Elvis Presley - The Albums and Singles Thread pt2 The Sixties

All I see is an "x" but your second post I CAN see.

 

Funny, I could see both

 

Binaural stereo!

 

Devil in Disguise is a great record. I like it a lot. I've always wanted just a little more from Elvis on the climactic line, though.
The song does a great job of building up anticipation and tension in the listener, "You look like an angel...walk like an angel... talk like an angel.. but I got wise..." with Elvis in beautiful voice. Then comes the resolution, "You're the devil in disguise!" It sounds to me like Elvis is holding back a little here. I think if he would have sung that final line with a little more intensity, maybe with a little more grit in his voice, the song would be an even bigger classic.

 

Giant, Baum, and Kaye cranked out dozens of songs for Elvis in the 60s, most of them pretty mediocre. This one is clearly the peak of their work, a really fine rocker with a dynamic performance by Elvis and the A Team.

I'm a big John Lennon fan but he said some foolish things in his life, and comparing this song to Bing Crosby is one of them. Lennon was one of the proponents of the "Elvis died when he went into the Army" school of thought, and I've often felt his opinion had more to do with image than music. Lennon was extremely anti-authoritarian, and I think in the 50s he perceived Elvis as being the same. Consequently, he viewed Elvis' time in the Army and the subsequent softening of image when he came out as a betrayal and a retreat from anti-authoritarianism. Yet the truth is that Elvis was never really someone who rebelled against authority. He was a fiercely-independent nonconformist, but he also always tended to treat traditional authorities with respect. He wanted to do his own thing, but he (unlike Lennon) had no interest in challenging or tearing down traditional ways of viewing things. I think Lennon disliked Elvis' post-Army image so much he could not see past it to give the actual music an unbiased listen.

 

Sadly, as much as i like Lennon, he had some funny ideas. I don't really take much of what he said on board. I was so pleased when double fantasy came out, he seemed like he may finally have put some of his demons away.

 

I've noticed how Elvis and John Lennon were different in so many ways personally and professionally. Elvis' image (initially)was much harsher than reality and John's image was much more subdued than reality. While Colonel Parker is viewed negatively for his handling of Elvis in later years, he was a pitbull in Elvis' corner in the early years. Sure he had a 50% interest in everything but the Presley/Parker machine controlled the publishing and had almost unheard of control of the recordings for someone as new to the business as Elvis was. By contrast, Lennon was a scrapper by nature. He still had scraps to fight in the business end of The Beatles even while Brian Epstein was alive. I wonder how much John resented some of his early business deals after they hit worldwide fame and had "Elvis" sized record sales. I can't fathom how much more successful in the business end of things if Lennon and McCartney had controlled their publishing and recordings in similar fashion to Elvis, especially since almost every song recorded was written in house by them and George of course. I've read that it was well known in the music business what a sweet setup the Presley/Parker machine was in the early 1960's as far as control. Elvis was sitting pretty as far as business matters went at this time. The Beatles were certainly big business worldwide but their pie was shared by so many more "stake holders" and I wonder if that didn't get under John's and Paul's skin more than they would admit. Not that anyone could blame them if they felt that way.

 

Yea, I don't know why that happens, I get that sometimes ....???

 

So I just finished watching The Searcher.
For anyone that was interested ... I don't even know if it was this thread .... anyhow

Three and a half hours. Well compiled information. Incisive comments from band members, professionals in the field, Petty , Springsteen, Priscilla and others.
I thought it was very good. I don't think I actually learned anything, but I did get some interesting perspectives from the commentary. I find it very emotional....

I had an Elvis day really ... This afternoon I picked my guitar up for the first time in two years and played a bunch of Elvis songs. I was pleased I haven't lost my voice lol
Then we watched a movie the wife wanted to watch and then we watched the Searcher... Enjoyed it a lot. The Wife enjoyed it a lot and learned a heap and heard a ton of songs she wasn't familiar with ... in between talking .... but anyhow

I would recommend it to someone who loves Elvis, or someone who wants to know about him, so on that level, job well done.

 

and if none of that makes sense it's 1:30 am and I have had a few beers .... so sorry

 

It is not true that The Colonel had 50% interest in EVERYTHING. The contract changed through the years. But for most of the time he had 25% interest in most regular contract items, like movies, records, concerts etc. And it had 50% interest in "joint ventures" which were things negotiated on top of the set contracts. I would have to look up the particulars, but he eventually did get 50% of everything in the last couple of years.

 

Bossa Nova Baby
Written By :
Jerry Leiber & Mike Stoller

Recorded :
Radio Recorders, Hollywood, January 22-24, 1963: January 22, 1963. take 11


Single by Elvis Presley
from the album Fun in Acapulco
B-side "Witchcraft"
Released October 1963
Format 7", 45rpm
Recorded January 22, 1963, at Radio Recorders, Hollywood
Genre Rock and roll, bossa nova
Length 2:02
Label RCA Victor
Songwriter(s) Jerry Leiber, Mike Stoller
Producer(s) Joseph Lilley

Music video
"Bossa Nova Baby" (audio only) on YouTube
"Bossa Nova Baby" is a song written by Jerry Leiber and Mike Stoller and recorded on January 22, 1963, at Radio Recorders in Hollywood, CA[1] by Elvis Presley as part of the soundtrack of the 1963 motion picture Fun in Acapulco.

The song reached number eight on the Billboard Hot 100 pop chart[2] and number 20 on the Billboard R&B Singles chart in 1963.[3] It also reached number 13 in the UK charts.[4]

It was first recorded and released by Tippie and the Clovers in 1962.[5]
------------------------------------------------------
This is a fun little song. It obviously has an infectious groove being the type of song it is. There are a lot of cool little parts in this song - the little drum accent - the little keyboard riff - the mariachi band section - and a nice little lead break. I love the run on vocal in what I assume is the first part of the chorus.
I really like this track and I reckon it was a good choice for a single from this soundtrack.

 

One of my favorite song scenes in any Elvis movie.

 

Witchcraft
Written By :
Dave Bartholomew & Pearl King

Recorded :
RCA's Studio B, Nashville, May 26-28, 1963: May 27, 1963. take 3



This is a great song and it surprises me it only reached 32 on the charts, but perhaps the movie kick back was starting. This is another fun song and has a great beat and feel with some great sax from Boots Randolph(?)

 

Yeah, as much as I like Bossa Nova Baby, I like Witchcraft even more. And so begins the squandering of the For The Asking sessions. (Devil In Disguise and Please Don't Drag That String Around as the lead singles were not intended for the LP, but the rest of the songs were). The Fun In Acapulco LP used two more songs from these sessions.

But as we learned from His Latest Flame/Little Sister, two strong side on one single can actually hurt chart positions.

 

While I am thinking about it ...

What does everyone want me to do over Christmas/New Year?
Do you want me to just carry on. Have those two days off as a break?

If you guys are going to be around, barring something coming up to change my current thought pattern, I am happy to keep going, but again if everybody is tied up or having a break, I can hold off a few days.

Please let me know

 

Heck I will be here, ready to comment.

 

It won’t seem like Christmas without you...

Seriously, I’m easy. If I were you, I’d take a break. None of us are going to forget about Elvis in the meantime!

 

It was 25% when he first signed with Elvis (at a time when standard management contracts took 10-15%). Then in 1967 (around the time of Elvis' head injury) it was bumped up to 50%. And he also engaged in shenanigans like setting up a merchandising company in which he and Elvis were each 50% owners, and then taking his 50% commission out of Elvis' 50% share of the company, meaning Elvis wound up with only 25% of that venture.

It would not be an exaggeration to say the Colonel took millions of dollars that rightly should have ended up in Elvis pocket. Nor would it be an exaggeration to say Elvis essentially worked at the Hilton for free, because the amount he was paid was offset by the amount the Colonel improperly took from him in excessive fees, and then the Colonel gave that money right back to the Hilton in their casino. This is why the Colonel was promptly removed from his position as soon as independent auditors took a look at the Presley Estate's finances (at the behest of Lisa Marie's guardian ad litem).

 

Not including all the side deals (such as "technical advisor") he negotiated with the studios, RCA, and the Hilton. He also owned most of Boxcar (he gave Diskin a big interest as well) and IIRC, Elvis only received something like 10-20% of its revenues, which is shocking.

 

yeah, i read an oral biography by three of the memphis mafia. two of them were pretty scathing about the Colonel's business practices. Elvis got rolled.

 

Alanna Nash's book about the Colonel is essential reading for any Elvis fan interested in learning more about the business side Elvis' history.

 

I will have to check that book out. I've read that the Colonel rolled Elvis during the 1970's and Elvis' estate until he was sued. I don't think anyone can make a case for Elvis to have stayed with him after 1965. My point was that by all perceptions at the time (1963-1970's), it looked like the Presley/Parker machine had maximized revenue streams for both although we would find out later how bad Elvis got shafted. John Lennon may have not liked what happened to Elvis for several reasons. When Lennon had to consider all of the ways that their royalties were divided up amongst so many people due to poor contract terms, Elvis' perceived favorable business dealings might have been a thorn in Lennon's paw.

 

Fun in Acapulco



Soundtrack album by
Elvis Presley
Released November 1, 1963
Recorded January and May 1963
Genre Mexican music, pop
Length 29:30
Label RCA Victor
Producer Joseph Lilley
Singles from Fun in Acapulco

1. "Bossa Nova Baby"
   Released: October 1963

Fun in Acapulco is the seventh soundtrack album by American singer and musician Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2756, in November 1963 – the November 1 date is disputed. It is the soundtrack to the 1963 film of the same name starring Presley. Recording sessions took place at Radio Recorders in Hollywood on January 22 and 23, 1963; and at RCA Studio B in Nashville, Tennessee, on May 26 and 27, 1963. It peaked at number three on the Billboard Top Pop Albums chart.[2] The album, along with the accompanying film, would be Presley's last release before the arrival of Beatlemania.

The third of his tropical "travelogue films" for Paramount Pictures after Blue Hawaii and Girls! Girls! Girls! finds Elvis frolicing in Mexico. The standard stable of songwriters for Presley delivered songs to match, with titles like "Marguerita," "El Toro," "You Can't Say No In Acapulco," and "The Bullfighter Was A Lady."[3]Included as well was the 1937 standard "Guadalajara" by Pepe Guízar. With the change from the normal routine, and with the addition of trumpet players Rudolph Loera and Anthony Terran, Presley engaged the material with greater enthusiasm than on recent soundtrack outings.[3] Four of these songs would be included on the 1995 compilation Command Performances: The Essential 60s Masters II: the title track, "Mexico," "Marguerita," and the song released as the lead single, "Bossa Nova Baby".[4]

"Bossa Nova Baby" arrived in stores one month prior to the soundtrack, coupled with the track "Witchcraft" by rhythm and blues songwriter and arranger Dave Bartholomew and a hit for The Spiders in 1956.[5] The fact that the bossa nova craze of the 1960s was a Brazilian phenomenon rather than a Mexican one mattered little, as the single peaked at number 8 on the Billboard Hot 100 as well as reaching as high as the 20th spot on the R&B singles chart.[6]

Compensating for the short ten-track It Happened at the World's Fair album, Presley's manager, Colonel Tom Parker, insisted on making Fun in Acapulco a good value.[7] Two additional tracks, "Love Me Tonight" and "Slowly But Surely" were pulled from the aborted album sessions of May 1963, and added here to bring the running order up to thirteen tracks.[8]

In 2003 Fun in Acapulco was reissued on the Follow That Dream label in an edition that contained the original album along with numerous alternate takes.[9]

• Elvis Presley – vocals
• The Jordanaires – backing vocals
• The Amigos – backing vocals
• Anthony Terran – trumpet
• Rudolph Loera – trumpet
• Scotty Moore – electric guitar
• Barney Kessel – acoustic guitar
• Tiny Timbrell – acoustic guitar, mandolin
• Dudley Brooks – piano
• Ray Seigel – double bass
• Emil Radocchi – percussion
• D. J. Fontana – drums
• Hal Blaine – drums

Side one
1. "Fun in Acapulco" Ben Weisman and Sid Wayne January 23, 1963 2:30
2. "Vino, Dinero y Amor" Sid Tepper and Roy C. Bennett January 22, 1963 1:55
3. "Mexico" Sid Tepper and Roy C. Bennett January 22, 1963 1:59
4. "El Toro" Bill Giant, Bernie Baum, Florence Kaye January 23, 1963 2:42
5. "Marguerita" Don Robertson January 22, 1963 2:42
6. "The Bullfighter Was a Lady" Sid Tepper and Roy C. Bennett January 22, 1963 2:04
7. "(There's) No Room to Rhumba in a Sports Car" Fred Wise and Dick Manning January 23, 1963 1:53
Side two
1. "I Think I'm Gonna Like It Here" Don Robertson and Hal Blair January 22, 1963 2:53
2. "Bossa Nova Baby" Jerry Leiber and Mike Stoller January 22, 1963 2:02
3. "You Can't Say No in Acapulco" Sid Feller, Dolores Fuller, Lee Morris January 23, 1963 1:55
4. "Guadalajara" Pepe Guízar January 23, 1963 2:43
5. "Love Me Tonight" (bonus track) Don Robertson May 26, 1963 2:00
6. "Slowly But Surely" (bonus track) Ben Weisman and Sid Wayne May 27, 1963 2:12
2003 reissue
14. "Mexico" (take 7) 1:58
15. "The Bullfighter Was A Lady" (remake take 17) 2:01
16. "I Think I’m Gonna Like It Here" (remake takes 18, 19) 2:35
17. "Bossa Nova Baby" (takes 1, 2) 2:53
18. "The Bullfighter Was A Lady" (takes 4, 5, 6) 3:52
19. "Marguerita" (take 6) 2:51
20. "I Think I’m Gonna Like It Here" (take 1) 2:51
21. "Mexico" (takes 1, 2) 2:41
22. "You Can’t Say No In Acapulco" (takes 1, 2, 3, 4) 3:11
23. "Guadalajara" (take 2) 2:27
24. "Bossa Nova Baby" (take 3) 2:48
25. "Mexico" (take 6) 2:10
26. "I Think I’m Gonna Like It Here" (takes 11, 12, 13-remake) 3:54
27. "Guadalajara" (takes 3, 4) 2:55
Total length: 1:08:25
-------------------------------
One of the very interesting things to me when looking at these soundtrack albums is the fact that their styling made Elvis one of the first mainstream World Music artists. We had King Creole infused with New Orleans Jazz, Blue Hawaii infused with traditional Hawaiian instrumentation, and here we have a series of songs that are essentially, in most cases, songs that carry a Mariachi band sound and feel. At this stage of the game it is still working and we have a good album of songs that have a completely different feel to a general Elvis release.
In thinking about this it makes me think ahead to TCB and although they weren't essentially playing in any of these styles, it's almost as if they were the embodiment of what Elvis learned about all these styles over the years. To my ears, whether one likes the styling that TCB had or not, they essentially had a sound all their own and were another quite original sound and feel for a live touring rock band.
Anyway this album is quite interesting in its make up and sound , and although we are just getting another soundtrack, it is actually quite good and gives us yet another flavour to add to our Elvis collections. For the most part I think this album is a very good addition to the collection, and although certainly not Elvis Is Back, Something for Everybody or Pot Luck, this album is certainly interesting and very enjoyable.
I still find it quite bizarre that the soundtrack albums out sold what I think of as the real albums. Each of those albums was great, and filled with great songs and performances, but for some reason i don't understand, did not sell very well in comparison. This of course would have gone a long way to encouraging Elvis to follow the soundtrack/movie path, and had those real albums been received with open arms, we may not be looking at a catalog so full of soundtrack albums these days.
Of course that sets of a chain reaction of changes that would make the face of sixties Elvis music completely different. Stepping away from soundtrack albums would have probably made Elvis stay more in touch with the contemporary music scene, instead of being in the sheltered Hollywood bubble he ended up in .... Anyway that is all just speculation, but interesting anyhow ....

So what do you think of this album?
When did you first hear it?
Have you seen the movie?
Do any of the songs stand alone as good Elvis songs for you (irregardless of them being from a soundtrack)?
Please let us know all your thoughts about these things.
Tomorrow we will have a day off. So have a listen, have a think, and give us your thoughts about all these things in the meantime.

Cheers
Mark

 

'Fun in Acapulco' was one of the first soundtrack albums I bought after having 'G.I. Blues' and 'King Creole' in the late eighties. I hadn't even seen the film at that point and sadly, aside from now having 'Bossa Nova Baby' in stereo, I thought the album was a dead loss. Mediocre songs that were in a style I didn't appreciate whatsoever. After having seen the film (don't ask why it made a difference, it just did!) and being a little older not necessarily wiser, I began to tolerate it a little more. To be fair though, it's still not one I listen to often.
That original US pressing though, how many times do they need show the Nipper logo on one album?