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Elvis Presley - Anthology (2020)
Elvis Presley - Anthology (2020)
The ultimate digitally remastered collection from the original RCA Records Label® master
tapes, featuring the very best of Elvis’ studio, concert and informal recordings.
To call Elvis a cultural icon is to shortchange him. He is THE cultural icon. Years after his
untimely death on August 16, 1977 it was still unclear how history would judge Elvis Presley,
but now it’s no exaggeration to say he is regarded not only as the ultimate Rock ‘n’ roll icon,
but the embodiment of American popular music in the latter half of the 20th Century. Elvis is
not only inextricable from so much that surround us, but his unprecedented level of
achievement is still the benchmark by which artistic success is measured.
As early as 1956, the search was on for someone who would become the next Elvis Presley,
but now we know better: There’ll never be another Elvis. One day maybe someone might
score more hits, maybe even sell more records, but they’ll never be Elvis. No one will single-
handedly change the way we think about popular music the way Elvis did.
Elvis Presley - Anthology goes beyond the established master recordings, and documents
the invaluable “music-making” of the world’s most successful recording artist. It chronicles
the outstanding career of Elvis Presley from a unique perspective, allowing us to follow his
career almost on a session-by-session basis.
Each track presented here has been digitally remastered from the best possible sound
source to ensure state-of-the-art sonic quality. It symbolizes years of work, research and
technical proficiency and reflects the commitment to restore and preserve this most valuable
of all contemporary music legacies. The sound varies due to tape source, but every effort
has been made to achieve optimum sound quality; however, priority has been given to
historic content.
Elvis Presley - Anthology tells a truly fascinating and different story, it’s not just about his
several hundred million record sales worldwide, nor about the Rock ‘n’ roller turned Pop star
and certainly not about the activities of his non-musical private life. This collection is a unique
testament to the broad scope of his career and the vast musical legacy of the singer, the
performer, the greatest recording artist of all time…
Elvis Presley may be the single most important figure in American 20th Century
popular music. Not necessarily the best and certainly not the most consistent. But no one
could argue with the fact that he was the musician most responsible for popularizing Rock
‘n’ roll on an international level. Viewed in cold sales figures, his impact was phenomenal.
Dozens upon dozens of international smashes from the mid ‘50s to the late ‘70s, as well as
the steady sales of his catalog and reissues since his death in 1977, may make him the
single highest-selling performer in history.
More important from a music lover’s perspective, however, are his remarkable artistic
achievements. Presley was not the very first white man to sing Rhythm & Blues; Bill Haley
predated him in that regard, and there may have been others as well. Elvis was certainly the
first, however, to assertively fuse Country and Blues music into the style known as
Rockabilly. While Rockabilly arrangements were the foundations of his first (and possibly
best) recordings, Presley could not have become a mainstream superstar without a much
more varied palette that also incorporated Pop, Gospel, and even some bits of Bluegrass
and operatic schmaltz here and there. His 1950’s recordings established the basic language
of Rock ‘n’ roll; his explosive and sexual stage presence set standards for the music’s visual
image; his vocals were incredibly powerful and versatile.
Unfortunately, to much of the public, Elvis is more icon than artist… Innumerable bad
Hollywood movies, increasingly caricatured records and mannerisms, and a personal life
that became steadily more sheltered from real-world concerns (and steadily more bizarre)
gave his story a somewhat mythic status. By the time of his death, he’d become more a
symbol of gross Americana than of cultural innovation. The continued speculation about his
incredible career has sustained interest in his life, and supported a large
tourist/entertainment industry, that may last indefinitely, even if the fascination is fueled more
by his celebrity than his music.
Elvis Aaron Presley was born to Vernon and Gladys Presley in a two-room house in Tupelo,
Mississippi, on January 8, 1935, in the heart of Depression. His twin brother, Jessie Garon,
was stillborn, leaving Elvis to grow up as an only child. He and his parents moved to
Memphis, Tennessee in 1948, where he absorbed the vibrant melting pot of Southern
popular music in the form of blues, country, bluegrass, and gospel. Elvis graduated from
Humes High School there in 1953. After graduating from high school, he became a truck
driver, rarely if ever singing in public.
Some 1953 and 1954 demos, recorded at the emerging Sun label in Memphis primarily for
Elvis’ own pleasure, helped stir interest on the part of Sun owner Sam Phillips. In mid-1954,
Phillips, looking for a white singer with a black feel, teamed Presley with guitarist Scotty
Moore and bassist Bill Black. Almost by accident, apparently, the trio hit upon a version of
an Arthur “Big Boy” Crudup blues tune, “That’s All Right,” that became Elvis’ first single.
Elvis’ five Sun singles pioneered the blend of R&B and C&W that would characterize
Rockabilly music. For quite a few scholars, they remain not only Elvis’ best singles, but the
best Rock ‘n’ roll ever recorded. Claiming that Elvis made Blues acceptable for the white
market is not the whole picture; the singles usually teamed Blues covers with Country and
Pop ones, all made into Rock ‘n’ roll (at this point a term that barely existed) with the pulsing
beat, slap-back echo, and Elvis’ soaring, frenetic vocals. “That’s All Right,” “Blue Moon Of
Kentucky,” “Good Rockin’ Tonight,” “Baby, Let’s Play House,” and “Mystery Train” remain
core early Rock classics.
The singles sold well in the Memphis area immediately, and by 1955 were starting to sell
well to Country audiences throughout the South. Presley and The Blue Moon Boys (Moore
and Black) hit the road with a stage show that grew ever wilder and more provocative, Elvis’
swiveling hips causing enormous controversy. The move to all-out Rock was hastened by
the addition of drums. The last Sun single, “I Forgot To Remember To Forget” b/w “Mystery
Train,” hit number one on the national Country charts in late 1955. Presley was obviously a
performer with superstar potential, attracting the interest of bigger labels and Colonel Tom
Parker, who became Elvis’ manager. In need of capital to expand the Sun label, Sam Phillips
sold Presley’s contract to RCA in late 1955 for 35,000 dollars; a bargain, when viewed in
hindsight, but an astronomical sum at the time.
This is the point where musical historians start to diverge in opinion. For many, the whole of
his subsequent work for RCA - encompassing over 20 years - was a steady letdown, never
recapturing the pure, primal energy that was harnessed so effectively on the handful of Sun
singles. Elvis, however, was not a purist. What he wanted, more than anything, was to be
successful. To do that, his material needed more of a pop feel; in any case, he’d never
exactly been one to disparage the mainstream, naming Dean Martin as one of his chief
heroes from the get-go.
At RCA, his Rockabilly was leavened with enough Pop flavor to make all of the charts, not
just the Country ones.
At the beginning, at least, the results were hardly any tamer than the Sun sessions.
“Heartbreak Hotel,” his first single, rose to number one and, aided by some national
television appearances, helped make Elvis an instant superstar. “I Want You, I Need You, I
Love You” was a number one follow-up; the double-sided monster “Hound Dog” b/w “Don’t
Be Cruel” was one of the biggest-selling singles the industry had ever experienced up to
that point. Albums and EP’s were also chart-toppers, not just in the U. S., but throughout the
world. The 1956 RCA recordings, while a bit more sophisticated in production and a bit less
rootsy in orientation than his previous work, were still often magnificent, rating among the
best and most influential recordings of early Rock ‘n’ roll.
Elvis’ (and Colonel Parker’s) aspirations were too big to be limited to records and live
appearances. By late 1956, his first Hollywood movie, “Love Me Tender,” had been
released; other screen vehicles would follow in the next few years, “Jailhouse Rock” being
the best. The hits continued unabated, several of them (“Jailhouse Rock,” “All Shook Up,”
“Too Much”) excellent, and often benefiting from the efforts of top early rock songwriter Otis
Blackwell, as well as the emerging team of Jerry Leiber and Mike Stoller. The Jordanaires
added both Pop and Gospel elements with their smooth backup vocals.
Yet worrisome signs were creeping in. The Dean Martin influence began rearing his head in
smoky, sentimental ballads such as “Loving You”; the vocal swoops became more
exaggerated and stereotypical, although the overall quality of his output remained high. And
although Moore and Black continued to back Elvis on his early RCA recordings, within a few
years the musicians had gone their own ways.
Presley’s recording and picture careers were interrupted by his induction into the Army in
early 1958. There was enough material in the can to flood the charts throughout his two-
year absence (during which he largely served in Germany). When he re-entered civilian life
in 1960, his popularity, remarkably, was at just as high a level as when he left.
One couldn’t, unfortunately, say the same for the quality of his music, which was not just
becoming more sedate, but was starting to either repeat itself, or opt for operatic ballads
that didn’t have a whole lot to do with Rock. Elvis’ rebellious, wild image had been tamed to
a large degree as well, as he and Parker began designing a career built around Hollywood
films. Shortly after leaving the Army, in fact, Presley gave up live performing altogether for
nearly a decade to concentrate on movie-making. The films, in turn, would serve as vehicles
to both promote his records and to generate maximum revenue with minimal effort.
For the rest of the ‘60s, Presley ground out two or three movies a year that, while mostly
profitable, had little going for them in the way of story, acting, or social value.
While there were some quality efforts on Presley’s early ‘60s albums, his discography was
soon dominated by forgettable soundtracks, mostly featuring material that was dispensable
or downright ridiculous. In time he became largely disinterested in devoting much time to his
craft in the studio. The soundtrack LP’s themselves were sometimes filled out with outtakes
that had been in the can for years (and these, sadly, were often the highlights of the albums).
There were some good singles in the early ‘60s, like “Return To Sender”; once in a while
there was even a flash of superb, tough Rock, like “Little Sister” or “(Marie’s The Name) His
Latest Flame.” But by 1963 or so there was little to get excited about, although he continued
to sell in large quantities.
The era spanning, roughly, 1962-1967 has generated a school of Elvis apologists, eager to
wrestle any kernel of quality that emerged from his recordings during this period. They also
point out that Presley was assigned poor material, and assert that Colonel Parker was
largely responsible for Presley’s emasculation. True to a point, but on the other hand it could
be claimed, with some validity, that Presley himself was doing little to rouse himself from his
artistic stupor, letting Parker destroy his artistic credibility without much apparent protest,
and holing up in his large mansion with a retinue of yes-men that protected their benefactor
from much day-to-day contact with a fast-changing world.
The Beatles, all big Elvis fans, displaced Presley as the biggest Rock act in the world in
1964. What’s more, they did so by writing their own material and playing their own
instruments; something Elvis had never been capable of, or particularly aspired to.
They, and the British and American groups the Beatles influenced, were not shy about
expressing their opinions, experimenting musically, and taking the reins of their artistic
direction into their own hands. The net effect was to make Elvis Presley, still churning out
movies in Hollywood as psychedelia and soul music became the rage, seem irrelevant, even
as he managed to squeeze out an obscure Dylan cover, “Tomorrow Is A Long Time,” on the
“Spinout” soundtrack album in 1966.
By 1967 and 1968, there were slight stirrings of an artistic reawakening by Elvis. Singles like
“Guitar Man,” “Big Boss Man,” and “U.S. Male,” though hardly classics, were at least genuine
Rock ‘n’ roll that sounded better than much of what he’d been turning out for years. A 1968
television special gave Presley the opportunity he needed to reinvent himself as an all-out
leather-coated rocker, still capable of magnetizing an audience, and eager to revisit his blues
and country roots.
The 1969 album “From Elvis In Memphis” was the first LP in nearly a decade in which
Presley seemed cognizant of current trends, as he updated his sounds with contemporary
compositions and touches of Soul to create some reasonably gutsy late ‘60s Pop/Rock. This
material, with hits like “Suspicious Minds” and “In the Ghetto,” returned him to the top of the
charts. Arguably, it’s been overrated by critics, who were so glad to have him singing Rock
again that they weren’t about to carp about the slickness of some of the production, or the
mediocrity of some of the songwriting.
But Elvis’ voice did sound good, and he returned to live performing in 1969, breaking in with
weeks of shows in Las Vegas. This was followed by national tours that proved him to still be
an excellent live entertainer, even if the exercises often reeked of show-biz extravaganza.
(Elvis never did play outside of North America and Hawaii, possibly because Colonel Parker,
as it was later revealed, was an illegal alien who could have faced serious problems if he
traveled abroad.) Hollywood was history, but studio and live albums were generated at a
rapid pace, usually selling reasonably well, although Presley never had a Top Ten hit after
1972’s “Burning Love.”
Presley’s 1970’s recordings, like most of his ‘60s work, are the focus of divergent critical
opinion. Some declare them to be, when Elvis was on, the equal of anything he did,
especially in terms of artistic diversity. It’s true that the material was pretty eclectic, running
from Country to Blues to all-out Rock to Gospel (Presley periodically recorded Gospel-only
releases, going all the way back to 1957). At the same time, his vocal mannerisms were
often stilted, and the material - though not nearly as awful as that ‘60s soundtrack filler -
sometimes substandard. Those who are not serious Elvis fans will usually find this late-
period material to hold only a fraction of the interest of his ‘50s classics.
Elvis’ final years have been the subject of a cottage industry of celebrity bios, tell-alls, and
gossip screeds from those who knew him well, or (more likely) purported to know him well.
Those activities are really beyond the scope of a mini-bio such as this, but it’s enough to
note that his behavior was becoming increasingly instable. His weight fluctuated wildly; his
marriage broke up; he became dependent upon a variety of prescription drugs. Worst of all,
he became isolated from the outside world except for professional purposes (he continued
to tour until the end), rarely venturing outside of his Graceland mansion in Memphis. Colonel
Parker’s financial decisions on behalf of his client have also come in for much criticism.
On August 16, 1977, Presley was found dead in Graceland. The cause of death remains a
subject of widespread speculation, although it seems likely that drugs played a part.
An immediate cult (if cult is the way to describe millions of people) sprang up around his
legacy, kept alive by the hundreds of thousands of visitors who make the pilgrimage to
Graceland annually. Elvis’ memorabilia, much of it kitsch, is another industry in his own right.
Dozens if not hundreds make a comfortable living by impersonating the King in live
performance. And then there are all those Elvis’ sightings, reported in tabloids on a
seemingly weekly basis.
Although Presley had recorded a mammoth quantity of both released and unreleased
material for RCA, the label didn’t show much interest in repackaging it with the respect due
such a pioneer. Haphazard collections of outtakes and live performances were far rarer than
budget reissues and countless re-packagings of the big hits. In the CD age, RCA/BMG (now
Sony) finally began to treat the catalog with some of the reverence it deserved, at long last
assembling a box set containing nearly all of the 1950’s recordings. Similar, although less
exciting, box sets were documenting the 1960’s, the 1970’s, and his soundtrack recordings.
And exploitative reissues of Elvis’ material continue to appear constantly, often baited with
one or two rare outtakes or alternates to entice the completists (of which there are many).
Fortunately, with a little discretion, a good Elvis library can be built with little duplication,
sticking largely to the most highly recommended selections…
Richie Unterberger
Writer, author of USA - The Rough Guide To Music.
ELVIS PRESLEY – ANTHOLOGY
20. Medley: Shake, Rattle And Roll / Flip, Flop And Fly (Live) (2:45)
(Charles Calhoun / Calhoun - Turner) – From the CBS-TV show “Stage Show” (1956).
OPA1 4199-01
Recorded live on January 28, 1956, CBS Studios, New York, New York.
First released on “A Golden Celebration (The Golden Box)” RCA CPM6 5172 (1984).
25. I’m Gonna Sit Right Down And Cry (Over You) (2:05)
(Thomas - Biggs)
G2WB 1254-18
Recorded on January 31, 1956 at RCA Studio 1, New York, New York.
First released on “Elvis Presley” RCA LPM 1254 (1956).
32. Any Way You Want Me (That’s How I Will Be) (2:15)
(Schroeder - Owens)
G2WB 5937-12
Recorded on July 2, 1956 at RCA Studios, New York, New York.
First released on RCA 47-6643 (single B-side), backed with “Love Me Tender” (1956).
93. Medley: Love Me Tender / Witchcraft (Live, with Frank Sinatra) (1:46)
(Poulton - Matson - Presley / Leigh - Coleman) – From the ABC-TV Timex Special “Welcome
Home, Elvis” (1960).
WPA5 2562-01
Recorded live on March 26, 1960 at the Fontainebleau Hotel, Miami, Florida.
First released on “From Nashville To Memphis: The Essential 60’s Masters I” box-set RCA
07863 66160-2 (1993).
224. (You Got Me Runnin’) Baby, What You Want Me To Do? (Live) (3:57)
(Jimmy Reed) – From the NBC-TV Special “ELVIS (The ‘68 Comeback Special)” (1968)
WPA1 8120-03
Recorded live on June 27, 1968 6PM Show at NBC Studio 4, Burbank, California.
First released on “Elvis: A Legendary Performer, Vol.2” RCA CPL1 1349 (1976).
239. I’ll Hold You In My Heart (Till I Can Hold You In My Arms) (4:35)
(Dilbeck - Horton - Arnold)
XPA5 1160-01
Recorded on January 23, 1969 at American Sound, Memphis, Tennessee.
First released on “From Elvis In Memphis” RCA LSP 4155 (1969).
260. Medley: Men With Broken Hearts / Walk A Mile In My Shoes (Live) (3:34)
(Hank Williams / Joe South)
WPA5 2576-01 / ZPA5 1297-01
“Men With Broken Hearts” recorded live on August 11, 1970 Midnight Show at Showroom,
International Hotel, Las Vegas, Nevada.
“Walk A Mile In My Shoes” recorded live on February 19, 1970 Midnight Show at Showroom,
International Hotel, Las Vegas, Nevada.
“Men With Broken Hearts” first released on “Walk A Mile In My Shoes: The Essential 70’s
Masters” box-set RCA 07863 66670-2 (1995).
“Walk A Mile In My Shoes” first released on “On Stage” RCA LSP 4362 (1970).
265. Medley: Got My Mojo Working / Hands Off (Informal Performance) (4:41)
(Preston Foster / Bowman - McShann)
ZPA4 1601-01
Recorded on June 5, 1970 at RCA Studio B, Nashville, Tennessee.
First released on “Love Letters From Elvis” RCA LSP 4530 (1971).
271. You Don’t Have To Say You Love Me (Io Che Non Vivo Senza Te) (2:32)
(Donaggio - Pallavicini - Wickham - Napier-Bell)
ZPA4 1608-03
Recorded on June 6, 1970 at RCA Studio B, Nashville, Tennessee.
First released on RCA 47-9916 (single A-side), backed with “Patch It Up” (1970).
300. Don’t Think Twice, It’s All Right (Informal Performance) (Album Edit) (2:57)
(Bob Dylan)
APA4 1269-01
Recorded on May 16, 1971 at RCA Studio B, Nashville, Tennessee.
First released on “Elvis (Including Fool)” RCA APL1 0283 (1973).
342. There’s A Honky Tonk Angel (Who Will Take Me Back In) (3:05)
(Seals - Rice)
CPA5 1631-08
Recorded on December 15, 1973 at Stax Studio, Memphis, Tennessee.
First released on “Promised Land” RCA APL1 0873 (1975).
364. And The Grass Won’t Pay No Mind (Royal Philharmonic Orchestra Remix) (3:41)
(Neil Diamond)
XPA5 1267-06
Originally recorded on February 18, 1969 at American Sound, Memphis, Tennessee.
Arranged by Robin Smith for The Royal Philharmonic Orchestra at Abbey Road Studio 2,
London, England.
First released on “If I Can Dream: Elvis with The Royal Philharmonic Orchestra” RCA 88875
14083-2 (2015).
Original master first released on “From Memphis To Vegas / From Vegas To Memphis” RCA
LSP 6020 (1969).
365. I’ve Got A Thing About You, Baby (Royal Philharmonic Orchestra Remix) (2:36)
(Tony Joe White)
CPA5 4765-15
Originally recorded on July 22, 1973 at Stax Studio, Memphis, Tennessee.
Arranged by Steve Sidwell and Robin Smith for The Royal Philharmonic Orchestra at Abbey
Road Studio 2, London, England.
First released on “The Wonder Of You: Elvis with The Royal Philharmonic Orchestra” RCA
88985 36224-2 (2016).
Original master first released on RCA APBO 0196 (single A-side), backed with “Take Good
Care Of Her” (1974).
Overview Of Achievements:
Over the course of Elvis' life, he achieved some of the highest accolades in music and film. It
is estimated that more than one billion Elvis records have been sold worldwide, more than
anyone in record industry history. Elvis starred in 31 feature films as an actor and two
theatrically released concert documentary films, all of which enjoyed financial success. For a
number of years he was one of Hollywood’s top box office draws and one of its highest-paid
actors. In addition to his music and film career, his three network television specials – "Elvis"
(1968), "Elvis: Aloha from Hawaii, via Satellite" (1973), and "Elvis in Concert" (1977) – stand
among the most highly rated specials of their time. See a complete list of Elvis' achievements
below.
Record Sales
It is estimated that more than one billion Elvis Presley records have been sold worldwide.
From his early sessions at Sun Records to the end of his career and beyond, Elvis albums
and singles enjoyed strong sales across every format–vinyl, cassette, CD and digital. In
America alone, Elvis has had 150 different albums and singles that have been certified gold,
platinum or multi-platinum by the Recording Industry Association of America (RIAA), with
more certifications expected as research into his past record sales continues and as current
sales go on. It is estimated that 40% of Elvis Presley records have been sold outside the
United States.
International Acclaim
When touring Graceland, you will see gold and platinum Elvis records and awards of all
kinds from around the world. Some of the countries represented are: Norway, Yugoslavia,
Japan, Australia, South Africa, England, Sweden, Germany, France, Canada, Belgium, and
The Netherlands. It is interesting to note that, except for a handful of movie soundtrack
songs, Elvis did not record in other languages, and, except for five shows in three Canadian
cities in 1957, he did not perform concerts outside the United States. That never limited his
success, though–his recordings and films enjoyed, and have continued to enjoy, popularity
all over the globe, and he is known throughout the world by his first name.
Record Chart Statistics
Elvis has had no less than 149 songs to appear on Billboard’s Hot 100 Pop Chart in America.
Of these, 114 were in the top forty, 40 were in the top 10, and 18 went to number one. His
number one singles spent a total of 80 weeks at number one. More than 90 Elvis Presley
records reached the charts, with 10 of them reaching number one. These figures are only
for the pop charts and only in America. He was also a leading artist in the American country,
R&B, and gospel fields, and his chart success in other countries was substantial.
Historic Television Guest Appearances
In 1956, Elvis made his network television debut with the first of his six appearances on
"Stage Show," a weekly variety program hosted by Tommy and Jimmy Dorsey. He followed
these with two appearances on "The Milton Berle Show," the second of which included a
classic performance of "Hound Dog" that was so provocative (for that time, anyway) that it
caused a national scandal. Elvis next appeared on "The Steve Allen Show," with Allen
mocking the sensation of the Berle appearance by having Elvis dress in a tuxedo, eliminate
his usual physical gyrations, and sing "Hound Dog" to a basset hound.
Ed Sullivan had once said he would never have the controversial singer on his top-rated
show, but that was before the week that Elvis’ appearance on "Steve Allen" had surpassed
Sullivan’s ratings. Sullivan paid Elvis $50,000 to make three appearances on his show,
which was, at the time, more money than any performer had ever been paid to appear on a
network variety program. When Elvis made his third Sullivan appearance in January of 1957,
Ed Sullivan surprised Elvis by telling him on camera that his show had never had a better
experience with a name act, and said “I wanted to say to Elvis and the country that this is a
real decent, fine boy.” It was on this very same Sullivan appearance that Elvis was shown
on camera from the waist up only, one of early television history’s most memorable
moments.
Elvis’ next network television appearance was in 1960, when Frank Sinatra gave his variety
show a “Welcome Home, Elvis” theme to herald Elvis’ return from the Army. Elvis was paid
$125,000 to appear - again, making history
Elvis Presley starred in 31 feature films as an actor and two theatrically released concert
documentary films, all of which enjoyed financial success. For a number of years he was
one of Hollywood’s top box office draws and one of its highest-paid actors. His two most
critically acclaimed films, "Jailhouse Rock" (1957) and "King Creole" (1958), have become
classics of their era. His movies and concert films enjoy a healthy life today in television
syndication. Some of his top-selling music came from his movies. Eleven of his motion
picture soundtracks went to the top 10, and of those, four went to number one. The
soundtrack for "G.I. Blues" (1960) was number one on the Billboard Top 100 album chart for
10 weeks and remained on the chart for 111 weeks. The album from "Blue Hawaii" was
number one for 20 weeks and was on the chart for 79 weeks.
Television Specials
The three Elvis specials on network television - "Elvis" (1968), "Elvis: Aloha from Hawaii, via
Satellite" (1973), and "Elvis in Concert" (1977) - stand among the most highly rated specials
of their time. His 1968 special, "Elvis," is one of the greatest and most critically acclaimed
music specials of all time. His 1973 special, "Elvis - Aloha from Hawaii, via Satellite," was
seen in 40 countries by more than 1 billion people and made television history. It was seen
on television in more American homes than man’s first walk on the moon.
The Concert Stage
When Elvis returned to the live stage after the success of his 1968 television special and the
wrap-up of his Hollywood movie contract obligations, he opened at the International Hotel in
Las Vegas in the summer of 1969 for a four-week, 57-show engagement that broke all
existing Las Vegas attendance records.
He returned to the spotlight at the same site a few months later in early 1970, during the
slow winter season in Vegas, and broke his own attendance record. Right after that came a
record-breaking six-show engagement at the Astrodome in Houston, where Elvis played to
a total of 207,494 people. Elvis took his elaborate live show on the road in the latter part of
1970 for his first concert tour since 1957.
Throughout the 1970s, Elvis toured the U.S. where he broke box office records, while
continuing to play an engagement or two per year in Las Vegas and Lake Tahoe. Among
the outstanding highlights of this period was in 1972, when Elvis performed four sold-out
shows at Madison Square Garden. During his “concert years” from 1969 to 1977, Elvis gave
nearly 1,100 concert performances.
Grammy Awards
Elvis received 14 Grammy nominations from the National Academy of Recording Arts and
Sciences (NARAS). His three wins were for gospel recordings - the album "How Great Thou
Art" (1967), the album "He Touched Me" (1972) on the RCA Victor label and his live
Memphis concert recording of the song "How Great Thou Art" (1974).
In 1971, NARAS also recognized him with their Lifetime Achievement Award (known then
as the Bing Crosby Award in honor of its first recipient). Elvis was 36 years old at the time.
Six of Elvis' recordings, all of them his original studio masters, have been inducted into the
NARAS Hall of Fame: "Hound Dog" (1956 recording, inducted 1988); "Heartbreak Hotel"
(1956 recording, inducted 1995); "That's All Right" (1954 recording, inducted 1998);
"Suspicious Minds" (1969 recording, inducted 1999); "Don't Be Cruel" (1956 recording,
inducted 2002); and "Are You Lonesome Tonight?" (1960 recording, inducted 2007).
The Recording Academy's national trustees established the Grammy Hall Of Fame in 1973
to honor audio recordings of lasting qualitative or historical significance that are at least 25
years old. Many inductees are recordings that were created and released before the 1958
inception of NARAS and the Grammy Awards.
The United States Junior Chamber of Commerce (the Jaycees) named Elvis One of the Ten
Outstanding Young Men of the Nation for 1970 in a ceremony on January 16, 1971, one of
Elvis’ proudest moments. This award has been given since 1938 and has honored men of
achievement in all areas of endeavor - sports, government, science, medicine,
entertainment, etc. It recognizes outstanding personal achievement and the exemplification
of the opportunities available in the free enterprise system, along with patriotism,
humanitarianism, and community service. (In the 1980s, eligibility was opened to women as
well as men, and the award has since been presented to the year's Ten Outstanding Young
Americans.)
Charitable Endeavors
Elvis Presley was famous for giving away cars, cash and jewelry, often on the spur of the
moment. But, the true depth and breadth of his generosity and community involvement is
not so widely known.
In 1961, Elvis gave a benefit concert at Bloch Arena in Hawaii that raised over $65,000
toward the building of the U.S.S. Arizona Memorial at Pearl Harbor. The resulting publicity
gave new life to the fund-raising effort, which had, by then, lost its momentum. The memorial
opened a year later.
Audience tickets for his 1973 "Aloha from Hawaii" television special and its pre-broadcast
rehearsal show carried no price, as each audience member was asked to pay whatever he
or she could. The performances and concert merchandise sales were a benefit raising
$75,000 for the Kui Lee Cancer Fund in Hawaii. Each year, for many years, Elvis gave
$1,000 or more to each of 50 Memphis-area charities, but also continually made many other
charitable donations in Memphis and around the country.
Elvis' legacy of generosity continues through the work of the Elvis Presley Charitable
Foundation, which is the philanthropic branch of Elvis Presley Enterprises, Inc. and the
creator of the Elvis Presley Endowed Scholarship Fund at the University of Memphis. The
tradition of giving also continues through the work of the Elvis fan clubs worldwide, most of
which are heavily involved in charitable endeavors in Elvis' memory.
Graceland Mansion
Graceland, Elvis Presley’s home and refuge for 20 years, is one of the most visited homes
in America today, now attracting over 600,000 visitors annually. In 1991, Graceland Mansion
was placed on the National Register of Historic Places. In 2006, Graceland was designated
a National Historic Landmark.
In 1993, the U.S. Postal Service announced that Elvis’ image would be used for a
commemorative postage stamp. The Postal Service narrowed the artwork choices down to
two images - 1950’s sizzling young rocker or concert superstar in his 1973 "Aloha from
Hawaii" special. In an unprecedented move, the USPS put the decision to the American
people and distributed ballots coast to coast. Over 1.2 million votes were cast and the image
of the young rocker Elvis stamp won. The stamp was released on January 8, 1993, with
extravagant first day of issue ceremonies at Graceland. The Elvis stamp is the most widely
publicized stamp issue in the history of the U.S. Postal Service and it is the top selling
commemorative postage stamp of all time. The USPS printed 500 million of them, three
times the usual print run for a commemorative stamp. Several countries outside the U.S.
also have issued Elvis stamps over the years and they have become an essential item for
collectors of Elvis Presley memorabilia.
Special Posthumous Honors
The 1984, W.C. Handy Award from the Blues Foundation in Memphis recognized Elvis for
"keeping the blues alive in his music - rock 'n' roll." The Academy of Country Music's first
Golden Hat Award presented in 1984 recognized Elvis' influence on country music. In 1986,
Elvis was among the first group of inductees into the Rock and Roll Hall of Fame. In 1987,
Elvis was honored with the first posthumous presentation of the Award of Merit by the
American Music Awards. In 1998, Elvis received the Country Music Association's highest
honor, induction into the Country Music Hall of Fame. In 2001, Elvis was inducted into the
Gospel Music Association's Gospel Music Hall of Fame. With that honor, Elvis was the first
artist to become a member of all three of these halls of fame–Rock and Roll, Country and
Gospel.
A New Concert Career
On August 16, 1997, Elvis, via video, starred in an extravagant concert production entitled
Elvis in Concert '97 at the Mid-South Coliseum in Memphis, Tennessee, accompanied live
on stage by over 30 of his former bandmates and the Memphis Symphony Orchestra.
The show played before a capacity crowd of fans who had come to Memphis from around
the world to commemorate the 20th anniversary of Elvis' death. Elvis broke the Mid-South
Coliseum's all-time record dollar figure for box office sales. This concert was the prototype
for the 1998/99 touring production "Elvis - The Concert." By being the first performer ever to
headline a live concert tour while no longer living, Elvis made history again.
The March 1998 tour included a three-show smash engagement at Radio City Music Hall in
New York. The August 1998 tour included the excitement of Elvis' "return" to the Las Vegas
Hilton with an eight-show engagement. The January/ February 1999 European tour opened
with a sell-out at London's Wembley Arena and, in effect, marked Elvis' first-ever concerts
outside of North America. As of 2010, the show continues to tour worldwide–a testament to
the international love of Elvis Presley and his music.
The Original U.S. Complete Discography:
This is the great Elvis Presley discography of Singles, Extended Play (EP) and Long Play
(LP) catalog, organized by original release date.
The discography of Elvis Presley starts on July 19, 1954, with the release of his first
commercial single, and ends in February 1978. Presley’s final album, “Elvis In Concert,” and
final two singles, “My Way” and “Unchained Melody,” although released after his death, are
considered part of the discographical canon as they were projects Presley himself knew
about in the planning stages.
All other releases are included in the posthumous section, and obviously all compact disc
box sets were also released after Presley’s death.
Without including album reissues, during this period of 1954 to 1978 American Presley
releases consisted of 102 singles, 30 extended-play singles, 70 albums on RCA Records, 4
albums on the Pickwick budget label, and 5 singles on the Sun Records label.
Throughout the years, RCA had re-released most catalog numbers with modifications to the
covers, catalog numbers, vinyl and labels.
The very first Compact Disc (CD) of Elvis was released in April 1984, under the “RCA” label.
RCA was then bought in 1986 by the “Bertelsmann Music Group” (BMG). In 2003 BMG
made a joint venture with Sony. From 2004 until 2008, Elvis CDs were released under the
label “Sony-BMG.” In August 2008, BMG sold their music catalog to Sony. From that date
on, we have the new Elvis label “Sony Music Entertainment.”
Original U.S. Complete Discography (1954 – 1977)
1954:
I’m Left, You’re Right, She’s Gone / Baby, Let’s Play House
SUN 217 (78/45)
Released: April 10, 1955
Side 1: Any Way You Want Me / I’m Left, You’re Right, She’s
Gone
Side 2: I Don’t Care If The Sun Don’t Shine / Mystery Train
ELVIS (LP)
RCA LPM 1382
Released: October 19, 1956
Side 1: Any Way You Want Me / I’m Left, You’re Right, She’s
Gone
Side 2: I Don’t Care If The Sun Don’t Shine / Mystery Train
ELVIS, Volume 2 (EP)
RCA EPA 993
Released: October 19, 1956
1957:
Side 1: I Need You So / Have I Told You Lately That I Love You?
Side 2: Blueberry Hill / Is It So Strange?
1958:
1960:
Side 1: His Hand In Mine / I’m Gonna Walk Dem Golden Stairs /
In My Father’s House / Milky White Way / Known Only To Him / I
Believe In The Man In The Sky
Side 2: Joshua Fit The Battle / He Knows Just What I Need / Swing
Down, Sweet Chariot / Mansion Over The Hilltop / If We Never Meet
Again / Working On The Building
1961:
1962:
Side 1: Kiss Me Quick / Just For Old Times Sake / Gonna Get Back
Home Somehow / Easy Question / Steppin’ Out Of Line / I’m Yours
Side 2: Something Blue / Suspicion / I Feel That I’ve Known You
Forever / Night Rider / Fountain Of Love / That’s Someone You
Never Forget
Side 1: King Of The Whole Wide World / This Is Living / Riding The
Rainbow
Side 2: Home Is Where The Heart Is / I Got Lucky / A Whistling Tune
1963:
One Broken Heart For Sale / They Remind Me Too Much Of You
RCA 47-8134
Released: January 29, 1963
ROUSTABOUT (LP)
RCA LSP / LPM 2999
Released: September 21, 1964
Side 1: Roustabout / Little Egypt / Poison Ivy League / Hard Knocks
/ It’s A Wonderful World / Big Love, Big Heartache
Side 2: One Track Heart / It’s Carnival Time / Carny Town / There’s
A Brand New Day On The Horizon / Wheels On My Heels
1965:
TICKLE ME (EP)
RCA EPA 4383
Released: June 15, 1965
Side 1: I Feel That I’ve Known You Forever / Slowly, But Surely
Side 2: Night Rider / Put The Blame On Me / Dirty, Dirty Feeling
1966:
SPINOUT (LP)
RCA LSP / LPM 3702
Released: October 31, 1966
Side 1: Stop, Look And Listen / Adam And Evil / All That I Am /
Never Say Yes / Am I Ready? / Beach Shack
Side 2: Spinout / Smorgasbord / I’ll Be Back / Tomorrow is A Long
Time / Down In The Alley / I’ll Remember You
If Every Day Was Like Christmas / How Would You Like To Be?
RCA 47-8950
Released: November 15, 1966
1967:
CLAMBAKE (LP)
RCA LSP / LPM 3893
Released: October 23, 1967
Side 1: Guitar Man / Clambake / Who Needs Money? (Duet with
Ray Walker) / A House That Has Everything / Confidence / Hey,
Hey, Hey
Side 2: You Don’t Know Me (Remake) / The Girl I Never Loved /
How Can You Lose What You Never Had? / Big Boss Man / Singing
Tree / Just Call Me Lonesome
1968:
SPEEDWAY (LP)
RCA LSP / LPM 3989
Released: May 26, 1968
Side 1: Speedway / There Ain’t Nothing Like A Song / Your Time
Hasn’t Come Yet, Baby / Who Are You? / He’s Your Uncle, Not Your
Dad / Let Yourself Go
Side 2: Your Groovy Self (Sung by Nancy Sinatra) / Five Sleepy
Heads / Western Union / Mine / Goin’ Home / Suppose
Charro / Memories
RCA 47-9731
Released: February 25, 1969
Recorded live at the Showroom, International Hotel, Las Vegas, February, 1970,
except for * (August, 1969.)
I’ve Lost You / The Next Step Is Love
RCA 47-9873
Released: July 14, 1970
1972:
HE TOUCHED ME (LP)
RCA LSP 4690
Released: April 3, 1972
Side 1: He Touched Me / I’ve Got Confidence / Amazing Grace /
Seeing Is Believing / He Is My Everything / Bosom Of Abraham
Side 2: An Evening Prayer / Lead Me, Guide Me / There Is No God
But God / A Thing Called Love / I, John / Reach Out To Jesus
An American Trilogy (Live) / The First Time Ever I Saw Your Face
RCA 74-0672
Released: April 4, 1972
1973:
ELVIS (LP)
RCA APL 1 0283
Released: July 16, 1973
Side 1: Fool / Where Do I Go From Here? / Love Me, Love The Life
I Lead / It’s Still Here / It’s Impossible (Live)
Side 2: For Lovin’ Me / Padre / I’ll Take You Home Again, Kathleen
/ I Will Be True / Don’t Think Twice, It’s All Right
1974:
I’ve Got A Thing About You, Baby / Take Good Care Of Her
RCA APBO 0196
Released: January 11, 1974
GOOD TIMES (LP)
RCA CPL 1 0475
Released: March 20, 1974
Side 1: Take Good Care Of Her / Loving Arms / I Got A Feelin’ In My
Body / If That Isn’t Love / She Wears My Ring
Side 2: I’ve Got A Thing About You, Baby / My Boy / Spanish Eyes /
Talk About The Good Times / Good Time Charlie’s Got The Blues
Manufactured in the U.S. for overseas distribution due to strikes in the U.K.
1975:
TODAY (LP)
RCA APL 1 1039
Released: May 7, 1975
Side 1: T-R-O-U-B-L-E / And I Love You So / Susan When She Tried
/ Woman Without Love / Shake A Hand
Side 2: Pieces Of My Life / Fairytale / I Can Help / Bringin’ It Back /
Green, Green Grass Of Home
Bringing It Back / Pieces Of My Life
RCA PB 10401
Released: September 20, 1975
1976:
1977:
Recorded live at the Civic Auditorium Arena, Omaha, Nebraska, June 19 and the
Rushmore Plaza Civic Center, Rapid City, South Dakota, June 21, 1977.
Every effort has been made to achieve optimum sound quality; however, priority has been
given to historical content. Digitally remastered by JimmyCool ℗ 2020.
Made in Chile.