphis” Album: The post title explains it, but this isn’t solely an alternate tracklisting. It includes an in-depth look at the original album, first released as one half of the double LP From Memphis To Vegas/From Vegas To Memphis, and why Neal would have released a different album.

Collecting Elvis 78 RPM Singles From The ’50s: Did I mention Neal likes to deep-dive? This fantastic post reveals his methodology around determining the rarity of Elvis’ 78 RPM singles.

Facts And Fallacies About Elvis’ Gold Records Volume 4: Ever wonder why the fourth volume in this series seemed a little different from its predecessors? This post explains it.

Neal has an affinity for using footnotes in his posts, which actually inspired me to try that technique in my recent The Elvis Odyssey series. Neal even sent me some help on one such footnote, which you can read about here. Footnotes are fun, so you’ll probably see more of them here on certain types of posts in the future.

Neal has several other blogs, which you can access via his homepage. He is also the author of multiple record pricing guides, including two focused on Elvis.

A lot of people out there write a lot of things about Elvis. Neal’s words are worth reading.

Electric Dawn

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Anticipation - Artwork created for The Mystery Train with assistance from ChatGPT

“Anticipation” (Artwork created for The Mystery Train with assistance from ChatGPT)

The Elvis Odyssey

Part V: Electric Dawn

With his movie career beginning to flounder and his recent singles receiving little notice, Elvis Presley is at a crossroads. As part of a package deal with yet another movie, he signs on to his first television appearance since a brief guest spot in 1960.

Slated to air on the NBC television network in December 1968, the pre-recorded special is supposed to feature Elvis singing Christmas songs for an hour.

Executive Producer Bob Finkel, however, convinces principal sponsor The Singer Company, NBC, and Elvis’ manager, Tom Parker, to widen the scope of the program beyond Christmas music. Finkel also meets with Elvis, who tells Finkel he wants the special to be completely different than anything in his past, especially his movies.

Elvis: “I want everyone to know what I can really do.”AM

Finkel then hires Steve Binder as Producer/Director of the Singer Presents ELVIS special.

Pre-production begins on June 3 with two weeks of informal rehearsals at NBC Studios in Burbank. Elvis and the crew are working 12-16 hour days, followed by jam sessions in the star’s dressing room.

On June 5, Senator Robert F. Kennedy is assassinated about thirty minutes away in Los Angeles while campaigning for President. Binder is taken with Elvis’ reaction to the news as well as his commentary on the assassination of Reverend Doctor Martin Luther King, Jr., in Memphis only two months earlier.

As a nation mourns, the rest of June is consumed with production of the ELVIS special. Elvis practically lives at NBC while making the program, even moving into his dressing room for a period of time. . . .

Listen along on Spotify.

#183 Trouble/Guitar Man (Alternate-1968)
Memories
June 22, Burbank, CA Master [alternate mix]

The ELVIS special begins with a tight close-up on Elvis’ face as he announces, “If you’re lookin’ for trouble, you came to the right place.” The opener is one of multiple production numbers in the show and begins a light storyline through the motif of “Guitar Man.”

I can only imagine what it must’ve been like to be an Elvis fan in 1968. To tune into this special after all of those years of mostly silly movies and see Elvis practically assault the television screen. Within seconds, it was obvious that he had something to prove.

#184 That’s All Right (Live-1968)
Tiger Man
June 27 8 PM, Burbank, CA

Elvis’ dressing room jam sessions inspire Binder to incorporate something similar into the special. When taping in the dressing room proves unfeasible, Binder instead plans to seat Elvis and his friends on a small stage completely surrounded by a studio audience. Elvis agrees to the concept on the condition that the surviving members of his original band, Scotty Moore (guitar) and DJ Fontana (drums), join him as well.

However, shortly before the first show, Elvis changes his mind and decides he cannot go on for what would be his first appearance since the Pearl Harbor concert in 1961. Binder convinces him to go out there, telling him he can come right back if he wants. Clad entirely in black leather, Elvis even jokes, “Well, goodnight!” shortly after the audience applauds his entry.

In addition to Moore and Fontana, on stage are Elvis’ friends Charlie Hodge and Alan Fortas. Lance LeGault, another friend, plays tambourine at the edge of the audience near Elvis.

Elvis: “It’s more important to try to surround yourself with people who can give you a little happiness because you only pass through this life once, jack. You don’t come back for an encore.”AN

Though dozens are recorded, only five or six of the informal songs make it in the actual special and album.

Among those left out is a rousing performance of “That’s All Right,” the song that started it all for Elvis.

The night, which includes tapings of two “sit-down” shows with similar setlists, is unlike any other in Elvis’ entire body of work.

#185 Baby, What You Want Me To Do (Live-1968)
Tiger Man
June 27 8 PM, 2nd version, Burbank, CA

Early on in both shows, Elvis trades his acoustic guitar for Moore’s burnt-orange electric guitar.19 Producing a raw, raucous sound, Elvis then drives the shows hard, including multiple versions of the Jimmy Reed blues number “Baby, What You Want Me To Do.” This particular rendition also goes unused.

#186 Blue Suede Shoes (Live-1968)
Memories
June 27 6 PM,20 Burbank, CA

“Blue Suede Shoes” is not used in the special or album.

#187 Lawdy, Miss Clawdy (Live-1968)
Memories
June 27 6 PM, Burbank, CA

For the special and album, the 8 PM version of “Lawdy, Miss Clawdy” is used.

From the 6 PM show, this live version manages to be even better than Elvis’ 1956 studio master of “Lawdy, Miss Clawdy.”

#188 Tryin’ To Get To You (Live-1968)
Memories
June 27 6 PM, Burbank, CA

“Tryin’ To Get To You” is not used in the special or album.

Again, Elvis improves upon his original 1955 studio master of “Tryin’ To Get To You” with this rock-infused live version.

#189 One Night (Live-1968)
Memories
June 27 6 PM, 1st version, Burbank, CA

This particular rendition of “One Night” is not used in the special or album.

#190 Baby, What You Want Me To Do (Live-1968)
Memories
June 27 6 PM, 3rd version, Burbank, CA

A portion of this rendition of “Baby, What You Want Me To Do” is used in the special, though it does not appear on the album.

It is difficult to choose between this one and the version already covered from the 8 PM show (track 185 above), but this is probably Elvis’ best-ever version of “Baby, What You Want Me To Do.” While he would return to the song in his first engagement at the International Hotel in Las Vegas the next year, it just was not the same.

#191 No Strap/One Night (Live-1968)
Memories
June 27 6 PM, 2nd version, Burbank, CA

As the sit-down show nears its end, Elvis declares that he wants to stand up–an idea he had been flirting with throughout the performance. He asks Moore if he has a strap for the borrowed electric guitar that Elvis has been using for most of the show. Moore says there is no strap, leading Elvis and the gang to begin singing joking lyrics to the tune of “One Night”:

“No strap today is what I’m now looking for. The things I did and I saw would make the dream–where, where, where, where’s the strap?”

Finally, Elvis stands up, props his foot on his chair and the guitar on his knee and completes another rendition of “One Night” which appears in both the special and on the album.

A truly incredible performance.

#192 Memories (Alternate-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 24, Burbank, CA Take 2 Master [stereo mix]

#193 Saved (Alternate-1968)
Let Yourself Go!
June 22, Burbank, CA Take B7

Among its production numbers, the ELVIS special includes a nine-minute gospel medley.21 For the first minute of the medley, Elvis steps aside such that the spotlight can shine on dancer and choreographer Claude Thompson and the voice of Darlene Love. In addition to Elvis, the segment then features the Blossoms vocal group (Love, Jean King, Fanita James) and a host of other spirited dancers.

Elvis: “Rock ‘n’ roll music is basically gospel or rhythm & blues, or it sprang from that. And people have been adding to it, adding instruments to it, experimenting with it.”AO

It’s an exciting sequence, and I get breathless on behalf of all of the dancers just watching it. The medley was recorded in segments prior to the taping. This particular version of “Saved” is actually an outtake, but it’s my favorite.

#194 Heartbreak Hotel/Hound Dog/All Shook Up (Live-1968)
Memories
June 29 6 PM, Burbank, CA

Two days after the sit-down shows, Elvis appears alone on the same stage in his black leather suit to perform two formal stand-up shows featuring updated arrangements of many of his biggest hits. Elvis is again surrounded by a small studio audience, but this time a full band and orchestra are set just beyond one side of the stage.

This medley of “Heartbreak Hotel,” “Hound Dog,” and “All Shook Up” is featured in both the special and on the album.

This is a powerhouse moment in the ELVIS special, particularly the reinvention of “Heartbreak Hotel” as a rock anthem. Elvis never sang it like this again, preferring a bluesy approach in 1969 and onwards.

#195 Can’t Help Falling In Love (Live-1968)
Memories
June 29 6 PM, Burbank, CA

This version of “Can’t Help Falling In Love” is used in both the special and the album.

This is a beautiful rendition of the song that is on par with his original studio master (1961).

#196 Jailhouse Rock (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

This version of “Jailhouse Rock” is used in both the special and the album.

Though not quite as stellar as his original studio version (1957), this is, by far, Elvis’ best live recording of “Jailhouse Rock.”22

#197 Love Me Tender (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

This version of “Love Me Tender” is used in both the special and the album.

This is another example of a 1968 live version exceeding the original studio master (in this case, 1956).

#198 Baby, What You Want Me To Do (Live-1968)
Memories
June 29 6 PM, Burbank, CA

Once the main portion of each stand-up show concludes, Elvis works on a couple of segments intended for larger production numbers in front of the same audience. During the 6 PM show, there is a brief pause while pre-recorded music is being cued. Left standing with nothing to do, Elvis begins to appear uneasy. “Give me my guitar, man. I’ll play something,” he says. He picks up yet another borrowed electric guitar, this time a cherry red one from session musician Al Casey, and riffs into his go-to comfort song, “Baby, What You Want Me To Do,” eventually dropping to his knees as he plays to an audience member. This rendition is not used in the special or album.

#199 Trouble/Guitar Man (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

To serve as a conclusion to the storyline that began at the opening, a new verse is written for Jerry Reed’s “Guitar Man”:

“Well, I come a long way from the carwash, got to where I said I’d get. Now that I’m here, I know for sure I really ain’t got there yet. So, I think I’ll start all over, sling my guitar over my back. I’m gonna get myself back on the track, I ain’t never, ever gonna look back. I’ll never be more than what I am, oh, wouldn’t you know, I’m a swingin’ little guitar man? Take it home, son, take it home.”23

A portion of this live reprise of “Trouble/Guitar Man” is used in the special.

#200 If I Can Dream (Alternate-1968)
Memories
June 30, Burbank, CA TV-Take 4 Master

After ELVIS was restructured into something more than a Christmas special, “I’ll Be Home For Christmas” was at first still intended as the closing song. Based on Elvis’ reactions to the murders of King and Kennedy, Binder is convinced that Elvis should make a statement of some sort after singing the song. Earl Brown, who is creating vocal arrangements for the show, suggests using “You’ll Never Walk Alone” instead of “I’ll Be Home For Christmas.” When this idea is rejected, Brown writes the music and lyrics of an original song, “If I Can Dream,” which allows Elvis to make his statement in the medium he is most comfortable, music.

From “If I Can Dream”: “If I can dream of a better land where all my brothers walk hand in hand, tell me why, oh why, oh why can’t my dream come true?”

Taped on the last day of the special’s production, with Elvis dressed in a white double-breasted suit, “If I Can Dream” represents for me the greatest musical achievement of Elvis’ life.24

The ELVIS special airs on Tuesday, December 3, at 9:00 PM Eastern and becomes the most-watched program of the week and the highest-rated television special of the year.

“If I Can Dream” climbs to #12 on the charts, while the ELVIS-TV Special album makes it to #8.

Elvis: “I’m never going to sing another song I don’t believe in. I’m never going to make another picture I don’t believe in.”AP

It has been a long night, but the sun is starting to rise. You are back in your seat in one of the Mystery Train’s passenger cars. “So, this is it?” you ask. “The end of the line?”

I smile and shake my head. “Not at all. That’s the beauty of Elvis. There’s no end to his odyssey. Just when you think he’s done, you start all over.”

Somewhere, you hear a familiar song. Faint. Something from your childhood.

As the train rumbles along, you make your way into the dining car and enter a new world.

Elvis Presley returns in The Elvis Odyssey: A New Summit.

Dialogue from a teleplay, father to son: “Maybe there’s only one summer to every customer.” Only one summer? Only one ride? Only one Elvis? Experience them while you can between Heaven, the Earth, and . . . the edge of reality.

[With apologies to Serling.]

Assorted Rambles

19While some out there have tried to insinuate this was some kind of power play by Elvis, the trading of guitars is a scripted moment, as evidenced by a recording of Binder discussing it with Elvis and Moore during a rehearsal.↩︎

20I really could have added the entire June 27 6 PM Show to The Elvis Odyssey, but I had to at least attempt to control myself. The video of the complete 6 PM show made its debut on the fantastic HBO special Elvis: One Night With You (1985). Missing the boat at that time, RCA/BMG finally released the full audio of the show on Memories: The ’68 Comeback Special (1998) CD. Don’t get me wrong, the 8 PM show is great, too, but there’s something special about that first show. The full audio of the 8 PM show was first released on the Tiger Man CD (1998) and the full video on ELVIS: ’68 Comeback Special – Deluxe Edition DVD set (2004).↩︎

21The full medley consisted of “Sometimes I Feel Like A Motherless Child,” “Where Could I Go But To The Lord,” “Up Above My Head,” “I Found That Light,” and “Saved.”↩︎

22I hope that a 1957 live version of “Jailhouse Rock” will see the light of day at some point in my lifetime, for I suspect it would top even the 1968 one.↩︎

23For me, this new verse sums up the entire ELVIS special. In fact, I’d rather they call it ELVIS: Back On The Track today than ELVIS: ’68 Comeback Special.↩︎

24The version of “If I Can Dream” for the album and single was recorded at Western Recorders studio a week earlier and is just as good as the television version. According to Brown in Elvis Presley: Writing For The King – The Stories Of The Songwriters by Ken Sharp, all three of the Blossoms were in tears at the conclusion of Elvis’ performance of “If I Can Dream” with Love stating, “He really believes in the song and means every word of it.”

Once Parker saw the rough cut of ELVIS in August 1968, he was reportedly outraged that no Christmas songs remained in the special. To appease him, a live performance of “Tiger Man” from the 8 PM sit-down show was dropped from the special in favor of an edited version of “Blue Christmas” from that same show.↩︎

I’ve also created a Spotify version of the complete playlist for The Elvis Odyssey, incorporating all five parts of the series.

I originally planned for this series to be a single post, but my bride wisely convinced me that I needed to split it. Thank you to her for ongoing prayers and encouragement and for reading every word I ever write.

Sources for Elvis Quotes

AMMay 14, 1968 Private Conversation (as reported in Elvis Presley: A Life In Music – The Complete Recording Sessions by Ernst Jorgensen)↩︎

ANca. September 1962, Interview, Hollywood, CA↩︎

AOJune 27, 1968, 6 PM Show, Burbank, CA↩︎

APca. June 23, 1968 Private Conversation, Burbank, CA (as reported in Elvis Presley: A Life In Music – The Complete Recording Sessions by Ernst Jorgensen)↩︎

Additional Sources For The Entire Series/Further Reading

Any mistakes you might find in this series are purely my own. As for the stuff I got right, I primarily consulted the following sources for this series of posts. I also consider them as recommended reading if you want a deeper dive into the career and life of Elvis Presley than I could provide here.

  • Keith Flynn’s Elvis Presley Pages.
  • Elvis Presley: A Life In Music – The Complete Recording Sessions by Ernst Jorgensen, St. Martin’s Press, New York, 1998.
  • Elvis Day By Day: The Definitive Record Of His Life And Music by Peter Guralnick and Ernst Jorgensen, Ballantine Books, New York, 1999.
  • Last Train To Memphis: The Rise Of Elvis Presley by Peter Guralnick, Little, Brown And Company, Boston, 1994.
  • Careless Love: The Unmaking Of Elvis Presley by Peter Guralnick, Little, Brown And Company, Boston, 1999.
  • Elvis Presley: Writing For The King – The Stories Of The Songwriters by Ken Sharp, Follow That Dream Records, Denmark, 2006.
  • Elvis Presley In Concert.

Thank you for reading. May your 2026 be full of peace, love, and health.

Blessings,
TY

Update

January 18, 2026

Out of the installments for The Elvis Odyssey, Electric Dawn is the one that has continued to feel unsatisfying to me in terms of representing the 1968 ELVIS special. I’m happy with the text of the post, but I had to leave out some music selections in order to maintain my arbitrary overall 200 song count for the Odyssey.

Blogging is inherently a self-indulgent exercise. Sure, I hope a reader or two out there enjoys my thoughts on Elvis, but I’m really just doing this for fun. With that in mind, I decided to make an expanded edition.

ELVIS: Back On The Track – Electric Dawn (2026 Expanded Edition)

01. Trouble/Guitar Man (Alternate-1968)
Memories
June 22, Burbank, CA Master [alternate mix]

02. That’s All Right (Live-1968)
Tiger Man
June 27 8 PM, Burbank, CA

BONUS: 03. Heartbreak Hotel (Live-1968)
Memories
June 27 6 PM, Burbank, CA

BONUS: 04. Love Me (Live-1968)
Memories
June 27 6 PM, Burbank, CA

05. Baby, What You Want Me To Do (Live-1968)
Tiger Man
June 27 8 PM, 2nd version, Burbank, CA

06. Blue Suede Shoes (Live-1968)
Memories
June 27 6 PM, Burbank, CA

07. Lawdy, Miss Clawdy (Live-1968)
Memories
June 27 6 PM, Burbank, CA

BONUS: 08. Are You Lonesome Tonight (Live-1968)
Memories
June 27 6 PM, Burbank, CA

BONUS: 09. Tiger Man (Live-1968)
Tiger Man
June 27 8 PM, Burbank, CA

10. Tryin’ To Get To You (Live-1968)
Memories
June 27 6 PM, Burbank, CA

11. One Night (Live-1968)
Memories
June 27 6 PM, 1st version, Burbank, CA

12. Baby, What You Want Me To Do (Live-1968)
Memories
June 27 6 PM, 3rd version, Burbank, CA

13. No Strap/One Night (Live-1968)
Memories
June 27 6 PM, 2nd version, Burbank, CA

14. Memories (Alternate-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 24, Burbank, CA Take 2 Master [stereo mix]

15. Saved (Alternate-1968)
Let Yourself Go!
June 22, Burbank, CA Take B7

16. Heartbreak Hotel/Hound Dog/All Shook Up (Live-1968)
Memories
June 29 6 PM, Burbank, CA

17. Can’t Help Falling In Love (Live-1968)
Memories
June 29 6 PM, Burbank, CA

18. Jailhouse Rock (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

BONUS: 19. Don’t Be Cruel (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

BONUS: 20. Blue Suede Shoes (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 6 PM, Burbank, CA

21. Love Me Tender (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

22. Baby, What You Want Me To Do (Live-1968)
Memories
June 29 6 PM, Burbank, CA

23. Trouble/Guitar Man (Live-1968)
ELVIS: ’68 Comeback Special – 50th Anniversary Edition
June 29 8 PM, Burbank, CA

24. If I Can Dream (Alternate-1968)
Memories
June 30, Burbank, CA TV-Take 4 Master

I’ve also created a new Spotify playlist with this version of Electric Dawn. I left the original out there as well.

But wait, there’s more!

Once I broke the 200 barrier, I went back and added even more songs to make an expanded edition of The Elvis Odyssey overall. It’s not as tight as the original, but it gives more of the story. Check it out over on Spotify. I also left the original version of this playlist out there. While I will leave the original version alone, I will keep updating the expanded version as the mood strikes me.

“The Light shines in the darkness, and the darkness has not overcome it.”
John 1:5

Elvis At Christmas

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The Elvis Odyssey

Interlude: Elvis At Christmas

Listen along on Spotify.

C1. O Come All Ye Faithful (Alternate-1971)
Memories Of Christmas
Nashville, TN Takes 1 & 2 [splice]

C2. Silver Bells (Alternate-1971)
Back In Nashville
Nashville, TN Take 2 [undubbed master, alternate mix]

C3. Holly Leaves And Christmas Trees (1971)
Elvis Sings The Wonderful World Of Christmas
Nashville, TN

C4. Santa Bring My Baby Back (1957)
Elvis’ Christmas Album
Hollywood, CA

C5. On A Snowy Christmas Night (Alternate-1971)
Back In Nashville
Nashville, TN [undubbed master, alternate mix]

C6. It Won’t Seem Like Christmas (1971)
Elvis Sings The Wonderful World Of Christmas
Nashville, TN

C7. I’ll Be Home On Christmas Day (1971)
Elvis Sings The Wonderful World Of Christmas
Nashville, TN

C8. Winter Wonderland (1971)
Elvis Sings The Wonderful World Of Christmas
Nashville, TN

C9. Santa Claus Is Back In Town (1957)
Elvis’ Christmas Album
Hollywood, CA

C10. I’ll Be Home For Christmas (1957)
Elvis’ Christmas Album
Hollywood, CA

C11. O Little Town Of Bethlehem (1957)
Elvis’ Christmas Album
Hollywood, CA

C12. White Christmas (1957)
Elvis’ Christmas Album
Hollywood, CA

C13. If I Get Home On Christmas Day (1971)
Elvis Sings The Wonderful World Of Christmas
Nashville, TN

C14. Here Comes Santa Claus (1957)
Elvis’ Christmas Album
Hollywood, CA

C15. If Every Day Was Like Christmas (1966)
If Every Day Was Like Christmas (Single)
Nashville, TN

C16. The Wonderful World Of Christmas (Alternate-1971)
Back In Nashville
Nashville, TN [undubbed master, alternate mix]

C17. I’ll Be Home On Christmas Day (Remake-1971)
Memories Of Christmas
Nashville, TN

From “I’ll Be Home On Christmas Day”: “If I could only borrow one dream from yesterday, I’d be on that train tomorrow. I’d be home on Christmas Day.”

C18. Santa Claus Is Back In Town/Blue Christmas (Live-1968)
Tiger Man
June 27 8 PM Show, Burbank, CA

C19. Merry Christmas Baby (Informal-1971)
Back In Nashville
Nashville, TN Take 1 [undubbed/unedited master, alternate mix]

C20. Silent Night (1957)
Elvis’ Christmas Album
Hollywood, CA

Yesterday's Dream - Artwork created for The Mystery Train with assistance from ChatGPT

“Yesterday’s Dream” (Artwork created for The Mystery Train with assistance from ChatGPT)

“For unto you is born this day in the city of David a Saviour, which is Christ the Lord.”
Luke 2:11 KJV

Elvis Presley’s mic-drop moment

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The world needs this song now more than ever.

Thank you, Elvis.

REVIEW: Stay Away, Joe CD (FTD)

/ TY

SAJ_cover

Stay Away, Joe CD (Follow That Dream Records, 2013)

I never quite know what to make of Stay Away, Joe. The first time I tried to watch the movie as a teenager in the early 1990s, I couldn’t get past the non-stop party scene near the beginning. The whole thing just seemed so unbearable.

Yet, over the years, I have come to love most of the five songs Elvis recorded for this film. While Elvis performed many country songs in his career, he rarely delved into “outdoor” country songs that celebrate nature like “Stay Away” (“Greensleeves”) and “Goin’ Home” do. Elvis infuses a passion into these numbers that makes them stronger than the lyrics might otherwise suggest.

“All I Needed Was The Rain” is much the same, but this time with Elvis making the most of an otherwise lesser blues number.

The rollicking “Stay Away, Joe” is a song that had to grow on me. Somewhere, I’ve seen it accurately described as a “campfire song.” Taken in that spirit, “Stay Away, Joe” is just as much fun as it needs to be.

The outlier is the awful “Dominic,” which Elvis recorded against his better judgment after securing a promise from producer Felton Jarvis that it would never be released on record. Though it appeared in the movie, RCA did not release the song until the Double Features series in 1994 – long after the deaths of both Elvis and Jarvis.

I’m torn about whether “Dominic” should have ever been released. On one hand, Elvis lost the right to decide what should and should not be released once he passed away. Surely, had he lived, he would have been against quite a few of the releases that have kept us Elvis fans going over the years. Of course, had he lived, many of those releases would not have been necessary. On the other hand, “Dominic” is such a wretched song, even among the already low standards of Elvis movies, that maybe his music label’s current Elvis team should have respected his wishes in this one instance. Releasing it served no purpose other than to please completists.

FTD’s Classic Albums series edition of the Stay Away, Joe soundtrack supplements the movie tunes with two far more commercial recordings made during the same period, “Too Much Monkey Business” and “U.S. Male.” My first exposure to “Too Much Monkey Business” was watching the 1981 documentary This Is Elvis on TV in the early 1990s. Though “Too Much Monkey Business” is not heard in any of Elvis’ real movies, I’ll always associate it with them due to its perfect use in the montage sequence of his Hollywood years. Elvis’ take on the Chuck Berry hit certainly fits within the spirit of many of his better movie songs, anyway.

Penned and first recorded by Jerry Reed, “U.S. Male“ acts as a natural follow-up to Elvis’ 1967 recordings of Reed’s “Guitar Man” and Jimmy Reed’s “Big Boss Man” – the evolution of which are chronicled in the essential FTD release Elvis Sings Guitar Man. With tongue planted firmly in cheek, Elvis plays up Southern “country boy” stereotypes in “U.S. Male,” including his wonderful ad-libbed clarification at the song’s conclusion: ‘. . . the American U.S. male.’ As with “Guitar Man,” Jerry Reed provides guitar support on Elvis’ cover of his song, making it far more authentic than it otherwise would have been.

Unlike Elvis Sings Guitar Man, which felt like a true album, albeit imaginary, the master recordings portion of the FTD Stay Away, Joe feels disjointed. Seven songs do not an album make, and the listener is never treated to the illusion that this is an album that “might have been.”

While it would have padded the “album” out to a more plausible length, adding in the Live A Little, Love A Little soundtrack session would have only made for an even more disjointed experience, given the entirely different themes of those recordings. FTD has done the right thing by sticking to the October 1967 and January 1968 sessions that make up this release.

I should clarify that the label does not even try to pass this off as an imaginary album anyway, forgoing the usual “Side One” and “Side Two” divisions in the track listing. Given this, I believe the ideal sequencing of these particular sessions would simply have been to present all of the songs and takes in the order recorded, rather than front-loading the masters. There is a definite “party” atmosphere to these sessions, particularly in the studio chatter, which is lost by FTD holding firm to its routine, scattershot approach. Though normally intended to create a better listening experience, it fails in this case.

The FTD release, of course, adds a multitude of alternate takes and false starts. However, beyond the false starts, there are not many completely new takes here. Whether this is due to unavailability of additional tapes or a budget-saving maneuver to avoid a second disc and requisite work on previously unreleased tracks remains to be seen.

Take 13 of “Stay Away, Joe” is a spirited version, with lots of hootin’ and hollerin’. As with the master, the acoustic guitar and Charlie McCoy’s harmonica drive the song.

An “alternate mastering” of “All I Needed Was The Rain” features some studio chatter and a false start. The song also fades later and includes Elvis joking at the end. Other than that, any other differences compared to the standard master are beyond my technical abilities to detect.

Take 3 of “Too Much Monkey Business” is a long false start, but notable due to the prominence of slightly different sounding guitar work reminiscent of what would later be heard on the master of “Burning Love” in 1972. As fans probably expect from a song with this many words, Elvis confuses some of the lyrics along the way, including an “…Army chow, Army clothes, Army jeep, Army car!” line that made me laugh.

The various false starts of “Goin’ Home” reveal that there was audio trickery involved in the studio chatter that appeared on the Collectors Gold release. The snippets heard on that 1991 boxed set are actually edited together from a few different moments. I’ve heard it that way for so long that it’s hard to get used to these snippets within their proper contexts.

Be sure to listen out for Elvis singing the line “You belong to my heart…” before the Take 11 false start of “Stay Away.” Elvis sang a tiny bit more of this while jamming with Carl Perkins and Jerry Lee Lewis at SUN Studios in December 1956, as first heard on The Million Dollar Quartet.

The most interesting parts of the accompanying booklet are reproductions of advertisements and other vintage memorabilia. The modern text is perfunctory and exhibits the same awkwardness all too often associated with FTD. Even if a professional proofreader were outside of the budget, it would still be a good idea to have someone else read these items before printing and selling them.

FTD’s Stay Away, Joe is a decent release buffeted in no small part by Jerry Reed’s guitar work on the 1968 tracks. While most of the tracks have appeared before on various releases, this CD offers the opportunity to obtain them all in one package. While not essential, Stay Away, Joe is certainly recommended to fans of these songs who might not have already collected key alternate takes.

About a year ago, I finally revisited Stay Away, Joe as a film. The majestic, opening title visuals, accompanied by “Stay Away,” are unlike anything else I’ve ever seen in an Elvis movie. That dreaded party scene follows shortly thereafter, but the rest of the movie proves watchable and, at times, entertaining. Elvis looks terrific and, as evidenced by this soundtrack release, most of the songs are more than worthwhile. Too bad “Goin’ Home” fails to make the cut (as with “Stay Away,” it was actually recorded after filming completed), while “Dominic” is there to remind us that “Old MacDonald” wasn’t such a bad song after all.

SAJ_booklet07

“He always spoke the truth”

/ TY / 4 Comments

On August 28, 1963, civil rights leader Rev. Dr. Martin Luther King, Jr., stands at the Lincoln Memorial in Washington, DC, and delivers his famous “I Have A Dream” speech during the March on Washington for Jobs and Freedom.

In Elvis Day By Day, Peter Guralnick and Ernst Jorgensen note, “Dr. King’s ‘I Have A Dream’ speech is one of Elvis’ favorite rhetorical pieces, something he recites often over the years” (p. 239).

At the Lorraine Motel in Memphis, Tennessee, on April 4, 1968, King is silenced by an assassin’s bullet at the age of 39.

Longtime Elvis friend Jerry Schilling describes the singer’s reaction to King’s death when they see the news:

“I’d heard him recite [King’s] beautiful, hopeful words many times. I looked over at Elvis now and saw that he was staring hard at the TV. There were tears in his eyes. ‘He always spoke the truth,’ he said quietly” (Me And A Guy Named Elvis, p. 187).

Elvis is in Hollywood finishing up his 28th movie, Live A Little, Love A Little, and is devastated that the murder took place in his hometown. He also believes it will confirm “everyone’s worst feelings about the South” (Careless Love, Guralnick, p. 297).

Actress Celeste Yarnall, who had a small role in Live A Little, Love A Little, states that she watched King’s funeral on TV with Elvis and held him in her arms as he cried (The Elvis Encyclopedia, Victor, p. 289).

Only nine weeks later, Senator Robert F. Kennedy is assassinated at the Ambassador Hotel in Los Angeles while running for President. This time, Elvis is in nearby Burbank – less than ten miles away. Rehearsals have begun for his ELVIS television special.

A few days later, W. Earl Brown writes “If I Can Dream” for Elvis to close the show. The song can be interpreted as a tribute to both fallen leaders, particularly King. “If I can dream of a better land, where all my brothers walk hand-in-hand, tell me why can’t my dream come true?” pleads Elvis in the song, echoing King’s 1963 speech.

It is a huge departure for Elvis, who has thus far avoided public commentary on social issues. His manager even tries to nix the song, but in a rare moment of defiance, Elvis insists on recording it.

NBC airs the ELVIS special on December 3, 1968, and it becomes the highest-rated program of the week and one of the most-watched specials of the year. “If I Can Dream” turns out not only to be the perfect song to close the special, but also an appropriate way to reflect on a tragic chapter in American history.

Martin Luther King, Jr., would have turned 84 on January 15. Today, the United States observes this hero’s birthday with a national holiday. His words, his ideas, his dreams live on.

New winner takes the victory seat for Elvis Trivialities #13

/ TY

Congratulations to George Millar, who sat his way to victory in Elvis Trivialities #13.

A first-time winner, he receives a freshly baked slice of bragging rights and a chair among The Mystery Train’s Night Riders.

And the answer is…

“NBC” is printed on the backrest of the chair Elvis used during the “sit-down” shows portion of the ELVIS (’68 comeback) television special.

Now, folks, don’t feel bad if you didn’t get this one. For one thing, Elvis is sitting on his chair for most of this segment, so the “NBC” is covered.

I’ve been watching the Comeback Special for over 25 years, but never noticed the chair had anything written on it until my last viewing.

The “NBC” is most noticeable just before Elvis takes his seat in “Black Leather Sit-down Show #1” on DVD 1 of the excellent ELVIS: ’68 Comeback Special – Deluxe Edition.

Elvis and his NBC chair, 1968

Elvis and his NBC chair, 1968

Presumably, all of the chairs on stage carry the NBC designation, but the Elvis one is most visible because the other guys generally remain seated.

* * *

George can now brag to his friends and family that he can conquer obscure Elvis trivia questions like the above against the most knowledgable of fans. If you would like the same opportunity, subscribe to The Mystery Train Blog using the feature in the menu bar to the right. That way, you’ll be notified whenever there is a new post – because you never know when the next trivia challenge will come along.

The Mystery Train’s Night Riders

  • 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)