The first one is from New York, the latter two are actually from Nashville in the McGavock street studio from the April 'I Want You I Need You I Love You' Session. Great photos.
It is frustrating to read the review of the Pan Pacific gig that you posted earlier, where it's clear they're describing the Presley version of Beatlemania. But it's almost like it never happened because there's no filmed evidence (as far as I know). Just one example of many.
the lack of Presley film/video of concerts/gigs (especially from the fifties) is miraculous to me. I was so pleased to see that little bit of footage from the Alabama/Mississippi dairy fair
"I'm Gonna Sit Right Down and Cry (Over You)" is a popular song written in 1953 by Joe Thomas and Howard Biggs. Since then, it became something of a minor pop standard, largely due to several well-received versions of the song. It is best known for appearing on Elvis Presley's first album,[1] and for a performance of the song by The Beatles (that appears on their Live at the BBC album).[1] The Beatles also performed the song at the Star-Club in Hamburg on New Year's Eve, 31 December 1962, during their fifth and final Hamburg residency. This version appears on their album, Live! at the Star-Club in Hamburg, Germany; 1962. -------------------- Another Rockabilly song that bounces along nicely. Great vocal with Elvis suing all his techniques of the time to give the vocal the same life as the music. For all the experts out there .... Did technically Rockabilly exist at this stage in the music scene?
I'll Never Let You Go (lil darlin') I always absolutely loved this song. The first section is just so beautifully done. Excellent recording, the vocal shines the guitar is great and it is such a moving piece for me .... then all of a sudden it kicks in at the end with the rocked up ending, and as a wee pup that was the coolest thing I had ever heard.
Thanks for that information... I've had The Sun Collection (UK) LP for a long time, didn't realize it was released the year before The Sun Sessions (US). On the first album Elvis Presley, Sun tracks Just Because, Tryin' To Get To You, I'll Never Let You Go (Little Darlin'), and Blue Moon are some of my very favorite Elvis recordings (for me, they have an energy significantly different from the 1956 tracks, and I also prefer them as songs).
Easy song and album guide Good resources for information elvisrecords.com | The Elvis Presley Record Research Database Thanks @Shawn Elvis Presley U.K. Discography Thanks @Purple Jim Elvis Presley 1956 | The King of Rock 'n' Roll Elvis Presley in Canada | Official Graceland Blog The roots, for those unaware - Elvis Presley - The Album Thread The Crudup Connection - Elvis Presley - The Album Thread Elvis and Sun Studios - Elvis Presley - The Album Thread The Sun Recordings (some, not all) - My Happiness Elvis Presley - The Album Thread The My happiness transfer to digital - Elvis Presley - The Album Thread That's All Right Elvis Presley - The Album Thread Good Rockin' Tonight Elvis Presley - The Album Thread I Don't Care If The Sun Don't Shine Elvis Presley - The Album Thread You're A Heartbreaker Elvis Presley - The Album Thread Milk Cow Blues Boogie Elvis Presley - The Album Thread Baby Let's Play House Elvis Presley - The Album Thread I'm Left, You're Right, She's Gone Elvis Presley - The Album Thread Mystery Train Elvis Presley - The Album Thread I Forgot To Remember To Forget Elvis Presley - The Album Thread Elvis Presley March 1956 - Elvis Presley - The Album Thread track 1 Blue Suede Shoes Elvis Presley - The Album Thread track 2 I'm Counting On You Elvis Presley - The Album Thread track 3 I Got A Woman Elvis Presley - The Album Thread track 4 One Sided Love Affair Elvis Presley - The Album Thread track 5 I Love You Because Elvis Presley - The Album Thread track 6 Just Because Elvis Presley - The Album Thread track 7 Tutti Frutti Elvis Presley - The Album Thread track 8 Tryin' To Get To You Elvis Presley - The Album Thread Tryin' to get to you Elvis Presley - The Album Thread track 9 I'm Gonna Sit Right Down (and cry)Elvis Presley - The Album Thread track 10 I'll Never Let You Go (li'l darlin') Elvis Presley - The Album Thread The Complete Mississippi-Alabama Fair and Dairy Show on 29. Sept 1956 - Elvis Presley - The Album Thread another edit - Elvis Presley - The Album Thread Newspaper Articles Clean it up - Elvis Presley - The Album Thread That's All Right and the Hayride - Elvis Presley - The Album Thread Concert Review 1957? - Elvis Presley - The Album Thread
i'm not sure (from my perspective) if it's the history of it, or what, but there is something very special about the Sun stuff that I know. I'm not going to say it's better than his later recordings, I don't really think like that. It's just the sun stuff has a special something that I love.
https://www.pinterest.co.uk/pin/357402920423012661/ For more from the I WANT YOU,NEED YOU session,see above book. Elvis Presley Recording Sessions
Blue Moon "Blue Moon" Song Published 1935 Composer(s) Richard Rodgers Lyricist(s) Lorenz Hart "Blue Moon" is a classic popular song written by Richard Rodgers and Lorenz Hart in 1934, and has become a standard ballad. It may be the first instance of the familiar "50s progression" in a popular song. The song was a hit twice in 1949 with successful recordings in the US by Billy Eckstine and Mel Tormé. In 1961, "Blue Moon" became an international number one hit for the doo-wop group The Marcels, on the Billboard 100 chart and in the UK Singles chart. Over the years, "Blue Moon" has been covered by various artists including versions by Frank Sinatra, Billie Holiday, Elvis Presley, The Platters, The Mavericks, Dean Martin, The Supremes and Rod Stewart. Bing Crosby included the song in a medley on his album On the Happy Side (1962). It is also the anthem[1] of English Football League club Crewe Alexandra and English Premier League football club Manchester City, who have both adapted the song slightly. "Blue Moon"'s first crossover recording to rock and roll came from Elvis Presley in 1954, produced by Sam Phillips. His cover version of the song was included on his 1956 debut album Elvis Presley, issued on RCA Records. Presley's remake of "Blue Moon" was coupled with "Just Because" as a single in August 1956. "Blue Moon" spent seventeen weeks on the Billboard Top 100, although it reached only No. 55. In Jim Jarmusch's 1989 film Mystery Train, the three distinct stories that make up the narrative are linked by a portion of Elvis Presley's version of "Blue Moon" (as heard on a radio broadcast) and a subsequent offscreen gunshot, which are heard once during each story, revealing that the three stories occur simultaneously in real time. -------------------------------------- Again, this is a track I always loved Elvis' version of. I haven't heard any of the original arrangements, so I can't really say how much or whether he changed its styling or structure, but on this version you essentially have Elvis singing with the guitar in the background sounding like a horse slowly clip clopping along under the starry night sky. To me it's very effective.
Money Honey "Money Honey" is a song written by Jesse Stone,[2] which was released in September 1953 by Clyde McPhatter backed for the first time by the newly formed Drifters. McPhatter's voice, but not his name, had become well known when he was the lead singer for Billy Ward and the Dominoes. The song was an immediate hit and remained on the rhythm and blueschart for 23 weeks, peaking at number 1.[3] Rolling Stone magazine ranked it number 252 on its list of the 500 Greatest Songs of All Time.[2] The recording was reported to have sold more than two million copies by 1968.[4] Most notably, Elvis Presley recorded a cover version of "Money Honey" in 1956 for his debut LP, Elvis Presley.[8] ------------------------------- This song is the epitome of early rock and roll. It's structure has been repeated many times over. The piano stabs the chord and the guitar slides up to the chord for the start and the we hit the main rhythm. It's a great way to finish off a great debut album.
I couldn't believe "Blue Moon" when I first heard it (in the late 70s when I bought this LP). So bizarre and haunting, especially when he goes in that Slim Whitman-like falsetto.
Elvis Studio album by Elvis Presley Released October 19, 1956 Recorded January 30th; September 1st-3rd, 1956 Studio RCA Studio 1 - New York, Radio Recorders Studio 1, Hollywood Genre Rock and roll, rockabilly, rhythm and blues, country Length 29:47 Label RCA Victor Producer Steve Sholes Elvis (also known as Elvis Presley No. 2) is the second studio album by American singer and musician Elvis Presley, released by RCA Victor in October 1956 in mono. Recording sessions took place on September 1, September 2, and September 3 at Radio Recorders in Hollywood, with one track left over from the sessions for Presley's debut album at the RCA Victor recording studios on January 30 in New York.[5] It spent four weeks at #1 on the Billboard Top Pop Albumschart that year, making Presley the first recording artist to have both albums go straight to number one in the same year. It was certified Gold on February 17, 1960, and Platinum on August 10, 2011, by the Recording Industry Association of America.[6] It was originally released in UK in 1957 as Elvis Presley No. 2 with a different front cover (on His Master's VoiceCLP1105). It was also catalogued as Rock 'n' Roll No. 2. RCA Victor producer Steve Sholes had commissioned two new songs for this batch of sessions, "Paralyzed" from Otis Blackwell and "Love Me" from Jerry Leiber and Mike Stoller, the authors respectively of both sides of Presley's summer hit of 1956, "Don't Be Cruel" backed with "Hound Dog," the first record to top all three of the Billboardsingles charts then in existence: pop, R&B, and C&W.[7] Presley decided upon three Little Richard covers, and selected three new country ballads respectively from regular Everly Brothers writer Boudleaux Bryant and guitarist Chet Atkins, Sun staff musician and engineer Stan Kesler, and Aaron Schroeder and Ben Weisman. The latter two, contracted to Hill and Range, the publishing company of Presley's manager, Colonel Tom Parker, would write dozens of songs for Presley through the 1960s. Also included was the song with which Presley won second prize at a fair in Tupelo when he was ten years old, Red Foley's 1941 country song, "Old Shep." With all but one track on the album recorded at a single set of sessions over three days in September, Presley and his touring band of Scotty Moore, Bill Black, and D.J. Fontana, along with The Jordanaires, managed to recreate the loose feel from Sun Studio days, mixing rhythm and blues and country and western repertoire items as they had on all of his Sun singles.[8] They reinforced this effect by including material echoing his very first Sun record: a blues by Arthur Crudup, author of "That's All Right (Mama);" and a song recorded by bluegrass founder Bill Monroe, "When My Blue Moon Turns to Gold Again." The sessions were attended by a few outsiders, namely his current girlfriend at the time, actress Natalie Wood and actor Nick Adams, both of whom had starred in Rebel Without a Cause, Presley's favorite James Dean film. Steve Sholes was the RCA man at the session, and handled the paper work and such, but basically Elvis himself chose the songs, led the session, made all the decisions concerning which take would be the master and so forth. Thus it would be fair to say that for most practical purposes, Elvis himself at this session and throughout his career would continue to do most of the things that a regular record producer normally would do.[9] The piano player on this album is not registered in the official RCA Victor archives, except for the song "So Glad You're Mine", which was cut at a previous session in New York. In a 1984 interview conducted by Jan-Erik Kjeseth, Gordon Stoker of the Jordanaires stated that he was the piano player on most of the songs on the album. In an article written by Kjeseth for the Flaming Star magazine, it was argued that the piano player on "Love Me", "Old Shep" and "How's the World Treating You" was Elvis himself. Ernst Jørgensen, writer of Elvis Presley - A Study in Music, seems to be of the same opinion. Kjeseth also claims that Elvis played the piano on the single from this session, "Playing for Keeps". Again, Jørgensen seems to be of the same opinion. Gordon Stoker played the piano on "Rip it Up" and "Anyplace is Paradise". RCA first reissued the original 12 track album on compact disc in 1984. This issue, in reprocessed (fake) stereo sound, was quickly withdrawn and the disc was reissued in original monophonic. RCA reissued an expanded edition of the album in 1999, and again in 2005. For the 1999 reissue, six bonus tracks were added that were both sides of three singles, altering the running order. Four of the tracks were chart-toppers: "Love Me Tender", "Too Much", and the double-sided classic "Hound Dog" and "Don't Be Cruel". Bonus tracks recorded on July 2 at RCA Studios in New York City, in September at Radio Recorders, and "Love Me Tender" at 20th Century Fox Stage One during the sessions for Love Me Tender. The 2005 reissue was remastered using DSD technology with the six bonus tracks appended in standard fashion, in the following order: "Playing for Keeps", "Too Much", "Don't Be Cruel", "Hound Dog", "Any Way You Want Me (That's How I Will Be)", and "Love Me Tender". This acclaimed latest remaster was the handiwork of audio restorer Kevan Budd, who also drew praise for his 2005 remasters of Presley's first and third albums (respectively, Elvis Presley and Loving You) as well as the 2004 upgrade known as Elvis at Sun. These rock-n'roll tapes may have been among those possibly dumped into the Delaware River near RCA Victor's Camden, New Jersey plant in the late 1950s. Elvis Presley – vocals, acoustic guitar, piano on "Old Shep", "Playing For Keeps", "Paralyzed", "First In Line", and "How's The World Treating You". Scotty Moore – electric guitar Shorty Long – piano on January 30 Gordon Stoker - piano on September 1–3 Bill Black – double bass D.J. Fontana – drums The Jordanaires - backing vocals Side one 1. "Rip It Up"- Robert Blackwell, John Marascalco September 3, 1956 1:50 2. "Love Me" - Jerry Leiber, Mike Stoller September 1, 1956 2:41 3. "When My Blue Moon Turns to Gold Again" - Gene Sullivan, Wiley Walker September 2, 1956 2:18 4. "Long Tall Sally" - Blackwell, Enotris Johnson, Richard Penniman September 2, 1956 1:51 5. "First in Line" - Aaron Schroeder, Ben Weisman September 3, 1956 3:21 6. "Paralyzed" - Otis Blackwell, Elvis Presley September 2, 1956 2:18 Side two 1. "So Glad You're Mine" Arthur Crudup January 30, 1956 2:18 2. "Old Shep" Red Foley September 2, 1956 4:10 3. "Ready Teddy" - Blackwell, Marascalco September 3, 1956 1:55 4. "Anyplace Is Paradise" Joe Thomas September 2, 1956 2:26 5. "How's the World Treating You" - Chet Atkins, Boudleaux Bryant September 1, 1956 2:23 6. "How Do You Think I Feel" - Webb Pierce, Wayne Walker September 1, 1956 2:10 ---------------------------------------- Over the last few days I have given this album a few spins (for the first time - I know, shock and awe. I know most of the songs, but have only just got the albums for the first time). I enjoy the album a lot, but not quite as much as the debut. One thing I find quite bizarre, and the fifties isn't my primary field of knowledge, is the inclusion of three Little Richard singles. The Little Richard singles had been released 3 or 4 moths prior to this album, so I'm unsure if the A&R guys were just giving everyone the same songs, if Presley just really likes the song, or if there was a management decision to try and put Elvis and Little Richard in the same stream. Elvis does a very good job of those tracks, even to the point of ripping up his generally smooth vocal delivery in an attempt to raunch it up and seemingly compete with Little Richard's versions .... I'm unsure .... perhaps someone on here has more knowledge and understanding about these things and could give us some details regarding that. Anyhow, this is another great album and essentially it is to a degree the brother of the debut. From my perspective we do see a move towards a few more pop kind of tunes (as I would see them at least) . Anyhow, What are your feelings about this album? Do you see this album as a step forward, or treading water? What do you think about the song selections? Let us know where you stand with this album and i'll post the first couple of songs tomorrow.
These days, I prefer the album ELVIS over ELVIS PRESLEY. Maybe it's because some of these songs are a bit more 'deep catalog' and there's less listener fatigue, but it flows perfectly. And if there can be such a thing as an underrated Elvis 1950's recording, it's 'When My Blue Moon Turns To Gold'. A great listen, and a beautiful cover especially when holding the original 12" LP where the visual - and the packaging - are much more impactful. To be fair, I don't really like the cover of 'Long Tall Sally' on this album. But other than that...
Just as a side note - The Love Me Tender movie had an EP and not a full soundtrack album (the movie was initially "The Reno Brothers", but the name was changed to Love Me Tender due to the singles success) Love me Tender and Poor Boy appear on albums down the track but Let Me and We're Gonna move do not appear to, so here are those two songs, just for representation. Let Me We're Gonna Move Elvis Presley - We're Gonna Move.
Well on the Elvis album the future King of Rock & Roll is really starting to develop that ballad voice. He always had that fine tenor voice from the beginning, but he was starting to show more range and control in the lower range of his voice. This gain in his lower vocal range would really be noted by legendary songwriter Doc Pomus in a few years during the start of the 1960's, when Elvis gained almost a half octave in his lower register. People always seem to focus on a singer's higher end, but it was Elvis's tenor to baritone vocal range that set him apart from so many other popular singers. Leiber and Stellar of course wrote Love Me as a sort of spoof on sad country songs as I recall and were shocked at the seriously great and committed vocal Elvis put into the performance. Another case where Elvis put something into a song that even the songwriters did not envision or foresee when they wrote the song. Doc Pomus would talk about this ability to bring something entirely new to a song that he had not even contemplated, when he became one of Elvis's favorite songwriters in the 1960's.
Love me is another solid favourite of mine, quite brilliant. Thanks for the back story, I didn't know that!
My pleasure. I love his vocal on that song as well and of course Elvis returned to that song live in concert on so many occasions as well. I believe it was Robert Plant who exchanged lines from that song with the King when he met him in the 1970's in a story he loved to recount often.
It's possible that RCA never received the session tapes from Radio Recorders in the first place. The master takes exist on a Radio Recorders composite reel. "Rip It Up" is the only song with existing outtakes (besides the released alternate "Old Shep"), and this may have come from tapes recovered from Bones Howe.
