| AOS BACK-IN * ~ LIVING STEREO ~ Buta ra Eat Cy aaa ites teamed Peal ala eaeee Sl rt STEREO p Bilas) a asi) — NT AUC ae thyThis Limited Edition set pays tribute to the recordings Elvis made once he returned home from Germany in March 1960, after his stint as a soldier in the US army (1958- 60). These recordings were the first stereo recordings of Elvis issued to the public. The 6 CDs contain remastered tracks of the essential 1960 - 1962 master recordings, rare alternate outtakes - including material - and the complete personal home recordings Elvis made during the 1960s - all of which have now been cleaned, repaired, and restored, using the most sophisticated technology available. The book includes rare unpublished documents and photographs, supported by a comprehensive text discussing each of Elvis’ RCA studio (non-film) recording sessions held during 1960 - 62. Direction, Production and Compilation: Joseph Pirzada. Liner Notes: Gordon Minto. Design: Key Reape. 802019 Memphis Recording Service Limited. All rights of the manufacturer and ofthe owner of the remastered ‘works reserved. Unauthorised copying. hiring, lending, public Performance and broadcasting of the recorded work prohibited. Memphis Recording Service and al logos are registered trademarks in the £U. B28 orw.mnerphisrecordingservics.com AIM 14 0 al > raRstooso06s Peo ed LAL Tem 151 1o» March 1960: ColonélTom Parker and Elvis.ol. 02. 03. 04, 05. 06. 07. DISC ONE 4 MAKE ME KNOW IT 1:59 (o%s vacows SOLDIER BOY 3:05 (oon, Treodaro Wan) STUCK ON YOU 2:19 (avo FAME AND FORTUNE: A MESS OF BLUES 2:40 (ox rons Hort San) IT FEELS SO RIGHT 2:09 (¢resvrsnenesman) FEVER 3:32 doo daverort tse Costep LIKE A BABY 2:38 es sion) IT'S NOW OR NEVER 3:15 (uaa capi Axon Shrovder Waly old) THE GIRL OF MY BEST FRIEND 2:21 (sev nos, sam ots) . DIRTY, DIRTY FEELING (erry Leiber, Mike Stoller) THRILL OF YOUR LOVE (Stan Kesler) = GOTTA KNOW 2:1 6 (ea evans, axe wan) SUCH A NIGHT 2:59 (incow cras . ARE YOU LONESOME TONIGHT? (Lou Handman, Roy Turk) . THE GIRL NEXT DOOR WENT A-WALKING (Bil Rise, Thomas Wayno) |. | WILL BE HOME AGAIN (Bennie Benjamin, Rayr . RECONSIDER BABY SURRENDER |:54 (0c ro . MILKY WHITE WAY (Landers Coleman) (Arranged and adapted by Elvis Presley) HIS HAND IN MINE (Mosie Lister) | BELIEVE IN THE MAN IN THE SKY (Richard Howard) HE KNOWS JUST WHAT I NEED |. MANSION OVER THE HILLTOP’ |. IN MY FATHER'S HOUSE (Aileone Hanks) (Arranged and adapted by Elis Presley) ;. JOSHUA FIT THE BATTLE (Traditional) (Arranged and adapted by Elvis Presley) |. SWING DOWN SWEET CHARIOT (Traditional) (Arranged and adapted by Elvis Prestey) . I'M GONNA WALK DEM GOLDEN STAIRS 1:50 (cut, io IF WE NEVER MEET AGAIN 1:56 (anerce. rier) ). KNOWN ONLY TO HIM (Stuart Hamblen) WORKING ON THE BUILDING (Winifred ©. Hoyle, Lilian Bowles) PLAYING TIME 79 MINUTES~~ DISC TWO <~ | THE ESSENTIAL 1961-1962 MASTERS bi 1961 01. PM COMIN’ HOME 2:2 (chariie Rich) 02, GENTLY 2:16 (murray Wizell, Edward Lisbona) 03. IN YOUR ARMS 1:50 (Aaron Schroeder, Wally Gold) 04, GIVE ME THE RIGHT 2:33 (Fred wise, Norman Blagman) 05. J FEEL SO BAD 2:53 (chuck Wiis) 06, I'S A SIN 2:41 (Fred Rose, Zeb Turner) 07. J WANT YOU WITH ME 2:13 (woody Harris) 08. THERE’S ALWAYS ME 2:17 (Don Robertson) 09, STARTING TODAY 2:04 (Don Robertson) 10, SENTIMENTAL ME 2:32 (james T. Morohoad, James Cassin) 11, JUDY 2:1 | creday Redet) 12, PUT THE BLAME ON ME 1:57 (Frea wise, Kay Twomey, Norman Blagman) 13. KISS ME QUICK 2:46 (00c Pomus, Mort Shuman) 14. THAT’S SOMEONE YOU NEVER FORGET 2:48 (Rea west, tivis Presiey) 15, PM YOURS (Undubbed single master) 2:21 (Hal Baie, Don Robertson) 16. (MARIE’S THE NAME) HIS LATEST FLAME 2:07 (00 Poms, Mort Shuman) 17. LITTLE SISTER 2:31 (0c Pomus, Mort Shuman) 18. GOOD LUCK CHARM 2:25 (Aaron Schroeder, Wally Gold) 19. ANYTHING THAT’S PART OF YOU 2:04 (on Robertson) 20. MIGHT RIDER 2:09 (Doc Pomus, Mort Shuman) 1962 21. SOMETHING BLUE 2:58 (Paul Evans, Ai Byron) 22. GONNA GET BACK HOME SOMEHOW 2:29 (Doc Poms, Mort Shuman) 23. (SUCH AN) EASY QUESTION 2:19 (cris Blackwell, Winfield Scot) 24, FOUNTAIN OF LOVE 2:13 (pit Gian, et Lewis) 25. JUST FOR OLD TIME SAKE 2:09 (roy C. Bennett, Sid Tepper) 26. | FEEL THAT P’'VE KNOWN YOU FOREVER |:40 (Doc Pomus, Alan Jeffreys) 27. JUST TELL HER JIM SAID HELLO 1:55 (jerry Leiber, Mike Stoller) 28. SUSPICION 2:35 (Doc Pomus, Mort Shuman) 29. SHE’S NOT YOU 2:09 (Doc Poms, Jerry Leber, Mike Stoller) BONUS TRACKS 30. STEPPIN’ OUT OF LINE (with count-in) 2:00 (Fred Wise, Ben Welsman, Dolores Fuller) 31. PM YOURS (LP master - dubbed) 2:21 (Hal Blair, Don Robertson) [ALLTRACKS STEREO A> puarine Time 73 MINUTES <—DISC THREE 01. MAKE ME KNOW IT (Takes 2LFS, 8) 3:49 (Ov Blackwell) . MAKE ME KNOW IT * (Takes 14,16) . SOLDIER BOY (Take 11) 3:02 (Davia Jones:Theodore Wiliams Je) FAME AND FORTUNE (Take \FS x 4 & Comp) 3:05 (Fred Wise, Bn Weisman) . FAME AND FORTUNE (Takes 3F5, 6LFS, 7FS & Comp) FAME AND FORTUNE (Take 8) . FAME AND FORTUNE (Take 9FS & Comp) . FAME AND FORTUNE (rakes \OLFS, 11, 12LFS) . FAME AND FORTUNE (take 14) , A MESS OF BLUES * (Take 4LFS) 2:29 (Doc Pons, More Shuman) HE KNOWS JUST WHAT I NEED (Take 9) 2:16 (rosie Lister) . IN MY FATHER’S HOUSE (Talce 8) 2:03 (aitcone Hanks) (Arranged and adapted by Ehvis Presley) . IN MY FATHER’S HOUSE (Workpart Take 1) |. | WANT YOU WITH ME (Tryout) (Woody Harris) 15, THERE’S ALWAYS ME (Take 3FS) 0:51 (on Robertson) 16, PUT THE BLAME ON ME (Fakes 3FS,4FS) 1:01 (Fred Wise, Kay Twomey, Norman Blagman) 17. KISS ME QUICK (Take 2) (Doc Pomus, Mort Shuman) 18. KISS ME QUICK (Take 3) 19. KISS ME QUICK (Takes SLFS, 6) 20. KISS ME QUICK (Take 7) 21. KISS ME QUICK (Takes 8LFS, 9) 22. KISS ME QUICK (Take 10) 23. KISS ME QUICK (Take \1) 24, PIM YOURS (Take 5, Workparts Takes 1,2) 3:31 (Hal Bair, Don Robertson) 25, LITTLE SISTER (Takes \OLFS, 1 LFS) 2:04 (Doc Pomus, Mort Shuman) 26. FOR THE MILLIONTH AND LAST TIME (takes 35,4, 5FS & Comp) 5:13 (Roy C. Bennet, Sd Tepper) 27. FOR THE MILLIONTH AND LAST TIME (Takes 8, 9FS,1\FS) FS - FALSE START LFS - LATE FALSE START COMP - ALSO COMPLETE CONTAINS EXPLICIT LANGUAGE @ ty PLAYING TIME 79 MINUTES~~ DISC FOUR «~ Fa SELECTED ALTERNATE OUTTAKES 1961-1962 bi 1961 01. (MARIE'S THE NAME) HIS LATEST FLAME (Takes 7FS, 9FS) 1:19 (Ooc Pons, More Shuman) 02, ANYTHING THAT’S PART OF YOU (Takes 7FS, 3) 2:53 (Don Robertson) 03. J MET HER TODAY (Takes 3FS, SLFS, 6FS & Comp) 5:34 (Hal Biair, Don Robertson) 04. J MET HER TODAY (Takes \0FS, 11FS, 12FS, 13) 3:45 05. I MET HER TODAY (Takes 14, 1SFS & FS) 3:19 06. | MET HER TODAY (Takes 17FS,19FS LFS, 20LFS) 3:56 1962 07. GONNA GET BACK HOME SOMEHOW (Take 4) 2:40 (Do Pomus, Mort Shuman) 08, FOUNTAIN OF LOVE (Takes 1FS, 2, 3FS FS, 4LFS) 4:42 (Bi Giant. Joft Lewis) 09. FOUNTAIN OF LOVE (Takes SFS, 6) 2:47 10. FOUNTAIN OF LOVE (Takes 7FS, 8FS, 9) 3:17 11, JUST TELL HER JIM SAID HELLO (Tryout) 1:06 (erry Leiber, Mike Stotter) 12, JUST TELL HER JIM SAID HELLO (Take 3) 2:00 13, SUSPICION (Take 4 splice w end of Take 5) 2:46 (Doc Pomus, Mort Shuman) 14, SHE'S NOT YOU (Take 2FS & Comp) 2:44 (Doc Pomus, jerry Leber, Mike Stoller) 15, SHE’S NOT YOU (Workparts Takes |-3) 2:37 BONUS ALTERNATE TRACKS 1966 16, COME WHAT MAY (Take 1LFS) 2:28 (Franklyn Tableporter) 17, DOWN IN THE ALLEY (Takes 7, 8) 2:29 (jesse Stone) 18. STAND BY ME (Takes 3, 4, 5, 6, 7) 5:58 (Traditional: Arranged by Elvis Presley) 19, WITHOUT HIM (Takes 4FS, 7FS) 2:46 (syion LeFevre) 20, SOMEBODY BIGGER THAN YOU AND I (Takes 2, 4-10) 5:47 (Hy Heath, Sonny Burke, Johnny Lange) 21, SOMEBODY BIGGER THAN YOU & I(Workpart Ending Takes |- 4) 4:33 1967 22. GOIN’ HOME* (Mono) (Takes 3, 4, 5, 7, 10-14) 8:38 (Joy Byers) (all tracks are Elvis fooling around) MAINLY FALSE STARTS - VERY EXPLICIT LANGUAGE THROUGHOUT FS FALSE START LES - LATE FALSE START COMP- ALSO COMPLETE * CONTAINS EXPLICIT LANGUAGE (HES aus rnacts srenco excerr wnene moICATE PLATING TIME 79 MINUTES <—On 24 March 1958,at the height of his success, Elvis Presley, the world’s first superstar, was drafted into the US army. The impending event had been in the news for some months (his pre~ induction medical took place in January 1957) but when it actually happened it was a media frenzy: everyone saw and read about how he was processed by the army; saw him having his trademark hair shorn,and donning the uniform of a private in the US army. Following basic training in Texas, he was posted with his unit to Germany in September 1958 where he was stationed until early March 1960 - out of the public eye for almost two years, but not out of their minds. In the main, while in Germany, he was left alone to get on with his army duties apart from periodic photo opportunities. Significantly though, Elvis made no personal appearances during this time, nor did he undertake any formal work to do with his career. His manager, Colonel Tom Parker, had made that completely clear: neither the army - nor anyone else for that matter - would be getting any freebies. However, unbeknown to the public, Elvis sang and made private recordings while in Germany. Originally, these very basic home recordings - featuring Elvis, family members and friends - were thought to be entirely recreational, but later it turned out that Elvis was also trying out material that he would tackle once he vwas back home in the USA and free to record properly. As various letters show, Parker actively encouraged Elvis to do this, as he had already begun planning career moves for him ‘once he was discharged from the army. These home recordings - released recently on Made In Germany - revealed that his choice of material came from two main sources: songs he knew and liked, and material suggested to him by his music publishers, These private sessions (unreleased during his lifetime) had influenced the direction of Elvis’ post-army career, not only in the immediate aftermath of his discharge, but for several years after. Elvis’ discharge from the US army in March 1960 was as carefully stage-managed as his enlistment had been back in March 1958, choreographed down to the last detail from the point when his plane landed on US soil: Colonel Parker, took care of that ~ as he did most things. As for Elvis, his chief role in this scenario was to look good, be charming, cooperative, but suitably vague — something he had become highly adept at over the years. Elvis had almost perfected the art of seeming utterly transparent when answering questions yet without saying much - the lengthy interview he gave at Graceland on 7 March 1960 bears this out. Nonetheless, although never entirely comfortable as an interviewee, he handled the questions thrown at him with great skil humility, and a sense of humour. He was self- deprecating and charming, disarming the most hard-bitten journalists; yet there was no disguising his vulnerability or anxiety. After all, he had been away from the USA for eighteen months, his career had been maintained via re-issues and a meagre flow of new releases, along with re-runs of his first four films, but crucially he had not been around to publicise any of these things. It would have been highly unusual if he had not been terrified by what might - or might not - happen once he entered civilian life once again. Asked about his plans, he answered in generalities. Yet he must have known in detail what Colonel Parker had lined up for him while he was in Germany as they had been in regular contact throughout and Elvis’ consent and signature were necessary for any deal on offer. ‘And what lay ahead for the newly civilianised Elvis Presley was a quite intensive array of work ‘commitments ~ studio sessions, television, film work and, later, live performances in February and March 1961 Two things were certain: there was a game plan, and he was going to be very busy. » 7 March 1960: Elvis pictured during the press conference at his Graceland home following his discharge from the US army a few days earie 1G LR oa RCA RECORDING SESSIONS - STUDIO B, NASHVILLE, TENNESSEE 20 / 21 MARCH 1960 12 3/4 APRIL 1960 20 30 / 31 OCTOBER 1960 30 —~—O~— ‘4 ——e~o «52 —_—_—oOoO 60 18/19 / 20 MARCH 1962 64 OO SSSCOP'8 » 7 March 1960: Elvis pondering how best to answer fone of the many questions put to him during his press conference at Graceland,INTRODUCTION Clearly, once Elvis had settled in back home, become acclimatised with life as a civilian once again, held a press conference, caught up with old friends and family, the first order of the day was to visit a recording studio and make some music. RCA's Studio B in Nashville was the venue of choice - not only because of its close proximity to Memphis, but also because Elvis’ final studio session of the 1950s, held there in June 1958 when he was actually still in basic training, had proved successful in all respects: the overall vibe had been perfect, the musicians first class, and the music they made ‘great. Several hit records had ensued from this session. Therefore, it was a no-brainer. ‘As mentioned in the introduction, plans had been in place for Elvis to record as soon as was practicable: everyone concerned - his management and RCA - was anxious to get him into a recording studio as a matter of priority as there was a pressing need to capitalise on the publicity surrounding his discharge from the army. Additionally though, his last. single - ‘A Big Hunk ©” Love’ clw ‘My Wish Came True’ (47- 7600) - had been released as long ago as June 1959 and RCA was equally desperate to have some brand new material to ‘work with. Behind the scenes, the groundwork for this to happen had been laid earlier in the year when Colonel Parker had renegotiated Elvis’ record contract with RCA and various film companies - contracts that Elvis had agreed and signed, of course. The new contract pertaining to his record deal with RCA - superseding a deal that had been made back in October 1956 - was finalised in January 1960, though in turn that was further renegotiated and amended two. years later in 1962. Basically, the agreement was that Elvis would provide enough material so that RCA could release a minimum of eight sides (four singles) and two LPs per annum, the choice of releases to be by mutual agreement. Notably, this arrangement included film soundtrack material - a clause that would prove crucial as the years went by, especially as the number of non-film sessions reduced dramatically and, correspondingly, the number of film soundtrack sessions increased. Elvis's ‘management also agreed to provide previously unused photographic material for sleeves and jackets though, in every case, joint approval was required for their use. The modified agreement, signed in January 1962, consolidated these arrangements but also increased the record royalty rate from 0.75% to 1% and, at the same time, RCA agreed to pay advance royalties to Elvis and All Star Shows (Parker) - sums of $150,000 and $50,000 per annum paid in monthly instalments up until December 1966. In effect, these contractual agreements (along with those struck with various film studios) provided a road map for his post-army career for the foreseeable future - something that, although hugely profitable for several years, was eventually to become a millstone around his neck and almost ruin his career by the late 1960s. On 20 March 1960, Elvis and his entourage travelled by bus from Memphis to Nashville, arriving well in time for the first session which was due to begin formally around 8pm that evening. Backed by almost the same musicians who had supported him in June 1958 - but now joined by former lead guitarist, Scotty Moore, who served principally as bandleader during these sessions - Elvis readied himself for the task of resurrecting his career as a pop singer. The band — Nashville's so-called A-team = comprised Floyd Cramer on piano, Hank Garland on lead guitar, Bob Moore on bass,and Buddy Harman on drums. Saxophonist, Boots Randolph, was added to this line-up as of the April 1960 session. However, at Elvis's request, the studio band was complemented by two of his long-time sidemen: DJ Fontana doubling up on drums, while original lead guitarist, Scotty Moore, took on the rhythm guitar work, with the vocal accompaniment provided by The Jordanaires and soprano, Millie Kirkham, who had worked with Elvis back in September 1957 during the recording of Elvis? Christmas Album. Elvis knew most of these people very well and he liked familiarity - it made him fee! safe, Notably though, as had been the case from February 1958, former bass player, Bill Black, a founder member of Elvis’ original group, the Blue Moon Boys, had left Elvis’ employ under unhappy circumstances (he and Scotty felt a great deal of disappointment at the way they had been marginalised and treated since Elvis hhad hit the big time) and formed The Bill Black ‘Combo. Thus, apart from a couple of changes in personnel now and then, this was the core ‘of musicians who backed Elvis for the next few years, including his three live shows in 1961 and even on some of his soundtrack recordings in Hollywood. The specific brief was to record a new single and some material for an album.The notion that anyone — Elvis included ~ would set out to record a themed album (for anything other than a film soundtrack of course) seemed absurd and just not done at that time, With the exception of the gospel albums His Hand In Mine (1960) and How Great Thou Art (1967), Elvis’s non-film albums were really no more than a collection of songs with little regard for themes. Self-evidently, the material presented to him was diverse and, to a large extent, represented a major departure from what he had performed previously. Without question, everything he cut at the first sessions had been planned in advance (certainly, Freddy Bienstock, who worked for Elvis’ publishers Hill & Range, saw to that) and the necessary clearances made to ensure that the publishing ‘companies involved got their share of whatever he chose to record. The emphasis was on trying to avoid situations such as had happened frequently in the past where Elvis would simply launch into some old song he favoured, thus causing problems for his music publishers and ‘management who were most keen to get him to record only things they had some financial interest in. This development - not unique to his sixties’ output by any means, but now much more accentuated - was to prove a stumbling block time and time again whenever the issue of quality material arose. But it became a harsh reality and one Elvis could rarely escape from - as later events were to prove. OF course, the big question for everyone in attendance that first night was: did he still have the magic? Fortunately, despite some understandable nervousness and apprehension ‘on the part of his management, RCA personnel and,no doubt, Elvis himself at that first session, in next to no time he had picked up the reins of his recording career and thrown himself into the recording process with commendable Vigour, laying down a wide variety of material with consummate ease. Admittedly, he was helped enormously by the professional abilities of the stellar players and singers backing him up — all of whom made him feel at home ~ as well as presenting as a formidable musical ‘group. Additionally, there was an agenda,a clear plan of what he was to record so there were no real surprises. If there'd been anxieties on anyone's part before the sessions started then by the end no one had any doubt at all: Elvis was back!RADIO CORPORATION OF AMERICA @ xr March 1, 1960 Mr, Elvis Presley ¢/o Colonel Tom Parker P, 0, Box 417 Madison, Tenn eo Dear Mr. Presley: This will, effective January 1, 1960 amend your recording contract dated October 18, 1956,'as amended. 1, Section 2 of said contract shall be superseded in its entirety by the following paragraph: "Recordings will be made at recording sessions at mutually agreeable places and times, A minimum of eight (8) single record two (2) long i ‘Tho musical compositions to be recorded and the eleased of records shall be subject to mutual approval. Any musical composition recorded for motion pictures shall be considered a part of this agreement against the sight (8) single record sides and the two (2) long play records. 2, For each single record to be recorded and released and for each extended play record to be recorded and released you agree to furnish or cause All Star Shows to furnish us one @) black and white negative and one (1) color transparency of yourself not previously used and for each long play record to be recorded and released you agree to furnish or cause All Star Shows to furnisl (2) color transparencies of your- ly used for our use on each of the respective The negatives and color transparencies to be used shall be selected by mutual agreement. For the material furnished under this paragraph we will pay, for each remaining year of this contract, including 1966, to and in the name of All Elvis Presley Be March 1, 1960 Star Shows, $15,000. You agree to assist us and to cause All Star Shows to assit us in the promotion, publicity and exploit- ation of your phonograph records and in’ consideration therefor, on all sales of your records made after January 1, 1960 ve shail pay to All Star Shows 5/4 of 1% on the basis and in the manner Provided in Section 4 and 8 of said contract. 3. If, 4m addition to the two long play records pro- vided for in Paragraph 1 hereof, we mutually agree to record an additional one to be embodied in a De Luxe package, or to be marketed with extra features not customarily used with conventional type album packag will pay to All Star Shows $10,000. over and above the royalty provided in said contract, when each such albu is released. You agree to furnish us or to cause All star Shows to furnish us sufficient black and white negatives and color transparencies of yourself to be used in conjunction with each such additional album and to assist us and to cause All Star Shows to assist us in special promotion, publicity and exploitation of id albums. The negatives and color transparencies to be used LL be jected by mutual agreement. 4, | Section 4 of said contract ia amended by deleting tue words “and such paymonts uhall be charged against your royal- ties" from the last sentence thereof and be placing a poriod after the word "scale", Section 17 of said agreement is hereby deleted. 5. All advertising, promotional and publicity material shall be submitted to you or your designated representative for approval. If wou have not received written disapproval within fen (7) days after you or your representative has received the material, said material shall be deemed approved. We agree not to use your recordings in coujunction with the promotion or sale of products other than phonograph records without the written approval of you or your! representative. 6. In computing royalties there shall be a deduction for EP and LP sleeves, as 1 as for Mderal Excise and Local taxes, if any, on the same terms as we have done in the past. Very truly yours, RADIO CORPORATION OF AMERICA (RCA Victor Record Division) 7 > Ca cal ye YG ithies ‘oatsasl toesas 1 vine 2 Exclusive Manager of Elvis PresleyRADIO CORPORATION OF AMERICA RGA VIGKOR RECORD DIVINION January $, 1962 Mr. Elvis Presley Dear Mr. Presley: This letter will, effective January 1, 1962 amend your recording agreement with us dated October 18, 1956, as amended. 1, Section 2 of the March 1, 1960 amendment to said agreoment is hereby amended as follows: We hereby agree that the royalty payable to All-Star Shows shall be, effective on all sales nade by us after Jamary 1, 1962, 1% in lieu of the 3/4 of 1% provided therein. Fifty percent of said royalty shall be payable ‘to you and fifty percent of said royalty shall be payable to All-Star Shows. The royalty set forth above in this Section 1 shall be in addition to the advance royalty payments provided in Section 4 of this amendment, 2. Said agreement of October! 18, 1956, as amended, is hereby further anended as fdlows: You hereby grant us the Fight to release either two (2) single records consisting of two (2) single record sides each, or two (2) Extended Play records, consisting of four (4) single record sides each, on either 45 rpa or 33 1/3 ypm 7" records, in each year taken from records released im the United States through each of our licensees or affiliated companies, except Canada. Said right is in addition to the right te release the eight (8) single record sides and two (2) Long Play records in the form in which recorded under Section 2 of the March 1, 1960 amendment. ach such release shall be aubject to the approval of Colonel Thouas A, Parker on your behalf. 3, It de agreed that the non-returnable payments set forth in items (a) and (b) of Section 5 of said agreement of October 18, 1956 remaining unpaid as of January 1, 1962 equal $346,660.00 and that said amount shall be paid on or before January 10, 1962 as follows: $259,995.00 $0 Elvis Presley and 386,665.00'to All-Star Shows. Paynent of the foregoing amounts shall terminate our obligation with respect to the paynents provided in items (a) and (b) of said Section 5. Blvis Presley Page two January 3, 1962 4. Qn the first day of each month commencing Ji 1962 and continuing through Deceuber 1, 1966, inclusive, we shail make the folloving non-returnable advanc eu ties in 14 Section 5 of said agreonent. In all other respects, the terms and conditi agre Of October 18, 1056, a anended, shall romain in full sone seat effect. Bxclusive Manager of ELVIS PRESLEY Reyer baypad, LLL Di fnvthe ,_ The term of said agreement of October 15, amended, is hereby extended until December 31, 1966.) | ts against royal- ef tho payments provided in items (a) and (b) of Very truly yours, RADIO CORPORATION OF AMERICA (BCA Vieter Record Division) » LLB hb 7 W. W. BULLOCK Division Vice-President Market Services and Business Affairs| 20 / 21 MARCH 1960 bi The first song recorded - ‘Make Me Know It? - was written by one of Elvis’ favourite writers, Otis Blackwell, who had composed ‘Don’t Be Cruel’ and ‘All Shook Up’. It was a high-speed romp, despatched with great gusto and, much to everyone's relief, got the session off to a cracking start. But then, in great contrast, this was followed by the much more measured ‘Soldier Boy’, a do-wop song Elvis had been practising while away in Germany. He then tackled what had been earmarked as his first post-army single, ‘Stuck On You? (though allegedly he did not really care for it) turning in a powerful vocal performance nonetheless, before cutting the superior quality ballad, ‘Fame And Fortune’, a song he preferred, it seems. However, such was the urgency to record and release a new single in the wake of his discharge from the US army that RCA, in an unprecedented move, had already prepared the picture cover artwork for the single - at this point untitled and not recorded - and conveniently left a cut-out so that the track details on the label could be seen,as the sleeve did not include any specific track details other than the previously assigned catalogue number! The photos used on the single had been taken in Germany in May 1959 by photographer, Don Cravens, who had been commissioned by Colonel Parker to undertake the task while Elvis was still a serving soldier. Accordingly, once in the can, ‘Stuck On You’ clw ‘Fame And Fortune’ was rush- released as a single (47/61-7740) on 23 March. As Billboard had reported earlier in the month, although no one knew precisely what Elvis would record, the advance orders were phenomenal - and unprecedented. The RCA distributor who'd predicted, ‘I'll bet you it will be a rock tune on one side and a slow one on the other’, wasn’t wrong, either. The well- oiled RCA distribution machinery sprung into action and a million copies were pressed and distributed around the country as a matter of priority. No one had ever sold a million copies of a single in advance. Unsurprisingly, by the end of April the song had been riding high in the charts for weeks, reaching number one, a position it held for four weeks. Notably, Elvis performed both songs live on Frank Sinatra's Welcome Home, Elvis television show when it was filmed on 26 March and televised in early May 1960 — by which time the single had peaked in the charts, ‘of course. Uniquely though, they were the ‘only two songs Elvis promoted on national television for another eight years! Finally, the March recording session concluded with two bluesy items - Pomus and Shuman’s classic “A Mess Of Blues? and the blues- oriented ‘It Feels So Right’. As with a number of songs featured on what would be his debut LP since returning from Germany Elvis Is Back! (LSP/LPM 2231) and, subsequent to their original release, RCA chose to issue ‘It Feels So Right’ as the B-side of a new single later on 8 June 1965, coupled with “(Such an) Easy Question’ (47-8585), a track taken from the Pot Luck album (LSP/LPM 2523) released in 1962. Both songs had been selected for inclusion in the movie Tickle Me. And while the A-side fared reasonably well, peaking at number I in the charts, the B-side only managed to reach number 55. » May 1959: RCA publicity photograph taken by Don Cravens in Germany and used for the picture sleove of Elvis’ first post-army single release, ‘Stuck ‘On You’ clw ‘Fame and Fortune’, issued on 23 March 1960.| Fep-ioak (Sequence a/sa. 7 | KPS-3127(Sequence A/Ba. 1) Lmv2291 (12WP-1965) Side 1 Band 2 é 17-2231 (1207-1967 ile Rey 2 ee with the Jordenaires ‘with the dordmaires — FTP-1320 with the Jorimaires — FTP-1320 Elyo, Peele a ALVIS PRESLEY MUSID, INC. (B41) 0/sféo | 2829 ANT=T3I é 768-5052 ‘SWING DOWN SHEET CHARIOT (awranged & adapted by Elvis Presley) il {LPM-2328 (I2PP-U730) Side 2 Band 3 ||.a5ah (2aFr-729} Side 2 and 3 2328 (LOPVANT32) Side 2 Bar P2328 (731) Side 1 Band 2 1sP-2328 (2PT-W732) Side 2 Band 3 a eee sith the Jordmnatros with the Jordanaires 7 sie ap ws 1 Ha ‘50 AS Pane 3 p 1 PEP-1320 "HIS AND IN HOHE" MARCH 2° POS-1136 HIS HAND IN MINE...OCTOBER 196 i i 706-5052 HOW GRIT THOU ARE/AIS HAND TH HTM. 1s67 metas | » March 1962: Pili phto or he movie Gi! Gr Gi hen 2 France Suton Holy i shot was ured asthe rot cover ofthe single Joshua Fit The Battle’ cw ‘Known © Tesh was weds he _ ‘iw Known Only To Him? shen issued in mid- February 1966 on the Gold Standard label. Both tracks had been issued prev i h a album His Hand In Mine. vitiit ieee FrELVIS PRESLEY © rainc363 0/3/60 P6S-5052 1 ue even veer AoARH po ox 10 amt Laprerg 8 (i2er-iza\sisea Sant LP-2328 (L2PP-4730) Side 2 Band 5 _ | LLPH23: 4729) Side uaranee (aarr-4720} side 2 Pond ves sose |i tgpese? GgPrlfst) side 2 mand 9033. 1450 ‘ELVIS PRESLEY 1 ‘SLVIS PRESLEY vith the dordenctres ' va the res ‘Ane =1319 jFeess mig A STAMPS QUARTET MUSIC CO. (SESAC) | HILL & RAHOE SONGS, INC. (BMI) ara 7” r “Trane vie | w/njeo || a 705-5058 LPM/ISP 3758 CRYIWO IN THE CHAPEL 65-1218 ft) 2078/2. (ietde Clon) 7.0643 ER%-2328 (12P?-W730) Side 2 Band 6 L ansinand P66-5052 | |rsp-2328 (LaPY-l732) Side 2 Band 6 BLVIS PRESLEY RLVIS PRESLEY | anar-t319 ‘ATLL & RANOE SOMOS, INC. (BAI) | 0 EEE mae re, VALLEY PURLISHERS, INC. (BNE) LEADER &¢ GUITAR Ouiter W, Scott, Moome tT | i Diane fo DL, Fontan | " | Morrey Haran | Bass | Bob Moore Plime | Floyd Craver Elec. Guitar | Hank Garland Sex | Romer Randedph ' | Cartage Juundta Jones | rp-1g20 "HIS fa TH WERE MARCH 1966 IE, | i PO5-1136 ATS TARD N STORER 1966, | 85-1218 HOH GREAT THOU ART. Pee ns mt fa 10 OVERTDE AMARCH 1967 RELEASE » July 1963: Publicity shot taken at MGM studio in Hollywood for the movie Viva Las Vegas, filmed in 1963, but not actually released until 1964. However, this photo was used on the Gold Standard single ‘Milky White Way’ cw ‘Swing Down, Sweet Chariot?, issued on 15 February 1966. Both tracks had appeared on the album His Hand In Mine in 1960.ELVIS CRYING IN THE CHAPE » July 1963:Another pi| 12/13 MARCH 1961 bi ‘Almost exactly a year after he made his return to civilian life, Elvis was scheduled to attend another recording session in Nashville, once again with the prime objective of recording more material both for single release and another secular album, at this point unnamed. Alll the principal personnel who'd attended his last couple of sessions in Nashville were, once again, in attendance, On this occasion though, the material selected represented a broad sweep of ballads and rhythm tracks - indeed that is how the resulting album was eventually marketed. Strangely enough, despite the huge success achieved by songs such as ‘It’s Now Or Never’, ‘Are You Lonesome Tonight?” and ‘Surrender’, there were no songs featuring out-of-copyright melodies, or any classic love songs from the past recorded at this session. Instead, the material chosen steered a very safe, middle-of-the-road course, with a couple of notable exceptions.Also, most of the ballads were newly written. The session opened with a very tailored version of Charlie Rich’s ‘?m Coming Home’, noteworthy for its fine sound balance and a beautifully executed guitar break by the ‘exceptional Hand Garland. It was a powerful start to the session and the song would have made a classy single release. On the next song — the quaint and aptly-named “Gently” this time Garland’s expertise on the acoustic guitar was very much to the fore. Meanwhile ‘in Your Arms’ (another submission by the Schroeder / Gold team who'd provided the English lyrics to ‘It’s Now Or Never”), was a comfortable but undemanding song which presented no one with any issues at all and ‘was completed in two takes, complete with pleasant though unremarkable sax solo by Boots Randolph. However, ‘Give Me The Right’, another new song, did exhibit some of the bluesiness found on the Elvis Is Back! session the year before, and once again the stellar band ‘of musicians made short shrift of it which ensured that it was in the can by take 4. Following a short break, the band then threw everything they had at Chuck Will's ‘ Feel So Bad’ —a stunningly uninhibited track, quite unlike anything else on the session or, indeed, anything he had recorded previously. It had classic written all over it. However, in sharp contrast, the pace slowed dramatically with the next song - the sweet and sincere, ‘It?s A Sin’, another song that demonstrated Elvis beautiful voice control at this time and one that he despatched with consummate ease. Then it was back to something more raunchy - the up-tempo ‘1 Want You With Me” which was reminiscent of ‘Trouble’ in places with its stop /start rhythms, Elvis, just as much at ease with raucous rock songs as gentle ballads, also made short work of this song and had it nailed by the second take. Howey: the next song attempted — Don Robertson's carefully crafted ‘There’s Always Me’ - took a little more time and effort to complete, an indication not only of the demanding nature of the song (like many Robertson songs it tested Elvis’ vocal range to the full, especially the semi-operatic ending), but also Elvis’ desire to do it complete justice. Nonetheless, by take 10 they had a master in the can and, after another break, began working on the second Robertson song submitted, ‘Starting Today’, completed in three takes, was breeze compared to ‘There’s Always Me? but vwas, nevertheless, a wonderful rendition of an achingly beautiful song of lost love With three songs left to record, the pleasantly plodding but vocally undemanding ‘Sentimental Me’ was quickly knocked off in two takes. The penultimate song, Teddy Redell’s melodic and neatly nuanced ‘Judy? took a little more time, however, but by take 8 it was in the can, leaving only the free-spirited and sexually suggestive ‘Put The Blame On Me’ to be sorted out. But by take 5 that too was in the can — Elvis and his band were BT ee aa eon es CaM ne bcc c ert mere UAC ako the flm Wild In The Country. This image was used as the cover shot for the album Something For Every- Eevee acl f*6 in perfect synch and they all turned in yet another great performance that everyone was justifiably proud of. Once the eleven hour session concluded (during which Elvis had completed twelve masters), RCA had its next A-side single lined up - | Feel So Bad? clw ‘Wild In The Country? (47-7880) - featuring a publicity shot from the movie Flaming Star and taken at Twentieth Century-Fox by Frank Powolny in August 1960. However, issued on 2 May 1961, the pairing failed to replicate the huge success of the previous single releases and only reached number 5 and 26 respectively in the US charts, though when issued in the UK the sides were reversed and ‘Wild In The Country? actually topped the charts. The latter song was the title track from ‘Twentieth Century-Fox’s recent movie, a relative flop at the box office when compared to the hugely successful G.1. Blues. Meanwhile, as regards the cleven songs remaining from the March session, this time there was no desperate urgency to rush-release the album. However, it was compiled and sequenced quite deliberately into a ballad and rhythm side - thus making it a very early themed album - though RCA was still one track short for a twelve track LP. Hence the decision to include yet another song recorded for the movie Wild In The Country, the medium tempo but bland song, ‘I Slipped, I Stumbled, | Fell’, tagged on as the closing number of the album. Something For Everybody (ISP/LPM 2370) = deliberately so titled in order to capitalise ‘on Colonel Parker's aim of broadening Elvis’ appeal - was issued on 19 May 1961. It was a classy but controlled album, excellent in its own right, but lacking the sharp creative edge that had characterised Elvis Is Back! released a year earlier. Nonetheless, it was well-received by fans and critics alike and very quickly topped the album charts, helping to make up for the relatively poor showing of Mis Hand In Mine LP though its healthy sales still failed to match the phenomenal success of the soundtrack album G.l. Blues or, indeed, the next soundtrack album, Blue Hawaii (LSP/ LPM 2426), released in October 1961. The Something For Everybody album cover featured another Frank Powolny photo, this time taken at Twentieth Century-Fox studios in November 1960, as part of the publicity shoot for the movie Wild In The Country. In keeping with RCA's practice of not including singles on albums, nothing else was released from the Something For Everybody album until several years later. However, following a run of fairly unsuccessful single releases, on 8 August 1967, RCA, desperate for original material to release, culled ‘There’s Always Me? chw Judy? (47-9287) from the album. Although a strong and classy pairing of two exceptionally good songs, the single bombed, not even managing to get into the top fifty. It was a sign of the times. Meanwile Ebi’ fin creer hd continued to pick up its ace, and on 21 March 1961 he reported to Paramount in Hollywood to begin a film that would forever shape ‘and influence his image and reputation as an actor and singer thereafter - the movie Blue Hawaii. Prior to the start of flming, Elvis recorded no fewer than fifteen songs, most of which were featured in the film and appeared! (on the soundtrack album. Unusually, the soundtrack even spowned the hugely successful double A-sided. single ‘Can't Help Falling In Love’ civ ‘Rock-A- hula Baby? (47-7968) which when issued on 21 November 1961, went on to hit the number one spot ‘around the world, Meanwhile the album Blue Hawali (LSP LPM 2426), set soles’ records at new heights, even exceeding those of G.l. Blues. That fact did not go unnoticed by RCA or Elis’ management and helped reshape the approach to Elvis's career both as a singer ‘and movie star. eo, Tiger “ | OF tape ar | Sa | ot i i t Hone | os as i | (DT now ORE. i | | i -——— ) 37 16 pa san a 1s 8 ra Ma REEL... eee OKRA eee Arisaema ao } Oe 1m oa, iON SPECIAL IMMER VACKT DEMANDNosnwisiey Tanne 600 ex - 9300 PH ELVIS FRES! pO? ALU D wesco567 * 3/12/60 Paap i) navinose8 3ft2/6 PRODUCER: Stove sholoa || “PRODUCER: Steve stone ' LPN/LSP-2370 P8S-1137 -PS-5Ok2 LPM/LSP-2370 —P8S-1137 POS-50k2 emp-2084 I'M COMIN HOME aces OEWTLE (Gharlic Rich) i (Murray \leel1-Fduard Lisbona) 033 1426 ELVIS PRESLEY ELVIS PRESLEY with the Jordenaires | with the Jordanaires EET ad (OD org gery so Sronore MUSIC | 203 PRODUCER: Steve Shole | 3/r2/ a PRODUCER! Stave Sholei PWISP-2310 we-1084 IN XOUR ARS (Aaron Schrosder-Wally 002d) FEP-1084 GIVE MB THE RIOT (Fred wiew-Morman #agasn) 285-1137 288-50h2 ii : |} resers7 ean eS PRESS | Frei D with the Jordanaires | with the Jordanaires | OLADYS MUSIC, ING. (ASCAY) OLADYS MUSIC, INC. (ASCAP) Leader-Oultar | Wo Saott Moore Matthews, Meal Jr. Drama 1 Dian ree a fiugn 0. Stoker * | Murrey lNernan (ly widows 3 kowrs) Hoyt H. Bawkine ! Bass | Bob Moore Raynood Cy Walker Piano Froyd Craner i Mildved Kirkham Sex Homer Randodpt Otter Hank Ourtand Uy/ise-2370 SoeaTHD. YOR EYERYBCOT FTP-L084 Cartage | Juanda Jenow 1 r8s-1 1137 SOMETHING FOR EVERYBODY...OCTORER 1966. “FRANKIE AND JOHNNY" ... SOMETHING FOR EVERYBCDY . OCTOBER 1966. Engineort BAM Portor » 25 August 1960; Publicity shot from the Twentieth Century-Fox movie Flaming Star (taken by Frank. Powolny in Hollywood), and used as the cover shot for the single I Feel So Bad? clw ‘Wild In The 48 Country’, issued on 2 May 1961| oe Washvatiey Tears 9:30 PH bee HWA 2S BLIe PRESIET POP ALBIN ‘Stove Sholes D seeses7i 3/22/61, ash zinenOS72 © wn2/6x ela PRODUCER! Stave Sholew ~""pRonuoEite “Steve Stolee 47/37-7880 APSF B76 ‘LPM/ISP-2370 OO Te aay PAN ag heen Tore) (Chee vin240) res-1097 || res-1137 Pas-5oh2 033 1425 HLVIS PRESLEY HLVIS PRESIBY | with the Jordanaires sivis Proatey Muste Ine, BM i BERKSHIRE MUSIC, THC. (SNE) \ MEME WN Laseary wanedeiy Aa i yaaa an LPW/IBP237O ———~=«éPRODUCERY Stave Sholes || rEM/tap-2370 FROOUCER: Stowe cholea EP-1084 |) FEP-2084 yay ou vr Woody Warris) — r9s-sol.o | p8s- ‘THERE'S ALWATS ME a 65-1137 785-501 785-1137 MaE'S ALWATS IE Fa-soha BLVIS. PRESLEY with the Jordmatres ELVIS PRESLEY wath the Jordanatres OLADYS MaSIC IWC, (ASCAP) Matvews, Weal Jr, Hugh 0.” Stoker ee . 13 widaoe3 hourol. Wage H) tontet ne, LeadursGusvar "We" Seoce Hone a on eater Gutter | Mamie Oar rand np Drose 0, J Foatana i ‘spared Raine " | Murrey Hamean Bare Bet 006 LPW/ISP-2370 SOMETITING FOR Plo? Tied Cramer PIP-108 « pears Sax tomar Rando} so rei TER 1966, FRANKIE AND JoiDOY BTRING FOR EVERYBODY ...OCTORER 1966 7% o Engizeor! BA21 Porter POS-1057 ELVIS’ GOLD RECORDS, Vol. 3. -SEPIENBER/OCTORER 1965 RELEASE » February 1966: Publicity shot taken at MGM in Hollywood for the movie Spinout. This photo was. used on the cover of the single ‘There’s Always Me’ clw ‘Judy? — two tracks cut in March 1961 and 50 originally featured on the album Something For Everybody.82 i 25 / 26 JUNE 1961 bi The primary aim of this session was to cut a single release. However, Elvis actually recorded five songs, though it was still his least productive Nashville session to date. The session commenced early evening - Elvis’ preferred time. Backed by the same musicians who had worked with him since his first post= army session in March 1960, and featuring the same engineer - Bill Porter - working the board, it was simply a question of picking up where they had left off in March. Nominally, RCA’s Steve Sholes and producer Chet Atkins were in charge but in reality Elvis more or less produced his own sessions. But there were some slight changes. Two new, but important, songwriters were represented at this session - Doc Pomus and. Mort Shuman. They had written the classic ‘Save The Last Dance For Me’ but this was their first crack at getting material to Elvis The first of their offerings was the strident and Latin-flavoured ‘Kiss Me Quick? - actually a much better song than its title implied, Ie wasn't the easiest song to sort out but by take 12 they had their master: The next song though couldn't have been more different in terms of theme or mood, Submitted by Elvis’ friend, Red West, and based on a title Elvis had suggested ~That’s Someone You Never Forget? - was a melancholy, introspective ballad that everyone worked hard to get the right feel for, though by take 8 they had a master: But by now it was the early hours of the morning and they still had a single to cut! However, before doing so, Elvis insisted on recording the Don Robertson / Hal Blair love song ‘I’m Yours’, a superior ballad rejected for inclusion on the Blue Hawaii soundtrack. Elvis' performance was flawless and it only took six takes to get a basic master. But Elvis wanted to overdub his own harmony vocal, so it took longer to finalise and achieve a composite master Then it was time for the main item on the agenda - Pomus and Shuman’s ‘(Marie’s the name) His Latest Flame’. The tentative early takes reveal how much work went into this song though by take 8 it was utterly transformed into a powerful rhythmic track, complemented by Elvis’ superb vocal work. Its instantly recognisable Bo Diddelly- type intro made it a perfect choice for radio play. Last up was the duo's ‘Little Sister’, a gutsy rock song driven hard by Hank Garland on a Fender, rather than his customary Gibson, guitar. By take 4 it was in the bag, much to ‘everyone's delight. Notably, The Jordanaires did not sing on either song. Released in August 1961, (Marie’s the name) His Latest Flame’ clw ‘Little Sister’ (47-7908) became Elvis’ third single release of the year: Unlike its predecessor, the double A-sided release (unusually featuring two up-tempo tracks) hit number one in countless countries. Meanwhile, ‘Kiss Me Quick’, ‘That’s Someone You Never Forget? and ‘I'm Yours’ — were shelved for almost a year before being included on the album Pot Luck (LSP/LPM 2523) released on 18 May 1962. Several years later though, ‘Kiss Me Quick? clw ‘Suspicion’ surfaced as an A-side single in April 1964 (447-0639), when it peaked at number 34. However, when RCA decided to couple ‘I’m Yours? with ‘(It’s a) Long Lonely Highway’ (47-8657) in August 1965, it fared better and the A-side reached number II. Less successful though was the decision to use ‘That’s Someone You Never Forget? as the B-side to ‘Long Legged Girl’ (47-9115) — taken from the Double Trouble soundtrack - in April 1967. It failed to get into the top fifty. On 2 July 1961 Enis cut the movie soundtrack for Follow That Dream in Nashville, probably because he was _oing tbe fiming in Florida and t seemed foolish to travel all the way to Holywood to record the short soundtrack Ie was the first time he had recorded any film material outside of Hollywood. As usual, Elis was accompanied by the legendary A-ceam at Studio & though sad, this session ‘marked the last occasion guitar supremo Hank Garland would play on an Elvis session os he was badly injured in «© road traffic accident shorty afterwards and was unable to play professionally again, ieth Century-Fox movie Fla d for the single “(Marie's the ister’ issued on BAugust 1961._, W259. a/1SP-2523 FIST * KISS ME QUICK 268-1138 (Doe Pomus-Yort Shuman) #8S-5004 ELVIS presse with the Jordansines © zanussa,_Gladye Manto, Inoe _(A5CAP) Elvis preaiey Musto, Ino. (WT) ee : oh PRES OTE Fmt aW15°-2523 rust ! Ne Minx. 37-7908 | one Git (inawt-aos) (Don soberteon) -Hal Blair) (Ooo vememntort stoma) “7 Oe JZ 105-3657 Sears ors nasust FTP BY, 022-408) Boots Randolph | Neal Matthews (last 2 sessions} Hugh 04 Stoker (1 sepeton) — | t FOr Lick. .ocroseR 1966 i Ris-solh ELVIS 1H Biue MAW PLUS For HUCK. .ocTOIRR 1966. Qreineer: wun porter | | Raynond C. Walker | O20 te wae RCAYICTOR 4 en @ 980 Tite ae a @ 2651 a yy HS @) veNashvetic eee Pood, ingles ‘gp7-063: | KM be 27 EY 31-790 i 7A Poe Esrse (Mawl- | | (ove Fomue-tort Shaman) 7" 4) ELVIS PRESLEY Elvis Presley Music, Ino. (WHE) _| woRMIATICH xe ) For personnel see Pg; X 85-1057 |ELVIS' GOLD RECORDS, Vol. 3..SEPTEMBER/OCTOBER 165 RELEASE o » January 1963: This photograph, from the Fun In Acapulco publicity shoot held at Paramount Studio in January 1963, was used for the picture sleeve cover for the single ‘Pm Yours? c/w ‘(It’s a) 56 Long Lonely Highway’ released on 10 August 1965.[Reactor Tec] ELVIS SINGS IW THE ALLIED agrisrs 4SRPM | | cee Me” | I'M YOURS | (rs a) LONG LONELY | HIGHWAY BLVIS.. ©: Ene THAT’S SOMEONE YOU NEVER FORGET © SOON “DOUBLE. COMIN » February 1966:This photograph, from the Spinout publicity shoot at MGM in Hollywood, was used as the picture sleeve for the single ‘Long Legged Girl (with the short dress on)’ c/w ‘That’s Someone ‘You Never Forget? and released on 25 April 1967.The B-side had been included on the album Pot Luck, 58 issued in May 1962.Co q 15 / 16 OCTOBER 1961 bi ‘As had happened in June, this short session was also limited in terms of the number of songs tried out and completed. While the main body of the studio band remained the same as before, another Nashville luminary, Jerry Kennedy, now replaced ace lead guitarist, Hank Garland, tragically injured in a road accident and no longer able to do session work. Scotty Moore assumed the role of session leader but also doubled as rhythm guitarist. Again, the primary objective of this session was to get a single release. The first song to be recorded though was Tepper-Bennett’s ‘For The Millionth And The Last Time’, Rhythmically, it was reminiscent of ‘Kiss Me Quick’, but was much more delicate in tone - innocuous even — though beautifully performed. Nonetheless, it still took 12 takes to achieve a satisfactory master. However, when it came to ‘Good Luck Charm? (written by Aaron Schroeder and Wally Gold, who had penned the English lyrics for ‘It?s Now Or Never’), the song identified as a single, everyone breezed through with complete ease and it was in the bag by take 4. Truthfully though, it made almost no vocal or artistic demands on Elvis at all — he could have sang it in his sleep! = but did possess a reasonably catchy tune and an easy, rolling charm that made it a perfect choice as a single at the time. More demanding though was the Don Robertson ballad ‘Anything That’s Part Of You? and it seems reasonable to suggest that Elvis preferred this song, as he seemed to have an affinity with the tender, adult lyrics that characterised much of Robertson's work Melodically, it exuded an aching tenderness and, Elvis’ sensitive vocal was never more sweet and controlled though took ten exacting takes to get it perfect. It was a similar story with the next song tried out after a break. It was yet another Robertson composition, the altogether more vocally challenging ‘I Met Her Today’. It too was characterised by a lovely soaring melody, counterpointed with intelligent lyrics that most people could identify with. However, unlike ‘Anything That’s Part Of You’, Elvis struggled somewhat to get his part right, especially as the bridge tested his vocal range to the limit. And even after 18 takes, no one seemed very happy with the outcome. But by this time, it was the middle of the night and it was time to move ‘on to the last item on the agenda, Pomus and Shuman's ‘Night Rider’, taken at a manically fast pace.Although completed by take 3, it had not worked out as imagined — it all seemed too rushed and a bit messy - so it was shelved and rectried at the March 1962 session. Crucially though, RCA had its next. single in the can — ‘Good Luck Charm’ c/w, ‘Anything That’s Part Of You’ (47- 7992) which was issued as a single in February 1962 and went on to be a number one record around the world. And despite reservations about it, the last track cut, ‘Night Rider’ secured a place on the album Pot Luck (LSP 2325) issued on 18 May 1962, though not before Elvis had tried re-cutting it at the March 1962 session. Eventually, although no one was very happy with either version, they opted for the earlier cut. However, the other songs cut at this session fared less well though. Two! of them ~ the pleasant but unremarkable ‘For The Millionth And The Last Time’ and ‘1 Met Her Today’ lay in the vaults for a couple of years until they were dusted off and used on the tenth anniversary album release Elvis For Everyone! (LSP 3450) released in July 1965. Elvis’: movie commitments were getting increasingly demanding and, the following week, on 26 ~ 27 October 1961, prior to filming the movie Kid Galahad Elvis was obliged to record the soundtrack material, though this time the venue wos Radio Recorders (a studio in Hollywood where he had recorded quite « lot of material in the 1950s), Truthfully, the quality of the material on offer was mediocre at best - much the same as that which hhe had recorded for the movie Follow That Dream. However, this short session marked the las time Elvis was in a recording studio until March 1962. It had been a productive year though: Elvis had recorded 49 songs - 22 originals and 27 film soundtrack songs! Pcl RAO gE Pithavs Part Let(6 ~ 9 anlkgsgo-rzssom o/s wonnse, rasses (24 RGSS Ey SAVES SIAMST with eho Joxiaizee BOP ss sasB 2:04"! teaii-2003 10/is/e ‘Spero shores | 2 BIne ‘MILLICOTH AND THE LAST TIMS GOO LUCK CHARH 7 P9F 2 Gley Beuate = Bid Tepgan) xes-hoT3 ‘(aren Sehrooder ~ willy oad} Y taani-1807) 783-1057 Wy. o6ab 173-5019, 4 ELVES FRESE 033 Ategvrs ras a) > (Sek the Jordmaires — ~ (eh the Jordazaires ea Gladya Music, Hus. (ASCAP) | ‘Pebdbdert/Stoap- Shaker: fet EGTA ne hE an (oon Ba Wau 1208, POS-1057 Yh T-06386 Marrey ( Gordon Bee coed tah maww-1002) Juanita Jones i ‘TPB-5019 ELVIS FOR EVERYONE. susan 6 axcbase ve 18) ‘AUGUST 1965 Tem ic ! | Accordian only? Mawi-1002(us other tnstreneats) ; clarinet | (sexeas above | Ho masts ‘MZWw-1O05 — —: HES-loep EIS" cot wecoang, Vai; 3 serena ot 1965 RETEASE §S-1078.ELVIS FOR EVERY’ TANUARY we ‘RELEASE“4 | 18/19 / 20 MARCH 1962 bi Although by this time Elvis’ record release schedule was becoming increasingly dominated by film soundtrack material, the idea of recording songs for a new studio album was still very much in play. So when Elvis attended Studio B on this occasion, the remit was still to cuta new single release, though the expectation was that he would also record more songs for an album. In fact, over two nights’ recording Elvis cut eleven songs — though one of them, ‘Night Rider’ was actually a remake of a song tried out back in October 1961. By now, the set up in the studio was very familiar to Elvis though there were a couple of personnel changes: two eminent Nashville guitarists - Harold Bradley and Grady Martin = were brought in to take the place of Jerry Kennedy, and to beef up the sound. Otherwise, it was business as usual. The material selected though was quite reminiscent to what he had recorded the year before for the Something For Everybody album - in that it was mannered and marked by an increasing ‘maturity of sound, which some people thought bordered on bland, though most of it was original. The first song recorded was ‘Something Blue’, a gentle song about unrequited love that many people could identify with, and after some playing around to get the right tempo and feel, take 7 became the master. However, in sharp contrast, Pomus and Shuman's ‘Gonna Get Back Home Somehow’ thundering but moody rocker, performed with great panache by all concerned. There was lots going on in the mix but all of it was relevant. By take 7 it too was in the bag. Next up was the ‘Otis Blackwell / Winfield Scott contribution = the supercool and laid back “(Such an) Easy Question’ which Elvis delivered in an intimate, mildly suggestive manner, mustering several of his well-known tricks throughout. It was a winner and it took only five takes to get a suitable master. was a vocal But then it was back to the Latin-flavoured material that had become quite common at Elvis’ sessions, with a song entitled ‘Fountain OF Love’ written by Bill Giant (who co- penned many other Elvis songs as time went on) and Jeff Lewis. While not being an outstanding song, Elvis’ vocal performance was majestic and the song was lifted immeasurably by Grady Martin’s exquisite Spanish style guitar work and by take 10 they had the master in the can, ‘Just For Old Time Sake’, was written by the Tepper-Bennett team who had written a number of songs for Elvis. This grand ballad, with its beautiful melody, echoed a familiar theme about missed opportunities and second chances. Needless to say, Elvis sang it with consummate ease, complete with trademark’ vocal inflections. That too only required five takes to complete. Attention was then drawn back to a song cut at the previous session in October 1961, Pomus and Shuman's ‘Night Rider’, which no one had been fully satisfied with at the time. However, try as they may - and despite working through another five takes, only two of them complete - inspiration deserted them: no one came up with any fresh ideas as how best to approach the song, or and give it that something extra everyone felt it needed. However, as the session drew to a close, one of the very few songs Elvis is known to have played some real part in writing ‘Youll Be Gone? co-written by buddies Red West and Charlie Hodge - was recorded. Whether or not it was because Elvis had been closely involved in its development and felt self-conscious about it, they only committed a few takes to tape with take 3 becoming the master: Sadly, despite a passionate and full-blooded vocal performance by Elvis, counter-pointed by some exemplary acoustic guitar work, this song lay unused for some time, It deserved better: » July 1961:Another publicity shot taken at United Artists in Hollywood for the movie Follow That Dream and used as the front cover of the album Pot Luck, issued in May 1962.Nashville, Tenn. SRRES PRAGLEY With The Jordensises odes aps/a POST. pReduedte | sve elles” ; TW/isr-2523 || LEN/ISP-2523 someeme a.ue rust COMA of RACK nee SOASEOW (Zand vans = AL Byron) 785-1138 | (oc Poaus ~ Mort Shusen) 88-50, 85-1138 785-50 } suvrs Pros 033 1410, | BEVIS PRESLAT leh Zhe Jordanaires ‘with The Jorfanaires Gladys Musto, Ine. (ASCAP) i | seca, Kiva Prodtey Huai, Taos (BE) ee FOUNTAIN OF LOVE (Otis Mlackvoll ~ Winfield scott) | (BELL Ghant ~ Jet? Levia) 83-1138 PB5~50K tena ig STEREO LP’s | MONAURAL LP's Bete = | o'f * { vooms Pao iirect.? sidep” Xivia Preley t r Hoyt He Hawicios Natl Matthews 6. ‘Stoker Fiagh i | | | Mildred Kirkhan 85-1138 ELVIS IN FO? LUCK. .,0cTOBER 1966 | °85-50l% ELVIS IN BLUE HAWAII PLUS POT LUCK ... OPTORER 1966.On the evening of 20 March, everyone reassembled in Studio B to finalise recording the last few songs lined up. ‘I Feel That ve Known You Forever’ was a co-write between Doc Pomus and someone called Alan Jeffreys. It was delicate and unusual love song, unlike anything Elvis had cut before, and the choral effect of Elvis and The Jordanaires singing in unison was charming. Take 5 became the master. Next up was the Leiber-Stoller song ‘Just Tell her Jim Said Hello’, not written specifically for Elvis, but perfect for him in every way, exemplifying his super-sweet vocal range at that time in his career. And while it took a little while to work up a suitable arrangement and tempo, by the time they laid down take 6, this song was being talked of as possible A-side. Ironically, so too was the next recording, Pomus and Shuman’s the highly infectious ‘Suspicion’, yet another Latin- influenced song about jealousy and imagined infidelity, dramatised incredibly well once again by the effective use of acoustic guitars and a near pitch-perfect vocal from Elvis. It too screamed out that it was single material. The master was achieved by splicing take 5 with a work part. However, if ‘Suspicion? was a delight then the last song recorded, ‘She’s Not You’, a Pomus-Leiber- Stoller collaboration, was sublime, a timeless love song with a honey-sweet melody, sung to perfection by Elvis. It may not have been rock ‘n’ roll but it was classic early sixties’ pop music. The problem facing RCA and Elvis was which of these songs most deserved to be issued on a single? Unusually, they were spoilt for choice, but choose they had to. ‘Once the sessions concluded, work started on constructing the new album. RCA had material from several sessions to draw from. Three of the tracks lined up (‘Kiss Me Quick’, ‘That’s Someone You Never Forget’ and “?m Yours’) dated back to the June 1961 session.And despite collective misgivings about ‘Night Rider’, the October 6! version was selected for inclusion too. The bulk of the tracks though - seven of them - were drawn from the March °62 session, with the exception of the two tracks now earmarked for single release (‘She’s Not You’ and ‘Just tell Her Jim Said Hello’), while ‘You'll Be Gone’ was shelved for now, and the second version of ‘Night Rider? was discarded in favour of the earlier recording, destined not to be issued until long after Elvis died. Oddly though, as had happened with Something For Everybody, when Pot Luck was compiled there was still one track missing to make it a twelve track LP. However, strangely, rather than. select one of the unreleased masters from one of the recent studio sessions (and there were several suitable candidates to choose from at the time), the decision was made to dust off an unreleased song from the Blue Hawaii soundtrack session, held in March 1961. ‘Steppin’ Out Of Line’, an up- tempo rocker (complete with its I Got A Woman?’ slowed-down ending) had originally been scheduled to be included in the film, but, when the scene in question was cut from the final edit, it made sense to delete the song from the soundtrack album too, especially as Blue Hawaii was 14 track album — Elvis’ longest to date. When released in May 1962, the album was called Pot Luck (LSP 2523) - which was not only a play on words but strongly resembled the title of the previous studio album, Something For Everybody. It sold moderately well - sales were said to be around 300,000 after the first year, though this was nothing when compared to the sales of Blue Hawaii - but it only managed to get to number 4 in the album charts. This time, however, there was no artifical distinction between the ballads and the more upbeat material included as there had been on Something For Everybody. The songs seemed to be sequenced randomly in order to offer a range of moods and genre. In fact, everything about it - including the all- ‘embracing title, of course - said middle-of-the- road, which is precisely how it was conceived and marketed of course! Unfortunately, as it did not feature any recent or current hit single Grace eerie 1. treet eer a ee er eaten NeoPa aa Cee acy Pe are) Dra ees eCicics ora) Cee ates} °NASHVIELE, TENN. SSSIAY Eth The Jordennirce S67 ) we/co 2:07" aaxv.oseo apsfee wo wsrat | Prodkecrt Gecve moles Ena fara, Pevtcaect Steve shales i rP-1337 Lew/15P-2523, ‘LEW/LSP-2523 ¥xP-1137 S8St FOR CLD TIM SAKE TORT RIDER (iia topper + dey comets) (Gee Poems ~ art Shucan) 765-1138 PBS-5o4h 033 41409 88-1138 P8s-5o¥4 | wis meus namig Psu teh tho Joreasctzes ie tho Jonanaires caedye taste, Tie. (act) Nans.0502. afs/ee 2220: ete ‘Producer: Stove wholes . i se aw/15P-3338 rao YOU'LL BS CONE ae i (Red Wost ~ Elvio Pronley Charlie Heawe)| | eee ELVES PRESET ' ) With ‘tho Jordanaires Mule Presley tiusic, Ine. (Dit) a (sae eas ae SAME AS PAGE wo, J8-1138 POT LUCK. .OCTOBER 1966. J8-50b4 ELVIS IN BIE HAWAII PLUS POT LUCK...OCTORER 1966, © mw/tAP-3338 OTR HAPPY APRIL 1965 (ships 3-26-65) PERU NFA 2965 (ae 53-65) ¥85-1016 GIRL HAPPY, .SSPIEMBER/OCTOBER 1965 REIEASE at » March 1964: Publicity photo taken at Paramount Studios for the movie Roustabout, and used subsequently for the cover of the single (Such an) Easy Question’ ciw ‘It Feels So Right’ released on 8 June 1965. Both tracks had been issued previously on the albums Pot Luck (1962) and Elvis ls Back! (1960) respectively. 0and remember this was a deliberate company policy - this lessened the album's appeal to the general public. Shortly afterwards, in July 1962, RCA issued the single ‘She’s Not You’ clw ‘Just Tell Her Jim Said Hello’ (47-8041), but surprisingly, despite being high quality material, it failed to hit the number one spot in the USA, peaking at number 5, though internationally it did rather better. In fact, this marked a watershed in terms of single success for Elvis as his previous single ‘Good Luck Charm? dw ‘Anything That’s Part Of You’ was his last US number one until ‘Suspicious Minds’ c/w ‘You'll Think Of Me’ (47- 9764) in August 1969. In the interim period, Elvis’ singles increasingly did less well chart- wise, though this wasn't just confined to non-film material either, it marked a general decline in his popularity and overall record sales. However, in one respect this was hardly surprising as none of the material recorded was promoted personally by Elvis, either by live or television appearances. The only way any recorded material was publicised was via the medium of film. Subsequent to the release of Pot Luck, the company was forced to revisit this session in search of suitable material years later. Having rejected the idea of ‘Suspicion’ being a single, RCA had to watch while singer Terry Stafford took it into the US top ten. RCA\s belated response was to use the track as the B-side of the Gold Standard release ‘Kiss Me Quick? (447-0639) in April 1964, at which time only the A-side managed to scrape into the top thirty.As for You'll Be Gone’, it lay unused for a few years until it was selected as the Brside of ‘Do The Clam’ (47-8500) - taken from the movie Girl Happy - in February 1965. It was also used as the bonus song on the soundtrack album of the same name. The single only managed to reach number 21 in the charts. Later, in June 1965, RCA issued “(Such an) Easy Question’ c/w ‘It Feels So Right” (the latter recorded back in March 1960 and featured on Elvis Is Back!) as both songs had been featured in the movie Tickle Me. They peaked at I! and 55 respectively. But then RCA issued a five track EP the following week entitled Tickle Me (EPA 4383) which included 4 Feel That I've Known You Forever’, ‘Slowly But Surely? (from the May '63 session), ‘Night Rider’, ‘Put The Blame On Me’ (from March 1961) and ‘Dirty, Dirty feeling? from April 1960. In turn, this was followed up by another single release in August 1965 - I?m Yours? clw «(It’s a) Long Lonely Highway’ (47- 8657). However, the A-side was actually the undubbed version of the song (presumably issued accidentally) and the latter dated from May 1963. Fortunately, this coupling did slightly better and the A-side reached number I in the charts, Significantly, all tracks used in the film had been previously issued but had been selected carefully by Colonel Parker and Elvis as none had appeared on singles before. This was a move by Parker to help out the cash-strapped film company involved (Allied Artists) while at the same time getting extra mileage (royalties) from re-using back catalogue material In March and August 1962 respectively, Ehis undertook extensive soundtrack session forthe fms Grist Girist Girls! and lt Happened At The World’s Fair, each recorded in Hollywood. Thereafter, he did not retum to.a recording studio until januery 1963 when he recorded the soundtrack from the movie Fun in Acapulco, the fist of three film soundtracks he would record that year. >» October 1963: Publicity photograph taken at MGM for the movie Kissin? Cousins and later used for the cover of the single ‘There's Always Me? clw ‘Judy? released on 8 August 1967. Both tracks had appeared on the album Something For Everybody back in 1961 eeeeS re a a oe afsjee nse mannose Ate ~frocmwor: Steve: skeles. ae ‘steve Bholes uaw/1sp.2523 6 9-/ 3h Pest | oor EL ary 47- P04 To enaeccaeeantesses «BR Tyler derey tieber) 447-0687 oe Poms ~yaGR SEEDY ‘Aan Jetrreys)! PO5~1297 a 033 1408 29S RUST 1 With ths Jervanctves ! ~ Producers Bt | Len sh ayer wa LL Lpw/15P-2523 ants nor 200 447-0637 (Boo Porus - Mert Stuman) (Doc Pomus-Mike StollerJerry Lieber) 768-1138 POS-5Oll 86-1138 » ETP - a2 BaNS PRET 1xES Puasa ‘With The Jordansires Kvie Prealey Music, Xoo. (Bi) ake Presley tneic, Ino. (12m) — ‘onder § Guitar, ar, & Vibes 18 POT LUCK... .OCTORER 1966. Bijae SN Siue MME Pus FO LUCK, ..oGTORER 1966, Ue/iSP-290) BDVIG" OLD RECORDS -VoL.W, «FEB. 1968 REIEASE 785-1297 BLVIS"GOLD RECORDS..VOUIME 1. .FEB 1960 a : ™ » June 1964: Another publicity photograph from MGM Kissin? Cousins and used as the cover shot for the single ‘Do The Clam’ c/w ‘You'll Be Gone’, released on 9 February 1965.The B-side, recorded back in March 74 1962, was previously unreleased.4aSRPM ELVIS x revert (SUCH AN) EASY QUESTION / fs 0 RIGHT From the ALLIED ARTISTS Picture"Tlekle Me" COSTE a tina e “Bee ELVIS PRESLEY oe) IH aSRPM [nesMasron [et JUST TELL HER JIM SAID HELLO SHE'S NOT YOUbi (On completing the March '62 non-film session, Eivis made no further studio appearances to record non-film material until May 1963. This latter session marked a watershed in his recording career of the early 1960s, despite having enjoyed major success with most of his, original recordings. From this point on until the late 1960s, Elvis focused almost exclusively on making movies - and their attendant soundtracks: there were no live performances and Elvis could only be seen via the medium of motion pictures. While the May "63 sessions produced 14 masters, no album was released, as the overcrowded record release schedule would simply not allow it. Only one single was issued from this session - (You're the) Devil In Disguise’ c/w ‘Please Don’t Drag That String Around? (47-8188) - and the remainder of the songs were released sporadically over a period of years, either as B-sides, or more commonly used as bonus tracks for the short-running soundtrack albums. In fact, the practice of including what became known as ‘bonus tracks’ actually started in late 1963 when two of the songs cut in May 1963 were added to the soundtrack album Fun In Acapulco (LSP 2756). Quite simply, the pressure of having to record swathes of material for film soundtracks ‘meant that there was litle, if any, time for Elvis to record alternative material, even if he had wanted - or been advised - to do so. Besides, there was a real practical issue to consider: why continue to record non-film material when the release schedule (synced with Elvis's contractual obligations to RCA) was being fulfilled by film soundtrack material? If there were ever any plans to issue an album of original material from the May '63 session, they were shelved permanently - making it the first year since his discharge from the US army that Eivis had not issued at least one original album. The number of times Elvis recorded original material fell dramatically between May 1963 and January 1969. He attended only one brief non-film session in January 1964, producing only three songs, two of which he'd already tried out at the May °63 session. Over two years elapsed before he next undertook any original sound recordings. But when he returned to Nashville in May 1966 it was to record the gospel album How Great Thou Art (LSP 3758) - along with a few secular items for single release. Another short session followed in June 1966, but that only produced a handful of songs. His next studio session took place over a year later in September 1967 - at which time he cut another half dozen songs, primarily for single release. In January 1968 Eivis recorded two more original songs. Of course, he had not been inactive in the interim period: he was regularly in the studio (mainly in Hollywood, though not exclusively) recording movie soundtrack material, almost all of them spawning either an LP or EP soundtrack Elvis was now filming at least three films a year and most of them featured between 10- 12 tracks. However, it was difficult for him to record quality material when most of the stuff he had to record was written especially for a scene in some inconsequential movie. It wasn't until January I February 1969 that Elvis re- focused on his singing career when he attended several recording sessions at American Sound studio in Memphis. A new chapter had begun Released in June 1969, the resultant album, From Elvis In Memphis (LSP 4155) became his first new studio album of secular material since Pot Luck (LSP 2325) in 1962. It marked another major turning point and, once his film commitments ended in March 1969, Elvis was free to re-calibrate his career, signing up to perform live in Las Vegas as of 31 July 1969. Elvis was back - again! » 31 July 1969: After completing his movie obligations, Elvis made his return co live appearances at The International Hotel in Las Vegas. He is pictured here at the press conference held after the first show.20 id BACK-IN fy ‘ LIVING STEREO 2 MASTERS ECORDINGS RARE OUTTAKES & HOME All of the sound recordings have been remastered and restored using the most _ sophisticated technology available to achieve the best possible sound for these original recordings. However, priority has been given to the historical content of the material Direction, Production and Compilation: Joseph Pirzada ‘Audio Restoration and Remaster: Studio D Liner notes: Gordon Minto Design: Kev Reape Associated Producer: Joseph A Tunzi A special thank you to Gary Dilworth, Patrick Janssen, Anthony Stuchbury and Séren Szameitat for the invaluable assistance during production. 462019 Memphis Recording Service Limited. All rights ff the manufacturer and of the owner of the remastered works reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of the recorded wor Prohibited. Memphis Recording Service and all logos are registered trademarks in the EU. www.memphisrecordingservice.com. es (EEG ransioosooes_— ~~ PC THE 1960 HOME RECORDINGS (Elvis with Nancy Sharp & Red West) ol. (Incomplete) 0:45 (Richard Rodgers, Oscar Hammerstein) 02. (Takes 7FS, 3) 2:29 (Richard Rodgers, Oscar Hammerstein) 03. (Reprise) 2:54 (Albert Hay Malotte, Richard Rodgers, Oscar Hammerstein I) 04, 2:48 (Dar Hutchins) 05. (Incomplete) 0:33 (C. Gabriel Battersby, Charles H, Gabriel) 06. 1:43 (Jerome Kern, Oscar Hammerstein I) 07. 1:32 (Felice Bryant, Boudleaux Bryant) 08, (#1) 2:24 (Harry Owens) 09. (#2) 2:35 10. (Reprise) 2:05 i (Incomplete) 1:37 (Jack Pitman) 12. 2:48 (Leon René) 13, HE 1:48 (ack Richards, Richard Mullen) 14, 1:06 (Jay Meshann) 15. (Incomplete) 0:30 (Lloyd Price) BONUS TRACK (Probably 1961) 16, (Anita Wood Calls Elvis Presley) * 25:26 ‘CONTAINS EXPLICIT LANGUAGE TRACKS 01-09 IN STEREO TRACKS 10-16 IN MONO Ge PLAYING TIME 53 MINUTESDISC SIX ECORDINGS ie ia. (Elvis with Red West, Charlie Hodge & friends) . (Gob Nota) . HIDE THOU ME (ROCK OF AGES) (#1) 1:04 (thoro Harris, LR. Tolbert) . HIDE THOU ME (ROCK OF AGES) (#2) 5:00 IT'S NO FUN BEING LONELY 1:37 (rea west . SAN ANTONIO ROSE | :30 (eo wiis) ). TENNESSEE WALTZ (#1) ). TENNESSEE WALTZ (42) . PVE BEEN BLUE 0:54 (Reawest) . MARY LOU BROWN 2 |. MOONLIGHT SONATA 2:19 (Lucwig van Becthoven) |. BLUE HAWAN 0:41 (.20 Robin, Ralph Ranger) 5. OH HOW I LOVE JESUS: (#1, #2) 3:35 (Frederic wheel) . I, JOHN (Incomplete) 0:25 (Wiliam johnson, George McFadden, Philip Brooks) EARLY 1966 (Elvis with Red West & Charlie Hodge) 17. WRITE TO ME FROM NAPLES (Acetate) 2:36 (jimmy Kennedy, Alex Alstone) 18, MY HEART CRIES FOR YOU (Acetate) 1:47 (Car Sigman, Percy Faith) 19, DARK MOON (Take 1) (Acetate) 3:20 (Ned miter) 20. DARK MOON (Take 2) (Acetate) 2:53 MID 1966 (Elvis with Red West & Charlie Hodge) 21, INDESCRIBABLY BLUE 2:42 (Darreti Gienn) 22. FOOLS RUSH IN 1:55 (johnny Mercer, Rube Bloom) 23. IPS A SIN TO TELL A LIE 2:3\ (pity Mayhew) 24, WHAT NOW MY LOVE (# 1) 2:17 (Giver Bécaud, Pierre Delano’, Carl Sigman) 25. WHAT NOW MY LOVE (#2) 2:4 26. FIVE HUNDRED MILES (#1) 2:58 (Hedy West) 27. FIVE HUNDRED MILES (# 2) 3:00 28. BLOWIN’ IN THE WIND (# 1) 2:05 (Bob Dylan) 29. BLOWIN? IN THE WIND (#2) 2:46 LATE 1966 (Elvis singing with Charkie Hodge playing piano) 30. SUPPOSE (# 1) 3:01 (syvia Deo, George Goehring) 31. SUPPOSE (# 2) DECEMBER 1956 1034 Audubon Drive, M (Chis wth Bobby ‘Red’ West & Arthur Hooton) 32. WHEN THE SAINTS GO MARCHING IN | :22 ¢vraa) [ALL-TRACKS MONO - EXCEPT TRACKS 9, 15,2 & 26IN STEREO ae > Purine tine 7 minutes