Elvis Movies: KID GALAHAD

June 16, 2022January 30, 2026 / TY / 1 Comment

Before we get started with the main feature, I want to take a brief moment to remind you that Baz Luhrmann’s ELVIS movie begins playing next week in many locations around the world. Based on the trailers, the attention to detail looks amazing. I love that this trailer throws in a couple of brief shots of the real Elvis as well.

I have also watched and read a few interviews with Austin Butler, who plays Elvis Presley, and he seems completely invested in the role. Many actors have tried and mostly failed to fill Elvis’ shoes before him, but this 30-year-old really seems to have discovered his spirit. We’ll find out soon.

As I’ve said before, after seeing so many horrible attempts to tell the Elvis Presley story in the past, I never even thought I’d watch this movie at all, much less go to the theater opening weekend as I’m now planning to do. The trailer above concludes with “Suspicious Minds (Caught In A Trap),” my mom’s favorite song. She would have been excited to see this movie with me and, though she passed away over three years ago now, I know she’ll be there next to me.

Continuing my rewatch of movies featuring the real Elvis Presley, next up is Kid Galahad – his 10th movie. I have only seen this one a couple of times before.

“Presley Packs the Screen’s Biggest Wallop…with the Gals…with the Gloves…with the Guitar!”

Kid Galahad (United Artists)
Wide Release: August 29, 1962 (United States)
Starring: Elvis Presley, Gig Young, Lola Albright, Joan Blackman
Screenplay By: William Fay
Story By: Francis Wallace
Music Score By: Jeff Alexander
Produced By: Davis Weisbart
Directed By: Phil Karlson
Running Time: 96 Minutes

Sugarboy Romero (Orlando de la Fuente) faces off against Kid Galahad (Elvis Presley) in the climax of 1962’s KID GALAHAD (United Artists)

Elvis Presley stars as Walter Gulick in Kid Galahad. After a stint in the Army, Walter returns to his hometown of Cream Valley, New York, for the first time since becoming an orphan at 14-months-old. The 22-year-old is looking for a job fixing cars, but since he arrives too early in the morning for the auto shop to be open, he naturally checks out a nearby boxing camp instead to see if they need a mechanic.

The fictitious Cream Valley, New York, coincidentally enough, looks remarkably like Idyllwild, California. I suppose that’s better than trying to pass off California as Europe, at least. “Cream Valley” – the name sounds like a magical place where they make salad dressing or something like that.

Shockingly enough, the boxing camp doesn’t need a mechanic. However, Walter does find a job there as a sparring partner. It turns out his Army background has provided him with both auto repair and boxing experience.

As a sparring parter, Walter is a bit of a failure. He stands there and takes a beating from the fighter – over 70 punches. Walter doesn’t try to defend himself or even at first throw any punches in return. He finally throws one punch, proceeding to knock out the now worn-out fighter. While this doesn’t make for a great sparring partner, the boxing camp’s owner, Willy (Gig Young), sees dollar signs and soon puts Walter on the professional boxing circuit.

Several movies before this one, the screenplay adaptation of A Stone For Danny Fisher was changed once Elvis was attached to the project such that the boxer lead character became a singer instead. That 1958 movie, one of Elvis’ best performances as an actor, was also eventually renamed King Creole, after one of the songs in the film.

A few years later, in Kid Galahad, Elvis finally got his chance to play a boxer. According to longtime friend Sonny West, if Elvis had his way, he would have reunited with King Creole director Michael Curtiz (Casablanca) on this film, which was produced in late 1961. Curtiz had also directed the original 1937 version of Kid Galahad, starring Edward G. Robinson, Bette Davis, and Humphrey Bogart. Despite Elvis’ campaign, Phil Karlson received the directing nod instead. Curtiz passed away in April 1962 at the age of 74.

Willy (Gig Young) and Lew (Charles Bronson) listen as Walter (Elvis Presley) sings "Riding The Rainbow" while driving a Model T Ford in 1962's KID GALAHAD (United Artists)

Willy (Gig Young) and Lew (Charles Bronson) listen as Walter (Elvis Presley) sings “Riding The Rainbow” in a Model T Ford in 1962’s KID GALAHAD (United Artists)

Charles Bronson appears in Kid Galahad as Lew, who acts as Walter’s trainer. Lew seems genuinely enamored of “the kid” and tries to look out for him. Bronson does a terrific job in this role and is a highlight of the film. This is apparently one of the few movies where Bronson smiles – and he smiles early and often in Kid Galahad.

Elvis Presley is Walter Gulick in 1962’s KID GALAHAD (United Artists)

Willy, it turns out, has gambling and other problems that are putting his boxing camp in jeopardy. A mobster leaves two thugs to stay at the camp for insurance.

When Ralphie (Jeff Morris), one of the goons, makes an unwanted advance at Willy’s long-time fiancée, Dolly (Lola Albright), Walter knocks him flat out without even needing to take a beating first this time. “It wouldn’t have happened, but he don’t know how to behave himself with a lady,” explains Walter.

Dolly says, “Thanks, Galahad” to Walter, and the name sticks.

“Dolly, please take the Eagle Scout out of here before Ralphie wakes up and kills him,” quips Lew before they find a loaded gun on Ralphie. Incidentally, I must note that it is hard to take a mafia henchman seriously with a name like “Ralphie.”

Joan Blackman is Rose in 1962’s KID GALAHAD (United Artists)

Willy’s kid sister, Rose (Joan Blackman), travels in from the Bronx to reorganize the camp when he keeps phoning her for money. She owns half of the business, apparently an inheritance from their father. Galahad is immediately all googly eyes for her. Blackman had appeared with Elvis before in Blue Hawaii, and the pair here manage to show more chemistry together than they did in that 1961 movie – which is admittedly a pretty low bar.

Willy is not too happy when the couple gets engaged. “You can’t yell loud enough to make me shut up,” Galahad tells him during a heated argument. “I’m not marrying Rose because she’s your sister, Willy, but in spite of it.”

Hearing the ruckus, Dolly intervenes and asks Willy what’s wrong as he is about to punch Galahad. “What’s the matter with me? This cream-headed clown wants to marry my sister, that’s what’s the matter with me,” he answers.

The long-suffering Dolly delivers this stinger, causing Willy to storm off: “Well, at least he’s not asking her to hang around for three or four years, Willy.”

Soon enough, Dolly leaves Willy (what is with the names in this movie?). This exchange is one of my favorites in the film – great acting from Lola Albright. Dolly at first seems happily surprised when Willy appears to give in, thinking he is finally going to marry her – but then realization dawns and she becomes sad again.

Dolly: “It’s just that you and marriage have never learned to mix.”
Willy: “All right.”
Dolly: “‘All right’ what?”
Willy: “I’ll lay you 3-to-1, angel, I never bet on another horse. … What’s the matter? What did I do now?”
Dolly: “You’ll probably never know. Excuse me.”

Lew (Charles Bronson) holds up an old poster found advertising 1921’s Dempsey vs. Carpentier fight in 1962’s KID GALAHAD (United Artists)

In a fun, blink-and-you-miss-it moment, Galahad tosses Lew an old boxing poster he found. The poster advertises a real match that took place on July 2, 1921: Jack Dempsey vs. Georges Carpentier – “the fight of the century.” The event was over 40 years old at the time of Kid Galahad and is, of course, over 100 years old now.

Galahad proves an unexpected success in boxing. He uses the same strategy each time – stand and take a beating for awhile and then throw one punch to knock out the other fighter. He identifies himself as being from Cream Valley, and the little town loves him for it. One of the locals notes, “All these other muscleheads up here, not one of them said he was from Cream Valley.”

I kept expecting a relative or at least an old family friend to show up from Galahad’s past – especially when a priest looks incredulously at his 1939 Cream Valley baptism certificate. Alas, Lew is apparently not Galahad’s long-lost older brother.

Ed Asner is Frank Gerson in 1962’s KID GALAHAD (United Artists)

The legendary Ed Asner makes his first appearance in a feature film in Kid Galahad, playing a district attorney who is trying to get Willy to testify against the mobsters.

Galahad (Elvis Presley) trains with Lew (Charles Bronson) for the big fight in 1962’s KID GALAHAD (United Artists)

Willy signs Galahad up for a fight against an especially tough opponent, Ramon “Sugarboy” Romero (Orlando de la Fuente), so Lew works hard with him to prepare for the climactic battle. All that’s missing is the Rocky theme.

Speaking of music, most of the songs in Kid Galahad are unfortunately mediocre or worse. Though not mentioned if he learned this skill in the Army as well, Galahad, of course, is a singer.

“I Got Lucky” is a bit of a highlight, including Galahad doing “the Twist” with Rose.

The film’s best song, the clever “King Of The Whole Wide World,” is ruined by jazzy overdubs during the movie’s opening titles. The best version of this song can still be found on 1986’s Return Of The Rocker album – the first release of the extended master including Boots Randolph’s complete saxophone solo.

One thing I will note is, I doubt there are any other boxing movies out there where the fighter who was knocked out in the previous scene invites the guy who just walloped him to sing a song with him. Ah, Elvis Movies, you’ve gotta love them.

Kid Galahad is notable for another reason – Elvis’ hair. This is one of only two color movies for which Elvis did not dye his hair black. Instead, he opted for his natural brown hair.

Elvis Presley is Walter “Kid Galahad” Gulick in 1962’s KID GALAHAD (United Artists)

Kid Galahad is often enjoyable and certainly stands apart from many of Elvis’ other movies, particularly in terms of effort – most notably with the boxing details. Though it never quite delivers a knockout punch, Kid Galahad is still a winner.

Boldly Go

Michael Dante plays Joie in Kid Galahad and appears as Maab in the 1967 Star Trek episode “Friday’s Child.”

Joie (Michael Dante) spars with Galahad (Elvis Presley) in 1962’s KID GALAHAD (United Artists)

Michael Dante is Maab in the 1967 STAR TREK episode “Friday’s Child” (Paramount)

In addition, multiple uncredited cast members from Kid Galahad went on to appear in Star Trek, including:

Dave Cadiente [Kid Galahad: Boxer | Star Trek: Enterprise Crewmember in “The Tholian Web” (1968) and the Klingon Sergeant in Star Trek III: The Search For Spock (1984)]
Al Cavens [Kid Galahad: Fight Spectator | Star Trek: Klingon Crewman in “Day Of The Dove” (1968) and Second Fop in “All Our Yesterdays” (1969)]
Louie Elias [Kid Galahad: Boxer | Star Trek: Various roles in “Dagger Of The Mind” (1966), “And The Children Shall Lead” (1968), “Is There In Truth No Beauty?” (1968), “The Tholian Web” (1968), and “The Cloud Minders” (1969)]
Seamon Glass [Kid Galahad: Boxer | Star Trek: Benton in “Mudd’s Women” (1966)]
Gil Perkins [Kid Galahad: Freddie | Star Trek: Slave #3 in “Bread And Circuses” (1968)]
Paul Sorensen [Kid Galahad: Joe | Star Trek: Merchantman Captain in Star Trek III: The Search For Spock (1984)]
Bill Zuckert [Kid Galahad: O’Grady | Star Trek: Johnny Behan in “Spectre Of The Gun” (1968)]

Honorable mentions:

Nick Dimitri [Kid Galahad: Boxer | Various roles in Star Trek: The Next Generation and Star Trek: Deep Space Nine in the 1990s]
Bert Remsen [Kid Galahad: Max | Kubus in Star Trek: Deep Space Nine – “The Collaborator” (1994)]

While researching the various Star Trek connections, I also noticed there are tons of cast and crew crossovers between Kid Galahad and the Rocky movies. I just don’t have the energy to capture them here, so I leave it to a more industrious Elvis or Rocky fan in the future to document them elsewhere.

Elvis Presley is Kid Galahad and Orlando de la Fuente is Sugarboy Romero in 1962’s KID GALAHAD (United Artists)

Kid Galahad Tote Board

Punches: 334 (including 11 knockouts)
Kisses: 10
Songs: 7

Songs In Kid Galahad

“King Of The Whole Wide World” (1961), written by Ruth Batchelor & Bob Roberts
“This Is Living” (1961), written by Fred Wise & Ben Weisman
“Riding The Rainbow” (1961), written by Fred Wise & Ben Weisman
“Home Is Where The Heart Is” (1961), written by Sherman Edwards & Hal David
“I Got Lucky” (1961) [performed twice], written by Dolores Fuller, Fred Wise, & Ben Weisman
“A Whistling Tune” (1961), written by Sherman Edwards & Hal David

The Mystery Train’s Kid Galahad Scorecard

Story: 6 (out of 10)
Acting: 8
Fun: 4
Songs: 4
Overall: 6 (Worth Watching)

Kid Galahad Around The Web

Click image for larger, full-color version

“I run with purpose in every step. I am not just shadowboxing. I discipline my body like an athlete, training it to do what it should. Otherwise, I fear that after preaching to others I myself might be disqualified.”
1 Corinthians 9:26-27

Elvis Movies: ROUSTABOUT

March 31, 2022January 30, 2026 / TY / 8 Comments

Earlier this year, I began a rewatch of Elvis Presley’s movies. Today’s focus is one that I have not seen as often as some of the others – Elvis’ 16th movie, Roustabout.

“Elvis Presley as a Roving, Restless, Reckless, Roustabout”

Roustabout (Paramount)
Wide Release: November 11, 1964 (United States)
Starring: Elvis Presley, Barbara Stanwyck, Joan Freeman
Screenplay By: Anthony Lawrence and Allan Weiss
Story By: Allan Weiss
Music Score By: Joseph J. Lilley
Produced By: Hal B. Wallis
Directed By: John Rich
Running Time: 101 Minutes

Elvis Presley is Charlie Rogers in 1964’s ROUSTABOUT (Paramount)

In Roustabout, Elvis Presley stars as Charlie Rogers, a singer who ends up working at a carnival when Joe (Leif Erickson), a grouchy old carny, runs him off the road, damaging his motorcycle and destroying his guitar. Ah, Elvis Movies, you gotta love ’em.

The Morgan Shows carnival in 1964’s ROUSTABOUT (Paramount)

Despite the inane setup, Roustabout is pretty good! When Maggie (Barbara Stanwyck), the owner of the carnival, pays for a new guitar and repairs to his motorcycle, Charlie stays on as a roustabout until his bike is ready in order to spend more time with Cathy (Joan Freeman), Joe’s daughter. Joe, of course, is not amused by this turn of events.

Joan Freeman is Cathy and Elvis Presley is Charlie in 1964’s ROUSTABOUT (Paramount)

Outside of this movie, “roustabout” is not a term I have encountered. It essentially means an unskilled laborer. It seems to be used most often today in the oil rigging industry. In this case, Charlie does odd jobs at the carnival, such as helping to set up rides or even filling in at a candy apple stand.

When attempting to attract players for a game that Cathy is promoting, Charlie winds up singing and drawing a crowd. His roustabout days are soon behind him, for Maggie signs him on as a singer instead.

Charlie Rogers (Elvis Presley) begins to draw a crowd for Morgan Shows when the carnival signs him on as a singer in 1964’s ROUSTABOUT (Paramount)

It turns out that Maggie has a habit of bailing Joe out of trouble, and her carnival is facing financial ruin because of it. Charlie brings in the teen money, and the situation begins to improve until things come to a head between him and Joe, causing Charlie to switch to a rival carnival.

Barbara Stanwyck is Maggie Morgan in 1964’s ROUSTABOUT (Paramount)

Elvis does a fine job acting in certain parts of Roustabout. A scene between him and Barbara Stanwyck is my favorite of the film:

Charlie: “You collect strays, Maggie. And you got one in Joe. Why don’t you stop recruiting? They don’t make a family.”
Maggie: “What would you know about a family?”
Charlie: “Nothing!”

After Maggie walks away and can no longer hear him, Charlie repeats the line again, softly, sadly: “Nothing…” It is a quick moment, but certainly one of Elvis’ best in his 1960s movies.

Elvis Presley is Charlie Rogers in 1964’s ROUSTABOUT (Paramount)

The rebellious Charlie is reminiscent of some of Elvis’ earliest film roles. For instance, Charlie remarks early on, “Look, if you’re not tough in this world, you get squashed, honey.” These words could have been taken right out of Vince Everett’s mouth in Jailhouse Rock (1957). Charlie also has traces of Deke Rivers from Loving You (1957) and even a little bit of Danny Fisher from King Creole (1958). At 29 during production of Roustabout, however, Elvis does seem a little old at times to be playing a rebel.

Even some of Elvis’ mannerisms in Roustabout remind me of his 1950s presence, otherwise left out of many of his 1960s movies. Elvis’ performance of “One Track Heart” in Roustabout, for instance, is quite reminiscent of his 1956 “Blue Suede Shoes” screen test, except with a less exciting song. Later on, during “Hard Knocks,” he does his more typical 1960s movie hand-clapping thing, though.

Elvis’ natural flair for comedy comes into play a few times in Roustabout. One example:

Cathy: “You must get your face slapped a lot.”
Charlie: “About 50–50.”

Pat Buttram does a terrific job playing the villainous Harry, the owner of the big-time carnival that is looking to put Maggie out of business. Another great couple of lines:

Charlie: “Not everybody is as big a crook as you are, Harry.”
Harry: “Well, everybody tries.”

Pat Buttram is Harry and Elvis Presley is Charlie in 1964’s ROUSTABOUT (Paramount)

Charlie’s show goes over well, and Harry asks him to do an encore. “Nah,” says Charlie. “Always leave ’em wanting more.” This phrase, of course, was the philosophy of a real-life carny huckster, “Colonel” Tom Parker, when it came to managing Elvis. Parker also served as technical advisor on Roustabout and most of Elvis’ other films.

I try not to review soundtrack albums in this series, focusing any discussion of songs instead on how they appear in the movies themselves. However, I do want to point out in this case that Roustabout has one of the worst soundtrack albums – with nary a hit or highlight in sight. I was surprised, then, that just about all of the songs work perfectly in the context of the actual film. Perhaps based on the fun of seeing the movie, fans propelled the otherwise lackluster Roustabout soundtrack to Billboard‘s number one album position in January 1965. It would be over eight years before Elvis scored another number one album (1973’s Aloha From Hawaii via Satellite).

Joan Freeman is Cathy and Elvis Presley is Charlie in 1964’s ROUSTABOUT (Paramount)

Elvis Presley in a production number taped for 1968’s ELVIS television special (NBC)

Roustabout obviously had an influence on some of the production numbers created for the 1968 ELVIS television special, even down to costuming. The denim outfit that Elvis wears at times in the movie is almost identical to one he wears during portions of the special, for instance. Roustabout is also one of the few times we see Elvis in leather prior to the special. The barker lines on the ELVIS-TV Special soundtrack album might even have been directly lifted from recordings made for this movie. The performance of “Little Egypt” in the ’68 special is better than the cringey one in Roustabout, incidentally, though the outdated song is a detriment to both productions anyway.

Charlie Rogers (Elvis Presley) at Harry’s carnival in 1964’s ROUSTABOUT (Paramount)

Boldly Go

Multiple uncredited cast members from Roustabout went on to play roles in Star Trek.

K.L. Smith plays the Sheriff in Roustabout and appears as a Klingon in the Star Trek episode “Elaan Of Troyius” in 1968.

Elvis Presley is Charlie and K.L. Smith is the Sheriff in 1964’s ROUSTABOUT (Paramount)

K.L. Smith is a Klingon captain in the 1968 STAR TREK episode “Elaan Of Troyius” (Paramount)

Other cross-overs include:

Dick Cherney [Roustabout: Carnival patron | Star Trek: A council member in “A Taste Of Armageddon” (1967) and a passerby in “The City On The Edge Of Forever” (1967)]
Carey Foster [Roustabout: College girl | Star Trek: An Enterprise crewmember in “The Squire Of Gothos” (1967), “This Side Of Paradise” (1967), and “The Alternative Factor” (1967)]
Teri Garr [Roustabout: Carnival dancer | Star Trek: Roberta Lincoln in “Assignment: Earth” (1968)]
Marianna Hill [Roustabout: Viola | Star Trek: Helen Noel in “Dagger Of The Mind” (1966)]
Jesse Wayne [Roustabout: Carnival worker | Star Trek: Chekov stunt double in “The Tholian Web” (1968)]

Some of these players will show up again in other Elvis movies not yet covered, giving them another chance to be featured here on The Mystery Train Elvis Blog.

An honorable mention goes to Elvis’ pal Lance LeGault, who appears as a barker in Roustabout and plays Captain K’Temoc in the Star Trek: The Next Generation episode “The Emissary” in 1989.

Elvis Presley takes a pummeling as Charlie Rogers in 1964’s ROUSTABOUT (Paramount)

Roustabout Tote Board

- Songs: 12
- Punches: 11
- Kisses: 8
- Karate Chops: 4
- Slaps: 2
- Motorcycle Crashes: 2

Songs In Roustabout

“Roustabout” (1964), written by Bill Giant, Bernie Baum, & Florence Kay
“Poison Ivy League” (1964), written by Bill Giant, Bernie Baum, & Florence Kay
“Wheels On My Heels” (1964), written by Sid Tepper & Roy C. Bennett
“It’s A Wonderful World” (1964), written by Sid Tepper & Roy C. Bennett
“It’s Carnival Time” (1964) [performed twice], written by Ben Weisman & Sid Wayne
“Carny Town” (1964), written by Fred Wise & Randy Starr
“One Track Heart” (1964), written by Bill Giant, Bernie Baum, & Florence Kay
“Hard Knocks” (1964), written by Joy Byers
“Little Egypt” (1964), written by Jerry Leiber & Mike Stoller
“Big Love, Big Heartache” (1964), written by Dolores Fuller, Lee Morris, & Sonny Hendrix
“There’s A Brand New Day On The Horizon” (1964), written by Joy Byers

The Mystery Train’s Roustabout Scorecard

Story: 6 (out of 10)
Acting: 8
Fun: 8
Songs: 6
Overall: 7 (Worth Watching)

Roustabout Around The Web

Click image for larger, full-color version

“Since Jacob was in love with Rachel, he told her father, ‘I’ll work for you for seven years if you’ll give me Rachel, your younger daughter, as my wife.’ ‘Agreed!’ Laban replied. ‘I’d rather give her to you than to anyone else. Stay and work with me.’ So Jacob worked seven years to pay for Rachel. But his love for her was so strong that it seemed to him but a few days.”
Genesis 29:18-20

Elvis Movies: SPINOUT

February 23, 2022January 30, 2026 / TY / 7 Comments

Mike McCoy tests his #11 427 Cobra in 1966’s SPINOUT (MGM)

Today, we will look at Elvis Presley’s 22nd movie, Spinout. Before we do that, however, I want to take a sidetrack to mention Baz Luhrmann’s ELVIS film. I usually dislike movies that attempt to portray Elvis, so I was fully intending to skip this one. That is, until I saw the preview trailer that Warner Brothers released last week.

Credit: Warner Bros. Pictures channel (YouTube)

The ELVIS trailer shocked me. Austin Butler seems to have captured the essence of Elvis. He has the body language and moves down without looking like an impersonator. I figured he would look like a clown once they showed him in a jumpsuit, but he pulls that difficult look off, too. I loved the unexpected use of “Unchained Melody” from 1977, which gave me chills. The production design is obviously top-notch, with a keen attention to detail.

The story of Elvis is a challenge to portray in an effective way. It is a tale of both triumph and tragedy. His life is both inspiring and depressing. He achieves the American dream many times over, but slowly allows it all to erode.

“The image is one thing, the human being is another,” Elvis said in 1972. “It’s very hard to live up to an image.” Once Elvis died in 1977, the image won and the human that he once was all but disappeared. Can Luhrmann’s film humanize Elvis again? If the script is as solid as the trailer, this could really turn out to be something special. ELVIS opens in the United States on June 24.

No need to wait until June to enjoy Elvis, though. Let’s take a drive with the real Elvis in Spinout.

Elvis Presley is Mike McCoy in 1966’s SPINOUT (MGM)

“It’s Elvis with his foot on the gas and no brakes on the fun!!!”

Spinout

Spinout (MGM)
Wide Release: November 23, 1966 (United States)
Starring: Elvis Presley, Shelley Fabares, Diane McBain
Written By: Theodore J. Flicker & George Kirgo
Music Score By: George Stoll
Produced By: Joe Pasternak
Directed By: Norman Taurog
Running Time: 93 Minutes

In Spinout, Elvis Presley stars as Mike McCoy. Is Mike a racecar driver who also sings or a singer who also races cars? Folks, we don’t ask such questions when watching an Elvis Movie. We just sit back and enjoy the ride.

View from the #9 car, driven by Mike McCoy, during the Santa Fe Road Race in 1966’s SPINOUT (MGM)

Outside of the cars, there is not a lot of action in Spinout. The film focuses more on the romance side of the Elvis Movie formula. Three, count them, three women are vying for Mike’s affections. There’s heiress Cynthia (Shelley Fabares), who runs him off the road in the opening scene. There’s also author Diana (Diane McBain), who declares him the “perfect American male,” with the prize being herself, naturally. Even the drummer in his band, Les (Deborah Walley), has been secretly holding feelings for him.

Deborah Walley is Les, Diane McBain is Diana, and Shelley Fabares is Cynthia in 1966’s SPINOUT (MGM)

Mike is initially unable to decide what to do about his admirers. “I’ve gotta think about it,” he says. “I’ll let you know after the race. I think better when I’m driving.”

Shelley Fabares is Cynthia Foxhugh in 1966’s SPINOUT (MGM)

Spinout is the second of three Elvis Movies in which Shelley Fabares appears. She is one of my favorite Elvis co-stars, so I really don’t understand how Mike found deciding among the three women to be so difficult. Anyway, the movie also includes a couple of fun in-jokes in regards to Elvis’ real-life past – the Ed Sullivan Show warrants a mention and Mike refers to a wandering canine as a “hound dog.”

Though production on Spinout began only a few months after the premiere of the Get Smart television series, be sure to listen out for Mike doing what sounds to my ears like a quick Don Adams impression with Agent 86’s “Would you believe?” catch-phrase.

Mike McCoy (Elvis Presley) rehearses "Never Say Yes" in 1966's SPINOUT (MGM). Note the 12-string guitar.

Mike McCoy (Elvis Presley) rehearses “Never Say Yes” in 1966’s SPINOUT (MGM). Note the 12-string acoustic electric guitar.

Mike does sing quite a bit in the movie. “All That I Am,” “Am I Ready,” “Never Say Yes,” and “Spinout” are all strong songs. “Never Say Yes” is rare in the Elvis catalog in that it includes the “Bo Diddley Beat,” which is fun to hear. On the other side of the coin, “Smorgasbord” is awful.

Mike McCoy drives the #9 car during the Santa Fe Road Race in 1966’s SPINOUT (MGM)

For a movie named Spinout, there is less racing than you might expect. The Santa Fe Road Race featured in the finale is well-filmed. A humorous subplot involving Mike’s #11 car being stolen by another man vying for Cynthia becomes tiresome, though. Mike ends up substituting for Shorty Bloomquist (James McHale) in car #9 to chase after his own car. Look quick and you’ll see Elvis’ friends Red West and Joe Esposito in Shorty’s pit crew. Cynthia also winds up driving onto the road course, so she and Mike tangle again, creating a bookend of sorts to the opening.

Spinout sometimes qualifies as fun, but all too often feels like it is running on empty.

Mike McCoy (Elvis Presley) races in 1966’s SPINOUT (MGM)

Spinout Tote Board

Kisses: 28
Songs: 10
Cars Driven By Mike: 4
Women Chasing Mike: 3
Cars Crashed Into Water: 2

Audience members look on as Mike McCoy (Elvis Presley) sings “Adam And Evil” in 1966’s SPINOUT (MGM)

Songs In Spinout

“Spinout” (1966) [performed twice], written by Sid Wayne, Ben Weisman, & Dolores Fuller
“Stop, Look, and Listen” (1966), written by Joy Byers
“Adam And Evil” (1966), written by Fred Wise & Randy Starr
“All That I Am” (1966), written by Sid Tepper & Roy C. Bennett
“Never Say Yes” (1966), written by Doc Pomus & Mort Shuman
“Am I Ready” (1966), written by Sid Tepper & Roy C. Bennett
“Beach Shack” (1966), written by Bill Giant, Bernie Baum, & Florence Kaye
“Smorgasbord” (1966), written by Sid Tepper & Roy C. Bennett
“I’ll Be Back” (1966), written by Sid Wayne & Ben Weisman

Elvis Presley is Mike McCoy and Shelley Fabares is Cynthia Foxhugh in 1966’s SPINOUT (MGM)

The Mystery Train’s Spinout Scorecard

Story: 2 (out of 10)
Acting: 5
Fun: 4
Songs: 6
Overall: 4 (For Elvis Fans Only)

Further Spinout Reading

Click image for larger, full-color version

“I do everything to spread the Good News and share in its blessings. Don’t you realize that in a race everyone runs, but only one person gets the prize? So run to win! All athletes are disciplined in their training. They do it to win a prize that will fade away, but we do it for an eternal prize.”
1 Corinthians 9:23-25

Vinyl Elvis #3: HIS HAND IN MINE (1960)

January 21, 2022January 30, 2026 / TY / 2 Comments

Portions of this post originally appeared in a review I wrote of His Hand In Mine for the album’s 60th anniversary in Kees Mouwen’s Elvis Day By Day 2020: The Year In Review. The 2021 volume is available now.

HIS HAND IN MINE (RCA, 1960; from Tygrrius’ collection) | Click image for full-color version

His Hand In Mine
Label: RCA
Catalog Number: LPM-2328
Recorded: 1960 | Nashville
Released: 1960

1960 was Elvis Presley’s most productive year to that point in his career. He recorded 52 studio masters, released 3 albums, and filmed 3 movies; and all that with being out of commission for almost the entire first 3 months while completing his stint in the U.S. Army.

For the 25-year-old singer, the albums Elvis Is Back! and His Hand In Mine represented artistic achievements on par with his outstanding work in the previous decade. The latter title was his first Long Play (LP) sacred album, a follow-up of sorts to his 1957 Extended Play (EP) sacred album Peace In The Valley.

Elvis recorded the entire His Hand In Mine album the night of October 30, finishing in the early morning hours of October 31, 1960. Amazingly, the record was in stores within a month – presumably rushed to have it ready for the Christmas season. RCA released His Hand In Mine in both mono and stereo formats.

As a second generation Elvis fan, I first heard His Hand In Mine in the early 1990s on CD. As with so many Elvis albums, I have bought it a number of times in different CD configurations over the years since then. When Kees asked me to review the album for its 60th anniversary back in 2020, I sought out a vinyl version – a first pressing of the 1960 mono release.

One of the things I enjoy about collecting used records is pondering their history. I imagine a young Elvis fan in 1960 buying this album at her or his local record shop and taking it home to play it for the first time. What else is happening in November 1960?

Elvis releases “Are You Lonesome Tonight” as a single. Did the fan pick up this soon to be #1 hit as well when buying His Hand In Mine?
Belgium, the Netherlands, and Luxembourg form the Benelux Economic Union when a 1958 treaty takes effect.
John F. Kennedy is elected President of the United States in a narrow victory over Richard Nixon.
Legendary actor Clark Gable dies of a heart attack just days after completing work on The Misfits.

Inner sleeve of HIS HAND IN MINE (RCA, 1960; from Tygrrius’ collection) | Click image for color version

How many others owned this particular copy of His Hand In Mine before it made its way into my hands 60 years later? Whose hands will hold it 60 years from now?

The album is in remarkable condition for its age. The outer sleeve, featuring a photo of Elvis at the piano, taken during a break while filming Flaming Star, is still vibrant. Only a small tear beneath the RCA logo on the front cover, where a fan was perhaps too aggressive in removing a price tag, and minor splitting in the bottom seam betray its age. The inner sleeve, promoting Elvis Is Back!, is in great shape. On the vinyl itself, there are but a few little crackles in quiet portions. Whether this is an indication that the original owner(s) did not play this album very often or simply treated it with reverence, there is no way to know.

When I first heard His Hand In Mine nearly 30 years ago, I believed in God but had little understanding of Christianity. While I thought Elvis’ voice sounded beautiful on many of the songs, I really did not connect with them beyond that. I did occasionally play this or one of his other sacred albums on a random Sunday, seeking something.

In 2018, I accepted Jesus into my heart, and I was literally reborn (2 Corinthians 5:17). While I still stumble every day, I now have a personal relationship with Jesus through daily reading of the Bible and prayer that helps me get back on track to becoming who He created me to be.

As for Elvis’ sacred recordings, they began to take on new meaning for me. It is within this context that I want to examine His Hand In Mine.

Side 1 of HIS HAND IN MINE (RCA, 1960; from Tygrrius’ collection) | Click image for full-color version

Side 1

His Hand In Mine
The album kicks off with the title track, “His Hand In Mine.” Elvis’ voice is full of new confidence and strength on this slow number – as compared to 1956’s more faltering “Love Me Tender,” for instance.
I’m Gonna Walk Dem Golden Stairs
Up next, the pace picks up with “I’m Gonna Walk Dem Golden Stairs.” This song sounds like Elvis fulfilling his dream of being in a gospel quartet. The line “When Jesus says to me, ‘Well done'” recalls the following verse from the Bible: “His lord said unto him, ‘Well done, thou good and faithful servant: thou hast been faithful over a few things, I will make thee ruler over many things: enter thou into the joy of thy lord'” (Matthew 25:21 KJV). As a Christian, I do not fear death, as I know it is when I will go to meet Jesus. I pray I will live the rest of my life such that He will say, “Well done.”
In My Father’s House
There is an even more direct Scriptural reference in the next song, “In My Father’s House.” Elvis sings, “In my Father’s house are many mansions; if it were not true He would have told me so.” In the Bible, Jesus states: “In My Father’s house are many mansions: if it were not so, I would have told you. I go to prepare a place for you” (John 14:2 KJV). Elvis’ vocals are exquisite on lines like, “Jesus died upon the cross to bear my sorrow. Freely died that souls like you might have new life.” A highlight of the album.
Milky White Way
Known Only To Him
“Known Only To Him” is an interesting 1960 recording by Elvis because it is one of those where portions sound like his later voice from the 1970s. His inspirational and Christmas songs do tend to blend together better across the decades, though, compared to many of his other recordings. It would have been interesting to hear Elvis take another try at this song in 1970 or 1971, even if live. I don’t think he would have been able to better this version, though.
I Believe In The Man In The Sky

Side 2 of HIS HAND IN MINE (RCA, 1960; from Tygrrius’ collection) | Click image for full-color version

Side 2

Joshua Fit The Battle
My first complete read-through of the Bible in 2018 had a secondary and unexpected benefit of filling in details for me on a number of songs. For instance, in the upbeat “Joshua Fit The Battle,” I had always heard the lyrics as, “I know you’ve heard about Joshua, he was the son of none.” Yes, for 25 years I thought Joshua was an orphan until I finally learned that his father’s name was Nun. The song recounts the battle of Jericho, which is featured in chapter 6 of Joshua in the Old Testament. In his later years, Joshua was one of only two adults from Moses’ original followers to make it to the Promised Land.
Jesus Knows What I Need
“Jesus Knows What I Need” is one of those songs that speaks Truth whenever I need comfort. I can imagine Elvis singing this one around the piano with friends. A bit of trivia: In subsequent pressings of His Hand In Mine, this song’s title was corrected to “He Knows Just What I Need.”
Swing Down Sweet Chariot
The humorous “Swing Down Sweet Chariot” takes us back to the Old Testament. Called “Zeke” in the song, the prophet Ezekiel’s encounter with the chariot of God is described in chapter 1 of Ezekiel. Though I love this song, I much prefer the alternate version of Elvis’ 1968 re-recording that features the Blossoms as the backing vocalists.
Mansion Over The Hilltop
Like “In My Father’s House” on Side 1, “Mansion Over the Hilltop” and “If We Never Meet Again” on Side 2 provide beautiful illustrations of the Perfect Place, Heaven. In “Mansion,” a favorite line is, “Someday yonder we will never more wander, but walk on streets that are pure as gold.” I just love the sound of Elvis’ voice as he paints this picture.
If We Never Meet Again
Elvis’ mother, Gladys, passed away in August 1958 at the age of 46, and I’m sure Elvis had her in mind while recording “If We Never Meet Again,” which states: “If we never meet again this side of Heaven, as we struggle through this world and its strife, there’s another meeting place somewhere in Heaven, by the side of the River of Life – where the charming roses bloom forever and ever, and separations come no more.” The “River of Life” is from Revelation 22:1 in the Bible, which describes God’s throne in Heaven. Elvis was only 23 when he lost his mother. At a September 1958 press conference before leaving to be stationed in Germany until his return to the U.S. and civilian life in March 1960, he had this to say about her, captured on the Elvis Sails EP: “My mother, I suppose since I was an only child, that we might have been a little closer. Everyone loves their mother, but I was an only child, and Mother was always right with me, all my life. It wasn’t only like losing a mother, it was like losing a friend, a companion, someone to talk to. I could wake her up any hour of the night, and if I was worried or troubled about something, she’d get up and try to help me.”
Working On The Building
I first heard the energetic “Working On The Building” on the 1988 album Elvis In Nashville and loved it right away. Take 2, released on the 2006 FTD edition of His Hand In Mine, is also a favorite. In the gospel segment of the 1968 ELVIS television special, wheelbarrows can be seen as part of the set decoration – reminding me of this 1960 song, which was unfortunately not performed on the show. “I’m working on the building, it’s a true foundation,” sings Elvis. In Matthew 7:24-27, Jesus talks about the importance of building a strong spiritual foundation. “Working On The Building” serves as a perfect conclusion to His Hand In Mine.

Back cover of HIS HAND IN MINE (RCA, 1960; from Tygrrius’ collection) | Click image for color version

I enjoy looking at album covers while playing records. His Hand In Mine includes liner notes on the back by Robert Kotlowitz. He explores Elvis’ early faith through attending the First Assembly Church of God in Tupelo, Mississippi.

An interesting tidbit in the liner notes, which I do not recall reading elsewhere, is, “Gladys and Vernon Presley, with their small son [Elvis] standing between them, became a popular trio singing hymns at camp meetings, revivals and church conventions.” Truth or legend?

The liner notes also include a quote from Elvis’ mother: “When Elvis was just a little fellow, he would slide off my lap, run down the aisle, and scramble up to the platform of the church. He would stand looking up at the choir and try to sing with them. He was too little to know the words, of course, but he could carry the tune.”

Except for a quick session in June 1958, which was a couple of months before his mother’s death, Elvis made no formal recordings while serving in the Army. While Elvis Is Back! and the G.I. Blues soundtrack afforded no such opportunities, I firmly believe His Hand In Mine is a “labor of love” by Elvis in tribute not only to Jesus but, as Kotlowitz states, to Gladys Presley.

Back inner sleeve of HIS HAND IN MINE (RCA, 1960; from Tygrrius’ collection) | Click image for color version

“The eyes of the LORD are everywhere, keeping watch on the wicked and the good.”
Proverb 15:3

Elvis Movies: DOUBLE TROUBLE

January 9, 2022January 30, 2026 / TY / 5 Comments

Guy Lambert (Elvis Presley) departs for Belgium in 1967’s DOUBLE TROUBLE (MGM)

“[F]or the most part, Elvis movies take place in Elvis Land, a time outside of time, a time where Elvis is King, there is no outside world, there is no larger context – because when you have Elvis, that’s all the context you need. He justified films merely by being in them. You can imagine how that could be a disheartening experience for someone so competitive as Elvis, someone so determined to do well, but it is just one of the elements that make him fascinating as a performer.”
-Sheila O’Malley, 2012, The Sheila Variations

In his lifetime, Elvis Presley released 31 narrative movies and 2 documentaries. At the height of his film career in the 1960s, he was cranking out 3 movies a year.

When I was a teen, the local video rental store had dedicated sections for Action, Drama, Romance, Musicals, Horror, Science Fiction, and the like. It also had an entire section called Elvis Movies, with shelves full of VHS tapes of many of his films and concerts. Like Monster Movies or Superhero Movies, Elvis Movies really are their own genre. As writer Sheila O’Malley aptly notes above, they also occur in their own little reality.

As a second generation Elvis fan, and a child of the late 1970s and 1980s, my first exposure to Elvis Movies was not in the theater or even on VHS, but on broadcast television. A local, independent UHF channel would show a mini-marathon of themed movies on Saturday afternoons. On some Saturdays, for instance, I watched a double or triple feature of Monster Movies like King Kong vs. Godzilla (1963). On other Saturdays, I watched two or three Elvis Movies on this station. I can still hear the announcer excitedly proclaiming, “Up next, more Elvis in Harum Scarum!”

Though there are occasional exceptions, Elvis Movies are usually not remarkable achievements from an artistic perspective. Near the end of his film career, Elvis admitted that his movies made him “physically ill.” Though I cannot confirm the authenticity of this next quote, Elvis is also purported to have once said, “The only thing worse than watching a bad movie is being in one.”

As a child, though, I loved watching Elvis Movies with my family. They were fun, and Elvis played any number of characters of interest to an 8-year old: A racecar driver, a cowboy, a boxer, an Army man, etc. Elvis was the ultimate action hero, destined to win every fight and every girl. Elvis had a natural comedic flair, and there were also action scenes, often involving karate, that kept me interested as well. Of course, music was ever-present. The quality of many of his movie tunes were subpar, to say the least, but I didn’t really notice this back then, either. Elvis Movies were complete fantasy packages, as entertaining to young me as watching Godzilla and King Kong duke it out.

At some point, I suppose in my early adulthood, I began to see Elvis Movies in a different light. Maybe it was slogging through those dreadful movie tunes as I began exploring his entire catalog of music. Maybe it was reading about how much he disliked making them. Maybe it was the constant re-running of his movies on cable stations every January and August. At some point, I began to find it harder to sit through Elvis Movies. The completist in me has collected all of them on DVD, and I have watched each at least once. I don’t return to most of them too often, though. I love movies almost as much as I love music. I watched nearly 100 movies last year, but only one Elvis Movie.

In the spirit of that 8-year-old who watched a string of Elvis Movies on Saturday afternoons so long ago, I’ve decided to rewatch Elvis Movies over the next few years. I’m going to approach this in a random fashion, for that is how I first watched them. Along the way, I plan to blog about them. While I won’t go as deep into the details of these movies as someone like Gary Wells over at the Soul Ride blog might, I’ll hit what I consider the highlights as well as quirky tidbits that jump out at me, often on a personal level. Up first is Double Trouble.

“Elvis takes mad mod Europe by song as he swings into a brand new adventure filled with dames, diamonds, discotheques, and danger!!”

Double Trouble (MGM)
Wide Release: April 5, 1967 (United States)
Starring: Elvis Presley, John Williams, Yvonne Romain, Annette Day
Screenplay By: Jo Heims
Story By: Marc Brandel
Music Score By: Jeff Alexander
Produced By: Judd Bernard and Irwin Winkler
Directed By: Norman Taurog
Running Time: 92 Minutes

You would be forgiven if, based on the movie’s title or the fact that he appears twice on its poster, you expected Elvis Presley to play dual roles in Double Trouble, his 24th film to be released. Alas, this is not the case, for he had already performed that schtick a few years earlier in Kissin’ Cousins (1964). The double in the trouble represents our hero, singer Guy Lambert (Elvis), being torn between two love interests – the innocent but zany Jill (Annette Day) and the seductive Claire (Yvonne Romain). The movie isn’t really about any of that, though. While Guy seems intrigued by Claire, his heart is obviously with Jill – despite his own misgivings, including a subplot involving Jill’s age that is cringe-worthy by today’s standards.

Instead, Double Trouble tries to be a madcap comedy/thriller. Most of the comedy external to Elvis doesn’t really work (I’m looking at you, Wiere Brothers).

Annette Day is Jill Conway and Elvis Presley is Guy Lambert in 1967’s DOUBLE TROUBLE (MGM)

Double Trouble doesn’t really work as a thriller, either. Someone wants Guy and/or Jill dead. Though the ultimate mastermind of the murder plot might come as a surprise, this revelation comes about through the hackneyed explanation of a hired killer right before he is going to off his victim. Guy, of course, saves the day, and the would-be killer ends up succumbing to the very trap he had planned for his target. Death is rare in Elvis Movies, but it does happen.

1967’s DOUBLE TROUBLE includes multiple murder attempts (MGM)

Double Trouble is also rare among Elvis Movies in that it takes place in Europe. The film opens in London, England, and then takes us to Belgium. Not really, though, as Double Trouble was filmed in Culver City, California.

In Double Trouble, the Belgian police drive Volkswagen Beetles. The interesting thing about this, for me, is that, as a child, I was obsessed with wanting a red VW Beetle. I drew pictures of one throughout my elementary school years, often including a police siren on top and other special devices, like spotlights and ejection seats. Though I have no memory of picking up this particular fascination from an Elvis Movie, sure enough, a red VW Beetle police car appears during a chase sequence.

A Volkswagen Beetle police car appears in 1967’s DOUBLE TROUBLE (MGM)

Double Trouble marks the acting debut of Annette Day (Jill). You wouldn’t know it from the film, as she does a commendable job in both comedic and dramatic scenes. I love watching her observe and then mimic Elvis’ movements as he sings “Old MacDonald” to her. Unfortunately, this is Day’s only movie.

Jill Conway (Annette Day) snaps along as Guy Lambert (Elvis Presley) sings “Old MacDonald” in 1967’s DOUBLE TROUBLE (MGM)

I enjoyed watching many of the songs in the context of this film far more than I do listening to the soundtrack album in isolation. Elvis does appear quite stiff at times, though, particularly during his opening number, the title song. Incidentally, I really enjoyed the funky instrumental opening to the film and wish that ambience had been present on the actual Elvis music.

I admitted long ago that I’m a fan of Elvis’ version of “Old MacDonald” but the beautiful “City By Night” and “Could I Fall In Love” are Double Trouble‘s musical highlights.

A child (portrayed by Laurie Lambert) and Guy Lambert (Elvis Presley) ride a carousel as he sings “I Love Only One Girl” in 1967’s DOUBLE TROUBLE (MGM)

If you go with the flow, as is necessary with most Elvis Movies, Double Trouble is entertaining.

Boldly Go

Stanley Adams plays Captain Roach in Double Trouble. Adams is known to fellow Trekkies for his portrayal of Cyrano Jones in the Star Trek episode “The Trouble With Tribbles” (1967) and the animated Star Trek follow-up episode “More Tribbles, More Troubles” (1973).

Stanley Adams is Captain Roach in 1967’s DOUBLE TROUBLE (MGM)

Leonard Nimoy is Mister Spock, Stanley Adams is Cyrano Jones, and William Shatner is Captain James T. Kirk in the 1967 STAR TREK episode “The Trouble With Tribbles” (Desilu)

Double Trouble Tote Board

Kisses: 13
Karate Chops: 9
Songs: 8
Karate Kicks: 4
Broken Windows: 2

Elvis Presley is Guy Lambert in 1967’s DOUBLE TROUBLE (MGM)

Songs In Double Trouble

“Double Trouble” (1966), written by Doc Pomus & Mort Shuman
“Baby, If You’ll Give Me All Of Your Love” (1966), written by Joy Byers
“Could I Fall In Love” (1966), written by Randy Starr
“Long Legged Girl” (1966), written by J. Leslie McFarland & Winfield Scott
“City By Night” (1966), written by Bill Giant, Bernie Baum, & Florence Kay
“Old MacDonald” (1966), written by Randy Starr, based on the traditional composition
“I Love Only One Girl” (1966), written by Sid Tepper & Roy C. Bennett, based on the traditional composition “Auprès de ma blonde“
“There Is So Much World To See” (1966), written by Sid Tepper & Ben Weisman

The Mystery Train’s Double Trouble Scorecard

Story: 2 (out of 10)
Acting: 5
Fun: 6
Songs: 5
Overall: 4 (For Elvis Fans Only)

Click image for larger, full-color version

“And whatever you do or say, do it as a representative of the Lord Jesus, giving thanks through him to God the Father.”
Colossians 3:17

Vinyl Elvis #2: MEMORIES OF CHRISTMAS (1982)

December 23, 2020January 30, 2026 / TY / 4 Comments

This re-post was first published on one of my pop-culture blogs, now retired.

MEMORIES OF CHRISTMAS (RCA, 1982; from Tygrrius’ collection) | Click image for full-color version

Memories Of Christmas
Label: RCA
Catalog Number: CPL1-4395
Recorded: 1957-1971 | Nashville, Hollywood
Released: 1982

Memories Of Christmas is a perfectly named album for me, because it indeed fills me with nostalgia for many special Christmases growing up in the 1980s. When my brother gave me the album, along with the rest of his Elvis records, it marked the first time I had played Memories Of Christmas on vinyl in over 20 years.

Side A of MEMORIES OF CHRISTMAS (RCA, 1982; from Tygrrius’ collection) | Click image for full-color version

Side A

O Come, All Ye Faithful (1971)
This previously unreleased version is a splice between the master (Take 1) and Take 2. It actually proves to be better than either take alone, making it my “go to” version of the song by Elvis. Fantastic performance and a perfect opener to the album. Sound quality on the record itself is excellent.
Silver Bells (1971)
Another stellar Christmas performance, first heard on Elvis Sings The Wonderful World Of Christmas (1971). I love the acoustic guitar here.
I’ll Be Home on Christmas Day (1971)
Here it is, the highlight of the album–the previously unreleased re-recording of “I’ll Be Home On Christmas Day.” Attempted in June 1971, this is a bluesier take on the Michael Jarrett song than the May 1971 version that became the official master on The Wonderful World Of Christmas. For my money, this is Elvis at his best.
Blue Christmas (1957)
It is apparently unlawful for RCA to release an Elvis Christmas compilation without this worn-out tune, featuring the grating background vocals of Millie Kirkham. I would have preferred the use of a live version from 1968. In fact, what would have been at the time the previously unreleased June 27 6 PM Show performance captured for the ELVIS special would have been perfect.
Santa Claus Is Back in Town (1957)
Side A finishes up in style with the greatest Elvis Christmas song of all, the down and dirty “Santa Claus Is Back In Town,” arguably the only real competition against “Reconsider Baby” (1960) as his finest blues performance.

Side B of MEMORIES OF CHRISTMAS (RCA, 1982; from Tygrrius’ collection) | Click image for full-color version

Side B

Merry Christmas Baby (1971)
Speaking of bluesy Elvis Christmas songs, here is another fine entry. This is the previously unreleased extended version of “Merry Christmas Baby,” over two minutes longer than the album master (Wonderful World Of Christmas) and nearly five minutes longer than the single version. As a kid, I loved hearing Elvis ad-lib, “Gave me a diamond ring for Christmas; now I’m putting it through Al’s mike.” Unfortunately, there are a couple of pops/crackles on the record on this song, but nothing too distracting. Side A had no noise at all! Like the 1969 live versions of “Suspicious Minds,” “Merry Christmas Baby” just goes on forever. In both cases, a very, very good thing.
If Every Day Was Like Christmas (1966)
This is the previously unreleased “undubbed” version of the master. The piano is beautiful here, and I believe more prominent than on the CD version I have of this performance. There is a “raw” sound to this version, but it makes for a very beautiful and effective performance.
Christmas Message from Elvis/Silent Night (1967/1957)
The opening message was recorded for Season’s Greetings From Elvis, his 1967 Christmas special that aired on radio stations across the United States. My only gripe here is that the message originally flowed into “I’ll Be Home For Christmas” (1957). The compilation producers decided to splice “Silent Night” on instead. I am assuming it is because they wanted to “bookend” the album with traditional Christmas songs. You can actually hear “I’ll Be Home For Christmas” begin during Elvis’ message before the segue into “Silent Night.” Unfortunately, this has never been corrected on subsequent releases of the message. The label has even released “Silent Night” on at least one Christmas compilation since then that did not contain the message, yet had the beginning of the song chopped off due to apparently using this version. Sloppy. I knew and recognized none of this when I first heard this album back in the 1980s. I loved hearing the message from Elvis, and I must admit, I still find it pretty cool today. Overall, this record sounds incredible, with the only extraneous noise being those two pops on “Merry Christmas Baby.”

Back cover of MEMORIES OF CHRISTMAS (RCA, 1982; from Tygrrius’ collection) | Click image for full-color version

Elvis recorded less than 25 Christmas songs during his entire career. Every year, though, it seems there is a “new” Elvis Christmas compilation that rearranges those songs with a new, cheap cover. Memories Of Christmas offers not only beautifully conceived cover art, but unique album content that is truly worthy of standing alongside the two Christmas albums that Elvis released in his lifetime, Elvis’ Christmas Album (1957) and Elvis Sings The Wonderful World Of Christmas.

Calendar insert from MEMORIES OF CHRISTMAS (RCA, 1982; from Tygrrius’ collection) | Click image for full-color version

“All right then, the Lord himself will give you the sign. Look! The virgin will conceive a child! She will give birth to a son and will call him Immanuel (which means ‘God is with us’).”
Isaiah 7:14

REVIEW: Elvis – The Complete Masters Collection (Part 7)

October 22, 2020January 30, 2026 / TY / 6 Comments

This is Part 7 of an occasional series reviewing Elvis: The Complete Masters Collection.

[Read Part 6]

ELVIS: THE COMPLETE MASTERS COLLECTION – VOLUME 9 CD sleeve (2009, from Tygrrius’ collection) | Click image for full-color version

CD Vol. 9: Rhythm & Blues

One of the fun parts about bringing back The Mystery Train Blog is the potential to continue old series, such as Elvis Trivialities, and to revisit other loose ends from the first iteration of this blog.

One of those loose ends was my ongoing review of Elvis: The Complete Masters Collection. At first, however, I hesitated to continue reviewing a 36-CD set that came out 11 years ago and is now long out-of-print. Then, I realized, if I were to apply a “newness” rule to potential topics here on The Mystery Train Blog, we’d have little left to discuss. After all, Elvis Presley created his most recent recordings over 43 years ago now. With that in mind, on with the review!

Since it has been over 7 years since I wrote Part 6 of this review, I first want to reset the stage. Back in 2007, Sony digitally remastered for optimum sound quality all 711 of the recordings Elvis released during his lifetime. With various exceptions, the mixes matched the original vinyl releases. Vic Anesini performed the mastering work. These upgraded digital masters slowly began popping up on various compilations and re-releases.

In 2009, the Franklin Mint licensed the upgraded digital masters from Sony to release Elvis: The Complete Masters Collection on CD. At the time, there were two ways to buy the set – as a monthly subscription (3 discs a month for a year, “cancel anytime!”) or as an outright purchase of the entire set (36 discs) at a lower price than the combined total of all the monthly subscription fees. Each CD represented a theme, so the majority of the discs featured new sequencing and combinations compared to previous releases of this material. Unfortunately, within each individual disc, Franklin Mint generally sequenced the songs in recording order. I do appreciate the creativity behind dividing Elvis’ vast catalog into themes, but I wish they had taken this a step further and applied such creativity to more of the track sequencing as well. The Franklin Mint set also included a 24-page booklet, a record-player style display case, and a reproduction of Elvis’ first record, “That’s All Right” b/w “Blue Moon of Kentucky” on the Sun label.

In 2010, Sony released a high-end boxed set called The Complete Elvis Presley Masters. It featured the same 711 upgraded digital masters as the Franklin Mint set, but in 27 CDs – due to using more space per CD than Franklin Mint (for which, obviously, the higher disc count benefited them for their subscription program). The Sony set included three additional discs of “bonus material” in lesser sound quality, featuring various previously released tracks that came out after Elvis’ death. For the most part, the 711 masters were presented in “recording order” on the Sony set, which also included a 240-page book covering all of Elvis’ recording sessions. The first run of the Sony set was limited to 1,000 copies, numbered. It rapidly sold out, so a second, unnumbered run of 1,000 was produced in 2011 and eventually sold out as well. The luxurious Sony set cost about twice as much as the comparatively low-budget approach of the Franklin Mint set. Yet, I could never get out of my head that the underlying “complete masters” on both sets were exactly the same. The massive difference in price was solely due to the Sony set’s premium presentation and book, not the music itself.

As I already had nearly all of Elvis’ lifetime masters in varying sound quality on a myriad of CDs dating back to the late 1980s, I passed on both the Franklin Mint and Sony sets at the time of release. They were both out of my price range, anyway. In 2012, Franklin Mint began offering their entire set at a substantially reduced price. Wanting the opportunity to own all of Elvis’ lifetime masters in consistent and upgraded sound quality, I jumped on it and, naturally, started reviewing it here. At first, I would only allow myself to listen to a CD from the set for the first time when I wrote a review about it. Fortunately, my impatient side won out over my procrastination side, and I dropped that concept, or I suppose I would only now be listening to disc 9 for the first time! Not to mention the other 27 discs that would have been waiting behind it.

In 2016, Sony re-released the upgraded masters in yet another boxed set. The 60 CD Elvis Presley: The Album Collection featured essentially the same masters spread over even more discs than Franklin Mint did, but this time, for the most part, in sequence of their original album releases. As I backed up the Franklin Mint set to iTunes, I can sequence the songs in any way I please, so I passed on this Sony release, too. Of the three sets, this is the one that is the easiest to obtain in 2020, however, and is relatively affordable given the contents. Be sure to read reviews by Elvis fans before investing, though, as Elvis Presley: The Album Collection has its own eccentricities you should know about – much like Elvis: The Complete Masters Collection and The Complete Elvis Presley Masters do as well. Bottom line is, unless you are simply an obsessive collector that wants to own every single Elvis CD release, there is really no reason to obtain more than one of these three sets. Were I in the market for these masters today, I would go for Elvis Presley: The Album Collection, simply because it is the easiest to find at a reasonable price.

With that out of the way, the theme and title of the ninth volume of Franklin Mint’s Elvis: The Complete Masters Collection is Rhythm & Blues. This should be a treat!

ELVIS: THE COMPLETE MASTERS COLLECTION – VOLUME 9 CD (2009, from Tygrrius’ collection) | Click image for full-color version

01. My Baby Left Me: Now, this is how you kick off an Elvis CD! Due to its similarity to “That’s All Right” (both written by Arthur “Big Boy” Crudup), I think “My Baby Left Me” gets lost in the shuffle sometimes. This is unfortunate, as it is an incredible recording – one of my favorites from Elvis’ breakout year. (Recorded: 1956)

02. So Glad You’re Mine: “So Glad You’re Mine” is another Crudup number, but this one is not nearly as effective as “That’s All Right” or “My Baby Left Me.” Elvis sounds bored. I am thankful Elvis happened to record “My Baby Left Me” prior to “So Glad You’re Mine” or Franklin Mint certainly would have started the CD with this song instead of the superior “My Baby Left Me.” (Recorded: 1956)

03. Anyplace Is Paradise: While Elvis’ performance is sometimes lacking on “Anyplace Is Paradise,” I love the lyrics, including: “Whether we’re standing on your doorstep or sitting in a park or strolling down a shady lane or dancing in the dark, where I can take you in my arms and look into your pretty eyes, anyplace is paradise when I’m with you.” If only this song had a better arrangement and approach, it could have been a classic love song. (Recorded: 1956)

04. Tell Me Why: Recorded at the same session as “All Shook Up,” “I Believe,” and others, “Tell Me Why” is hardly a standout with a sleepy performance by Elvis – similar to “So Glad You’re Mine.” (Recorded: 1957)

05. When It Rains, It Really Pours: Things get back on track here in a big way with “When It Rains, It Really Pours.” This is Elvis at his raw, powerful best. (Recorded: 1957)

06. Ain’t That Loving You Baby: When I visited Graceland in 1990, “Ain’t That Loving You, Baby” was one of the three songs that seemed to play on a constant loop at the various facilities and souvenir shops. This was long before the days of SiriusXM’s Elvis Radio channel broadcasting from Graceland, so I guess all they had was this little loop of three songs (the other two were “Playing For Keeps” [1956] and “For The Heart” [1976]). Anyway, for that reason, “Ain’t That Loving You, Baby” is memorable to me. Otherwise, it is just an okay performance. (Recorded: 1958)

07. A Mess Of Blues: The CD kicks into stereo mode with the awesome “A Mess Of Blues.” I love hearing all of the claps, finger snaps, and other noises. Just a fun song. No surprise, since it was written by Doc Pomus and Mort Shuman. (Recorded: 1960)

08. It Feels So Right: “It Feels So Right” is another good one. The CD is plugging along just fine now. (Recorded: 1960)

09. Like A Baby: “Like A Baby” is another often overlooked Elvis track. This is another of my favorites, and it fits perfectly on this CD. Not only is the Elvis vocal perfect, I love the saxophone accompaniment by Boots Randolph. (Recorded: 1960)

10. Fever: I have to say, “Fever” feels completely out of place here. I suspect it was deposited here by the compiler after not finding a suitable spot for it on another disc. It is also the one song on this CD that is not in recording order, as “Reconsider Baby” preceded it. In any event, I am not a big fan of Elvis’ studio recording of this song. (Recorded: 1960)

11. Reconsider Baby: Here it is, friends, Elvis’ best blues performance – his 1960 studio version of Lowell Fulson’s “Reconsider Baby,” and again accompanied by the incredible Boots Randolph on sax. One of Elvis’ greatest recordings and certainly the highlight of this CD. Not to be missed. (Recorded: 1960)

12. I Feel So Bad: After his release from the US Army, Elvis was on fire in the early 1960s. “I Feel So Bad” is another stellar blues number from this period, written by Chuck Willis. More great sax work from Boots. Be sure to listen for the sax switching from the left to the center channel during his solo. According to legend, Elvis walked up to Boots to enjoy the moment, accidentally picking up the sound of the sax with his handheld vocal microphone. Elvis knew what he was after, and the feel of the take was perfect, so the sound oddity was left in. (Recorded: 1961)

13. Witchcraft: What I love about “Witchcraft” is how it starts off as this unassuming little song with cutesy rhymes, and then kicks into a rockin’ chorus. Each time Elvis goes into “my head is spinning,” he gets a little more forceful. More Boots on sax. This is a killer song. (Recorded: 1963)

14. Down In The Alley: “Down In The Alley” was a bit of an acquired taste for me, but it is a decent blues number and fits well on this CD. (Recorded: 1966)

15. Big Boss Man: Thanks to Jerry Reed on guitar, “Big Boss Man” seems a hybrid of blues and country. Elvis sounds committed, but this is not a huge favorite of mine. (Recorded: 1967)

16. Hi-Heel Sneakers: I love the raw sound of Elvis’ voice on “High Heel Sneakers,” a fun blues number – which sounds like a contradiction in terms! But how can you not love lyrics like, “Put on your red dress, baby, ’cause we’re going out tonight. Well, wear some boxing gloves, in case some fool might start a fight.” (Recorded: 1967)

17. U.S. Male: What is “US Male” doing on a rhythm and blues compilation? This belongs on one of the country compilations instead. Anyway, this is a fun, if dated, song, featuring songwriter Jerry Reed on guitar. Completely out of place here, though. (Recorded: 1968)

18. Stranger In My Own Home Town: Elvis recorded Percy Mayfield’s “Stranger In My Own Home Town” at his first Memphis sessions in 14 years. I first discovered this song when it served as the power opener to The Memphis Record (1987). I have loved it ever since. I am partial to The Memphis Record mix, but this original mix is decent, especially in improved sound quality over previous CD releases. I’m with Elvis, who says, “Play it again, play it again” during one of the instrumental breaks. This is another one where I really love the lyrics: “My so-called friends stopped being friendly, but you can’t keep a good man down.” (Recorded: 1969)

19. Got My Mojo Working/Keep Your Hands Off Of It: This is an off-the cuff jam that was captured during Elvis’ “marathon” session in Nashville in June 1970. A heavily edited and overdubbed version of “Got My Mojo Working/Keep Your Hands Off Of It” was used on the ill-advised Love Letters From Elvis album, which essentially gathered scraps left over by two of the very best albums of his career, That’s The Way It Is and Elvis Country. Among left-overs, this song is a standout. As for this CD, it drags down the quality after “Stranger In My Own Home Town.” (Recorded: 1970)

20. If You Don’t Come Back: Though written by Jerry Leiber and Mike Stoller, who penned many of Elvis’ best songs in the 1950s, “If You Don’t Come Back” is a bit of a departure for Elvis. It is an interesting listen, and I particularly enjoy the vintage 1970s wakka-chukka guitar licks. (Recorded: 1973)

21. Just A Little Bit: Continuing the groove of “If You Don’t Come Back,” “Just A Little Bit” is another fun song. Both were recorded at Stax Studio in Memphis. (Recorded: 1973)

22. Shake A Hand: I have to say, Franklin Mint really lucked out on the sequencing of this one. Since they are intent on recording order, “Shake A Hand” just happened to fall last, yet is actually the perfect song to close this CD. I love this performance by Elvis, and the sound is crystal clear. This is a bass-heavy song in terms of sound, and the drums really drive it. (Recorded: 1975)

What a great CD! Of Franklin Mint’s unique, themed compilations (I am excluding Volume 4: Christmas With Elvis, Volume 5: Complete Aloha From Hawaii Concert and Volume 7: Complete 1968 Comeback Special from that label), this is my favorite so far. This is actually a CD or playlist that I would routinely enjoy. Sony should put this compilation out as a single CD, maybe as a budget release.

Let’s see, up next would be Volume 10: Live In Las Vegas. It compiles the albums Elvis In Person and On Stage, which we already know are among the best albums of his career. Seeing as how I recently devoted four posts to Elvis’ 1969 Las Vegas shows, I will either skip to another CD for the next review in this occasional series or wait another seven years to write Part 8. You just never know with me.

Blessings,
TY

“The rich and poor have this in common: The LORD made them both.”
Proverb 22:2

The Mystery Train

Travel the music & films of Elvis Presley

Features

Elvis Movies: KID GALAHAD

Elvis Movies: ROUSTABOUT

Elvis Movies: SPINOUT

Vinyl Elvis #3: HIS HAND IN MINE (1960)

Elvis Movies: DOUBLE TROUBLE

Vinyl Elvis #2: MEMORIES OF CHRISTMAS (1982)

REVIEW: Elvis – The Complete Masters Collection (Part 7)

CD Vol. 9: Rhythm & Blues

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

CD Vol. 9: Rhythm & Blues

Share this: