vinyl

That’s The Way It Is reveals a different side of Elvis

/ TY / 19 Comments

My favorite album released during Elvis Presley’s lifetime is That’s The Way It Is. First hitting record stores in November 1970, it features studio material from his June recordings in Nashville as well as four live cuts from his August Las Vegas engagement. It serves as a soundtrack of sorts for the excellent documentary of the same name, also released that month.

Despite the status I give it, the album is not perfect. Rock ‘n’ roll fans sometimes dismiss it as an easy-listening bore. One of the causes of that issue, I believe, is the sequencing of songs. Many of them should have been presented in a different order. For instance, the album unfortunately begins with a live version of the sleepy B.J. Thomas hit “I Just Can’t Help Believin'” and establishes the wrong tone.

Adding to the trouble, two of the live performances, “Patch It Up” and “I’ve Lost You,” are not as powerful as their studio counterparts, which should have been used instead. The studio recordings had been released as singles prior to the album, so the live versions were likely considered bonuses for fans that already had the 45s. The artistry of the album should have taken priority, though.

Apparently to complete the “feel” of a live album, RCA overdubbed applause on the end of the studio version of “Bridge Over Troubled Water,” which closed out That’s The Way It Is. Elvis’ vocals on the first verse of the song are also very faint in the mix, either on purpose or due to a technical glitch. You can better hear Elvis’ beautiful performance of this song, with his voice louder on the first verse and without the annoying applause overdubs, on Heart & Soul and the Elvis: Walk A Mile In My Shoes-The Essential 70s Masters boxed set.

That's The Way It Is (1970)

Side 1

“I Just Can’t Help Believin'”
Live Master–8/11/1970 Dinner Show (DS): As noted above, the song does not serve well as an album opener. While it is misplaced on the album, the performance is strong. I love the little traces of humor in his voice. He sounds on the verge of laughing a couple of times. Also memorable is his interaction with the Sweet Inspirations throughout (“Sing the song, baby”). Elvis would never be quite as incredible again live as he was in this engagement.

“Twenty Days And Twenty Nights”
Master–Take 9: For me, this song represents the adult Elvis, the recording artist that is too often overlooked. “Twenty Days And Twenty Nights” is about a man who regrets leaving his wife, and Elvis evokes this character through music as well as any actor could on screen. The performance plays through the range of emotions, even striking a hopeful tone (“One day soon I’m going back…”) before falling back into despair as he laments “Oh, how I miss her,” over and over at the end.

“How The Web Was Woven”
Master–Take 3: The highlight of the album, “How The Web Was Woven” is a love song that ranks right up there with the better-known “Can’t Help Falling In Love.” From the acoustic guitar opening to the accompanying piano, the arrangement on this one works very well. “At last, I’m where you want me . . . Don’t you know that’s where, where I wanna be,” he sings with a passion that, for this listener anyway, exceeds even the incredible American Sound sessions in Memphis the year before.

“Patch It Up”
Live Master–8/12/1970 DS: Compared to the excellent studio take, this live version sounds almost like a throwaway. Watching this same energetic performance in the film, though, is an entire other experience.

“Mary In The Morning”
Master–Take 5: This is a pretty, if forgettable, love song. It goes on a bit too long and eventually becomes tiresome.

“You Don’t Have To Say You Love Me”
Master–Take 3: Though it is a fine performance, I would have chosen “How The Web Was Woven” or one of the others as a single over Elvis’ version of the Dusty Springfield hit.

Side 2

“You’ve Lost That Lovin’ Feelin'”
Live Master–8/12/1970 MS: This live performance is the definitive version of this song by anyone. This is Elvis at his best: “It makes me just feel like cryin,’ ’cause baby . . . something beau-ti-ful’s dy-in.'” The Righteous Brothers sound like they are singing a lullaby in the original recording compared to the Elvis version. Even Elvis was never able to equal his own performance again in other concerts.

“I’ve Lost You”
Live Master–8/11/1970 DS: While I love this live performance of “I’ve Lost You,” I prefer the studio version featuring more complicated lyrics and arrangement. That being said, this is still a highlight.

“Just Pretend”
Master–Take 3: Picking up where “Twenty Days And Twenty Nights” left off, this turns the despair of a man who left his lover and turns it back to hope for reconciliation. “Now I know, it was wrong to go, I belong there by your side,” he sings, bordering on the type of apology song that Elvis would perfect a couple of years later with “Always On My Mind.” The impressive “Just Pretend,” with a gospel-inspired arrangement, is another all-time favorite.

“Stranger In The Crowd”
Master–Take 9: This is yet another highlight. The band really cooks on this one. For some, Elvis Presley brings to mind “Hound Dog,” “Don’t Be Cruel,” “All Shook Up,” and similar tunes. While those are all fine, when I think of Elvis, I think of songs like “How The Web Was Woven,” “I’ve Lost You,” and “Stranger In The Crowd.”

“The Next Step Is Love”
Master–Take 11: Here’s one studio song where I actually prefer the live version. “The Next Step Is Love” is a little hokey either way, but the studio arrangement, complete with xylophone(!), does not help matters.

“Bridge Over Trouble Water”
Master–Studio Take 8 (with overdubbed applause): I stopped listening to the original album version of this song once RCA finally released a proper studio track. The one on this album simply does not do justice to his performance. The Heart & Soul version, though, I would contend as the best version of this song by anyone.

Upon its original release, That’s The Way It Is faced stiff competition from none other than Elvis himself. In their infinite wisdom, his record label released the following Elvis music in October and November of 1970:

  • Almost In Love album (an excellent “budget” release)
  • “You Don’t Have To Say You Love Me”/”Patch It Up” single
  • Elvis In Person album (re-release of record 1 of the previous year’s From Memphis To Vegas/From Vegas To Memphis double album)
  • Back In Memphis album (re-release of record 2 of From Memphis To Vegas/From Vegas To Memphis)
  • Elvis’ Christmas Album (“budget” repackaging)
  • That’s The Way It Is album
  • “I Really Don’t Want To Know”/”There Goes My Everything” single

Despite the oversaturation, That’s The Way It Is made it to number 21 on the charts and obtained gold record status. It probably would have done even better had fans not been so bombarded with Elvis product in the fall of 1970.

Elvis rehearsing How The Web Was Woven, 1970

Elvis rehearsing How The Web Was Woven, 1970

While a wonderful album, That’s The Way It Is also would have been greatly improved if a couple of different song versions had been used and the album had been sequenced as below in my imaginary version of That’s The Way It Is.

Side 1

  • “Stranger In The Crowd” (studio, as on original)
  • “I’ve Lost You” (substitute studio version)
  • “How The Web Was Woven” (studio, as on original)
  • “You Don’t Have To Say You Love Me” (studio, as on original)
  • “Bridge Over Troubled Water” (substitute Heart & Soul studio version without overdubbed applause)
  • “I Just Can’t Help Believin'” (live, as on original)

Side 2

  • “Patch It Up” (substitute studio version)
  • “Twenty Days And Twenty Nights” (studio, as on original)
  • “Just Pretend” (studio, as on original)
  • “The Next Step Is Love” (studio, as on original)
  • “Mary In The Morning” (studio, as on original)
  • “You’ve Lost That Lovin’ Feelin'” (live, as on original)

No matter the order you listen, though, That’s The Way It Is represents a true Elvis masterpiece.

Portions of the above review originally appeared on my now defunct pop culture blog on May 21, 2008.

“Slow versions” support Theory of Relativelvisity

/ TY / 6 Comments

The Theory Of RelativelvisityHow we perceive something is often relative to our starting point. For instance, people who became fans when Elvis first rose to fame in the mid-1950s often view him differently than those who became fans after his comeback of 1968 or his death in 1977.

Many of those earliest fans seem to favor the 1950s recordings. That is, after all, how they first discovered Elvis. Being the rebel that she is, my mom is actually an exception to that generalization. She became an Elvis fan in 1956, but she definitely favors his 1968-1977 recordings – often to the exclusion of anything else.

I’ve mentioned before that the first Elvis record I can remember listening to is “My Way” backed with “America, The Beautiful,” recorded live in 1977 and 1975 respectively. I had definitely heard Elvis music before that record came out, but those are the earliest specific songs I can remember.

After that, the next major Elvis recording in my life was a cassette tape of 1972’s As Recorded At Madison Square Garden. My mom played that tape just about every time we went for a car ride in the early-to-mid-1980s. It may still hold the record as the concert I’ve heard most often.

She would always crank it up when certain songs came on, especially “Suspicious Minds.” She still does that, in fact. If you are ever in my town and a car drives past you blaring Elvis, it is far more likely to be my mom than me behind the wheel.

Eventually, the Madison Square Garden tape began to wear thin. She next switched to a tape copy of the 1977 album Elvis In Concert. Though it lost a few points for not including “Suspicious Minds,” she played that one almost as much as she did Madison Square Garden.

For the longest time, other than the occasional radio song or record album that my family played around the house, those two live concerts tapes were Elvis to me.

Eventually, I started to collect my own albums. One of the first ones I acquired was Elvis’ Golden Records, which compiles some of his hits from 1956 and 1957.

Keeping in mind that my perception of most of them was based almost entirely on As Recorded At Madison Square Garden and Elvis In Concert, I was sure in for a shock when I played the original studio versions of some of the songs from those live albums:

  • Hound Dog
  • All Shook Up
  • Heartbreak Hotel
  • Jailhouse Rock
  • Love Me
  • Don’t Be Cruel
  • Teddy Bear
  • Love Me Tender

Though I loved the overall sound of the record, many of the songs initially seemed “off” to me. I began to think of them as the “slow versions.” It took years for my perception of those songs to change.

While I came to love and appreciate the 1950s material, I am glad that my Elvis journey started like it did. I believe it allowed me to be much more sympathetic towards his later years than I otherwise might have been.

Besides, I wouldn’t trade those memories for anything. Thanks, Mom. Keep cranking it up!

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

/ Guest Conductor / 7 Comments

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

 “THAT WILD PRESLEY BEAT” 5-CD Deluxe Set

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

That Wild Presley Beat

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

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

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

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

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

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

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

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

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

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

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

/Thomas, Elvis Today

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

20 reasons to love Elvis after 1972 (Conductor’s Reflections #10)

/ TY / 16 Comments
Elvis rocks the world, 1973

Elvis rocks the world, 1973

If you believe many accounts, exploring the work of Elvis Presley after 1972 is a fruitless journey through five depressing years best left forgotten. While a downward spiral of personal problems certainly affected his music, I cannot agree with the overall sentiment.

Inspired by a recent Elvis Today Blog post, I want to share 20 reasons to love Elvis after 1972.

#1 Promised Land album (recorded 1973)
Any discussion around the greatest albums of Elvis’ career should include Promised Land. Featuring that perfect Elvis blend of rock ‘n’ roll, country, and gospel, this is one of his strongest efforts. Standouts include “Promised Land” – destroying any doubts that Elvis could still rock, “Thinking About You,” “It’s Midnight,” “You Asked Me To,” and the funky “If You Talk In Your Sleep.”

#2 Aloha From Hawaii event (1973)
The magnitude of performing the first worldwide satellite broadcast by an entertainer at times seemed to overwhelm even Elvis, particularly in the first half of the main show. All too easily dismissed by some fans, the overall Aloha From Hawaii event still remains worthy of praise. Beyond the actual television special, there was also a double album that remains a classic representation of the excitement of his 1970s stage show, with standouts including “An American Trilogy,” “A Big Hunk O’ Love,” “I’ll Remember You,” “Fever,” and “What Now My Love.”

The 1988 release of The Alternate Aloha on CD revealed Elvis was much more at ease during the rehearsal/back-up concert. “Burning Love,” despite the fact that Elvis misses some of the words, and “Suspicious Minds” exceed their counterparts on the real show.

Elvis Presley Enterprise’s definitive 2-DVD set Aloha From Hawaii Deluxe Edition (2004) captures both shows in terrific audio and video quality, as well as other footage shot at that time. Though he did not pass away until over four years later, for the mainstream public, Aloha From Hawaii would prove to be Elvis’ last hurrah.

#3 Moody Blue album (1974, 1976-1977)
Moody Blue is an album recorded at Elvis’ home, Graceland, and at Elvis’ second home, on stage in front of his fans. Of the four live numbers, the strongest is a haunting version of “Unchained Melody,” recorded on April 24, 1977, in Ann Arbor, Michigan. Many of the Graceland recordings are also stellar, including “Pledging My Love,” “Way Down,” “Moody Blue,” “She Thinks I Still Care,” and “He’ll Have To Go.” As the final album released before his death, Moody Blue allowed Elvis to finish in style.

#4 “Your Love’s Been A Long Time Coming,” Take 10 (1973)
“Your Love’s Been A Long Time Coming,” which expresses a father’s love for a newborn, never stood out to me until I heard this alternate take, first released on 2002’s Today, Tomorrow & Forever boxed set.

#5 Bringing It Back/Pieces Of My Life single (1975)
Much like “Always On My Mind” backed with “Separate Ways” from 1972, 1975’s “Bringing It Back” backed with “Pieces Of My Life” evokes a complete story on one record. Though the music may not have been as groundbreaking, Elvis recorded songs of a much more personal nature in the 1970s compared to other times of his career. It’s not flashy jumpsuits that draw people to this time, but the sheer honesty of the music.

#6 My Way/America The Beautiful single (1977/1975)
“My Way” backed with “America The Beautiful” is the first Elvis record I can specifically remember playing. Recorded just weeks before his death for the Elvis In Concert television special at a show in Rapid City, South Dakota, “My Way” worked effectively as a farewell of sorts, while 1975’s “America The Beautiful,” recorded live in Las Vegas, spoke to his love of the United States and God. Though rock ‘n’ roll is not to be found on it, this record sums up Elvis Presley about as well as any other contender.

#7 “Pledging My Love,” Take 3 (1976)
One of the pleasant surprises of 1997’s Platinum: A Life In Music was take 3 of “Pledging My Love,” recorded at Graceland. Devoid of subsequent production overdubs, this works as a kind of “stripped-down” version.

#8 “Way Down,” Take 2A (1976)
Also from Platinum: A Life In Music, take 2A of “Way Down” is strong for the same reasons as “Pledging My Love” – a stripped-down sound reminiscent of earlier times. The extra band riff near the end is a delight and should have been included on the master.

#9 From Elvis Presley Boulevard, Memphis, Tennessee album (1976)
Recorded at Graceland, From Elvis Presley Boulevard is the saddest album released by Elvis. It is also his most honest. This one gives us a view into the man living in the famous mansion on Elvis Presley Boulevard. Overblown production and all, From Elvis Presley Boulevard is a beautiful and moving album. Highlights include “For The Heart,” “Hurt,” “Never Again,” and “Love Coming Down.”

#10 Good Times album (1973)
Unlike Promised Land, Moody Blue, and From Elvis Presley Boulevard, Good Times is unable to take a spot among the best albums of his career due to a few clunkers that weigh it down. However, “Good Time Charlie’s Got The Blues,” “Lovin’ Arms,” “I’ve Got A Thing About You, Baby,” and “My Boy” are standouts on this worthy album.

#11 “Where No One Stands Alone,” Live Recording (1977)
Whether we are talking 1953, 1977, or anywhere in between, Elvis Presley was always full of surprises. “Where No One Stands Alone,” released on 2007’s Unchained Melody, is one of his most incredible performances. Accompanying himself on piano, he sings the song on stage for what is apparently the only time. This live version from a February 16, 1977, concert in Montgomery, Alabama, exceeds his 1966 original.

#12 “Good Time Charlie’s Got The Blues,” Take 7 (1973)
Part of appreciating Elvis involves understanding that he never took himself as seriously as many others do. This broken up take and the resulting jokes after the fact highlight some of his behind-the-scenes humor. First released on Follow That Dream’s 2009 edition of Good Times.

#13 “She Thinks I Still Care,” Take 2B (1976)
“She Thinks I Still Care” is another alternate from the Graceland sessions. Released on 1995’s Walk A Mile In My Shoes, Take 2B takes the song at a brisker pace and works even better than the master.

#14 “I’m So Lonesome I Could Cry,” Home Recording (1973)
Though “I’m So Lonesome I Could Cry” seemed almost like album-filler on Aloha From Hawaii, Elvis sings a superior version with only himself on acoustic guitar several months later in private. Fortunately, someone rolled a tape recorder. This is a particularly poignant performance when you consider that it takes place only weeks after his divorce from Priscilla is finalized. This one can be found on 2005’s Elvis By The Presleys.

#15 Elvis Recorded Live On Stage In Memphis album (1974)
Yes, his third live album in three years had some repetitive material, but “How Great Thou Art,” “Lawdy, Miss Clawdy,” and “My Baby Left Me” help to make this one special, not to mention that it was recorded in Memphis. This version of “How Great Thou Art” earned Elvis his third and final Grammy.

#16 Raised On Rock album (1973)
Raised On Rock receives a lot of criticism, yet contains some strong tracks. Two of the best are “For Ol’ Times Sake” and “Sweet Angeline.”

#17 “I Really Don’t Want To Know,” Live Recording (1977)
Like “My Way,” this one was recorded in Rapid City on June 21, 1977, for the Elvis In Concert special, which aired posthumously. This is a great, though all too short, live version of a song he first recorded in 1970 (Elvis Country).

#18 “Reconsider Baby,” Live Recording (1977)
Elvis could always draw inspiration from the blues, even near the end. Recorded February 21, 1977, this is from the Unchained Melody album. Though Elvis formally recorded the song in 1960 for Elvis Is Back, he was playing around with this one at least as far back as 1956.

#19 “Shake A Hand,” Take 2 (1975)
2002’s 6363 Sunset included this stellar alternate of “Shake A Hand,” recorded at RCA’s Hollywood studio.

#20 “Bridge Over Troubled Water,” Live Recording (1977)
On April 29, 1977, in Duluth, Minnesotta, Elvis knocked out a great rendition of “Bridge Over Troubled Water,” though, like many 1977 recordings, it can be a painful listen. Featured on Spring Tours 77.

* * *

Elvis never claimed to be anything special. It seems, at times, people tear him down for being a flawed man rather than the perfect god they wrongly imagined him to be.

“I’m not a king, I’m just a man,” he sang in 1971’s “Until It’s Time For You To Go,” as if pleading for understanding. No one listened.

It turns out that our hero was only human, just like us. I think that makes his many accomplishments shine that much brighter.

October 23, 2011, Update:
In the comments, Joe mentioned that he decided to try all of the songs mentioned above as a playlist. I liked his idea, so here’s what I came up with.

  • For The Heart (From Elvis Presley Boulevard, Memphis, Tennessee)
  • You Asked Me To (Promised Land)
  • Bringing It Back (Today)
  • Love Coming Down (From Elvis Presley Boulevard, Memphis, Tennessee)
  • Lovin’ Arms (Good Times)
  • Pledging My Love (Moody Blue)
  • I’ve Got A Thing About You, Baby (Good Times)
  • For Ol’ Times Sake (Raised On Rock)
  • She Thinks I Still Care [Alternate] (Walk A Mile In My Shoes)
  • Good Time Charlie’s Got The Blues (Good Times)
  • Burning Love [Live] (The Alternate Aloha)
  • What Now My Love [Live] (Aloha From Hawaii Via Satellite)
  • Bridge Over Troubled Water [Live] (Spring Tours 77)
  • A Big Hunk O’ Love [Live] (Aloha From Hawaii Via Satellite)
  • Unchained Melody [Live] (Moody Blue)
  • An American Trilogy [Live] (Aloha From Hawaii Via Satellite)
  • Promised Land (Promised Land)
  • Never Again (From Elvis Presley Boulevard, Memphis, Tennessee)
  • It’s Midnight (Promised Land)
  • Way Down [Alternate] (A Life In Music)
  • He’ll Have To Go (Moody Blue)
  • If You Talk In Your Sleep (Promised Land)
  • Moody Blue (Moody Blue)
  • Your Love’s Been A Long Time Coming [Alternate] (Today, Tomorrow & Forever)
  • My Boy (Good Times)
  • I’ll Remember You [Live] (Aloha From Hawaii Via Satellite)
  • Fever [Live] (Aloha From Hawaii Via Satellite)
  • Lawdy, Miss Clawdy [Live] (Elvis Recorded Live On Stage In Memphis)
  • Suspicious Minds [Live] (The Alternate Aloha)
  • America The Beautiful [Live] (Elvis Aron Presley)
  • How Great Thou Art [Live] (Elvis Recorded Live On Stage In Memphis)
  • Way Down (Moody Blue)
  • Pieces Of My Life (Today)
  • Hurt (From Elvis Presley Boulevard, Memphis, Tennessee)
  • Sweet Angeline (Raised On Rock)
  • Thinking About You (Promised Land)
  • Good Time Charlie’s Got The Blues [Outtake] (Good Times [2009 FTD Edition])
  • I’m So Lonesome I Could Cry [Informal] (Elvis By The Presleys)
  • Pledging My Love [Alternate] (A Life In Music)
  • She Thinks I Still Care (Moody Blue)
  • Shake A Hand [Alternate] (6363 Sunset)
  • Reconsider Baby [Live] (Unchained Melody)
  • My Baby Left Me [Live] (Elvis Recorded Live On Stage In Memphis)
  • I Really Don’t Want To Know [Live] (Elvis In Concert)
  • Where No One Stands Alone [Live] (Unchained Melody)
  • My Way [Live] (Elvis Aron Presley)

Thomas triumphs over Elvis Trivialities #3

/ TY / 12 Comments

Thomas correctly answered Elvis Trivialities #3. With a response time of five hours and twenty-six minutes, he becomes the latest member of The Mystery Train’s Night Riders and the proud new owner of a set of bragging rights.

And the answer is…

Having Fun With Elvis On Stage is the RCA album released during his lifetime on which Elvis quotes legendary Looney Tunes character Porky Pig (“…that’s all folks”).

RCA released this “talking album only” in October of 1974. Some people consider it to be Elvis’ worst album. These people obviously have never heard Roustabout.

Congratulations to Thomas!

The Mystery Train’s Night Riders

  • July 9, 2011: Thomas (5:26)
  • June 23, 2011: Fred Wolfe (0:18)
  • June 22, 2011: [Ty stumps the train]

Elvis Trivialities #3

/ TY / 2 Comments

Welcome to a new installment of Elvis Trivialities. Your question is:

On what RCA album released during his lifetime does Elvis quote legendary Looney Tunes character Porky Pig?

I have another mint in package set of bragging rights to the first person to post the correct answer in the comments below.

Sony releasing 5-CD boxed set celebrating 1956 – includes December 15 Louisiana Hayride concert

/ TY / 6 Comments

Today’s post was originally scheduled to be the conclusion of my coverage of Elvis Sings Guitar Man. Sony made a huge Elvis announcement today, though, so I’m shelving that piece for now.

Arriving on September 27 from Sony’s RCA/Legacy label, Young Man With The Big Beat features a plethora of 1956 material. For die-hard fans, the crown jewel of the 5-CD boxed set is the first-ever release of Elvis’ December 15, 1956, concert that marked the singer’s final appearance on the Louisiana Hayride radio program.

Only a portion of one song, “Hound Dog,” has been released from this show in the past. Based on that one song alone, I can tell you that we’re all in for one exciting ride.

The set can be pre-ordered at http://www.elvis.com/1956. From the press release, here is some additional information on a pre-order bonus:

Pre-order customers will also receive an exclusive replica vinyl 7” of Elvis’ first 45rpm EP for RCA Records. Sharing the same striking cover art as Elvis’ debut album, the EP features “Blue Suede Shoes,” “Tutti Frutti,” “I Got A Woman” and “Just Because.” This vinyl single is only available through this special website offer, and it will ship upon payment for the box set.”

Released the same day will be the Sony Legacy edition of Elvis Presley, which will be paired with Elvis.

Below is a full break-down of the Young Man With The Big Beat set, adapted from the press release and marketing material.

Disc 1: Studio Recordings

17 tracks recorded in New York, Nashville, and Hollywood, starting with the 12 songs on the debut LP, Elvis Presley (‘1254’), followed by non-LP single A-sides and B-sides, and EP tracks.

  1. Blue Suede Shoes
  2. I’m Counting On You
  3. I Got A Woman
  4. One-Sided Love Affair
  5. I Love You Because
  6. Just Because
  7. Tutti Frutti
  8. Trying To Get To You
  9. I’m Gonna Sit Right Down And Cry (Over You)
  10. I’ll Never Let You Go (Little Darlin’)
  11. Blue Moon
  12. Money Honey
  13. Heartbreak Hotel
  14. I Was The One
  15. My Baby Left Me
  16. Lawdy, Miss Clawdy
  17. Shake, Rattle And Roll

Disc 2: Studio Recordings

22 tracks recorded in New York, Nashville, and Memphis, starting with the 12 songs on the second LP, Elvis (‘1382’), followed by non-LP single A-sides and B-sides, and EP tracks.

  1. Rip It Up
  2. Love Me
  3. When My Blue Moon Turns To Gold Again
  4. Long Tall Sally
  5. First In Line
  6. Paralyzed
  7. So Glad You’re Mine
  8. Old Shep
  9. Ready Teddy
  10. Anyplace Is Paradise
  11. How’s The World Treating You
  12. How Do You Think I Feel
  13. I Want You, I Need You, I Love You
  14. Hound Dog
  15. Don’t Be Cruel
  16. Any Way You Want Me (That’s How I Will Be)
  17. Too Much
  18. Playing For Keeps
  19. Love Me Tender
  20. Let Me
  21. Poor Boy
  22. We’re Gonna Move

Disc 3: Live Recordings

Rare remasters of shows at the Frontier Hotel in Las Vegas (four songs); Little Rock, Arkansas (seven songs); and a recently discovered, previously unreleased concert in Shreveport, Louisiana, in December (ten songs).

Recorded Live At The Venus Room, Frontier Hotel, Las Vegas, May 6

 1.  Heartbreak Hotel
 2.  Long Tall Sally
 3.  Blue Suede Shoes
 4.  Money Honey

Recorded Live At The Robinson Memorial Auditorium, Little Rock, Arkansas, May 16

 5.  Heartbreak Hotel
 6.  Long Tall Sally
 7.  I Was The One
 8.  Money Honey
 9.  I Got A Woman
10. Blue Suede Shoes
11. Hound Dog

Recorded Live At The Hirsch Youth Center, Louisiana Fairgrounds, Shreveport, Louisiana, December 15

12. Heartbreak Hotel
13. Long Tall Sally
14. I Was The One
15. Love Me Tender
16. Don’t Be Cruel
17. Love Me
18. I Got A Woman
19. When My Blue Moon Turns To Gold Again
20. Paralyzed
21. Hound Dog

Disc 4: Outtakes

Four outtakes from the first historic RCA session in January (“I Got A Woman,” “Heartbreak Hotel,” “I’m Counting On You,” “I Was The One”), segueing into the complete session of February 3rd (11 takes of “Lawdy, Miss Clawdy” and 12 takes of “Shake, Rattle And Roll”); plus the first of the interviews – the complete Warwick Hotel (NYC) interview by Robert Brown in March.

  1. I Got A Woman – take unknown
  2. Heartbreak Hotel – take 06
  3. I’m Counting On You – take 13
  4. I Was The One – take 02
  5. Lawdy, Miss Clawdy – take 01
  6. Lawdy, Miss Clawdy – take 03
  7. Lawdy, Miss Clawdy – take 04
  8. Lawdy, Miss Clawdy – take 05
  9. Lawdy, Miss Clawdy – take 06
  10. Lawdy, Miss Clawdy – takes 07, 08, 09
  11. Lawdy, Miss Clawdy – take 10 (master)
  12. Lawdy, Miss Clawdy – takes 11, 12
  13. Shake, Rattle And Roll – takes 01, 02
  14. Shake, Rattle And Roll – takes 03, 05, 06, 07
  15. Shake, Rattle And Roll – take 08
  16. Shake, Rattle And Roll – takes 09, 10, 11, 12, 12 (undubbed master)
  17. The Complete Warwick Hotel Interview

Disc 5: Interviews

The Paul Wilder interview, plus his interviews with Colonel Parker and Oscar Davis; plus two segments of Elvis’ rarely heard candid monologue, “The Truth About Me,” and two advertisements for RCA Victrolas.

  1. The Complete TV Guide Presents Elvis interview
  2. Colonel Parker Interview
  3. The Truth About Me
  4. The Truth About Me Interview
  5. Victrola Radio ad 1
  6. Victrola Radio ad 2

Book

The focal point of the book, spread across its 80 pages, will be a unique, meticulously-researched, day-by-day chronology of Elvis’ iconic year, including every concert, every recording date, every television appearance, personal events in Elvis’ life, and much more. A dazzling photo array of memorabilia will illustrate each day and entry. Concert ticket stubs, RCA memoranda, letters from fans, postcards from Elvis to his family, tour itineraries, magazine covers and articles, trade charts, fan club relics, RCA publicity photos, concert photos, candid photos, and more will be a feast for the eyes and the imagination as 1956 unfolds.

Other Items

Will also include five rare 8×10 photographs, five original-size poster replicas, and a replica concert ticket stub.

* * *

I’ve lamented the seemingly constant focus on 1956 in the past. However, Elvis’ achievements in that year certainly cannot be overstated. This looks like a spectacular release, and the best part is that it’s on the mainstream label. This will certainly capture the attention of music critics and fans alike.

It wouldn’t be an Elvis boxed set without the inclusion of those four songs recorded live in Las Vegas on May 6, 1956, now would it? Those same performances, tracks 1-4 on Disc 3, have appeared on the following Elvis boxed sets:

  • Elvis Aron Presley
  • ELVIS: The King of Rock ‘n’ Roll – The Complete 50s Masters
  • Live In Las Vegas
The early to mid 1990s focused on decade boxed sets, while the late 1990s to early 2000s focused on outtake boxed sets. Will the 2010s become the decade of year boxed sets? Will success for this set mean that we’ll get a box for another year in the future? Who knows, but I can tell you one thing: Since 1977, there has never been a better time to be an Elvis Presley fan.