Elvis Presley - The Albums and Singles Thread pt3 The Seventies

And Vince Everett was of course the name of Elvis' character in the film Jailhouse Rock.

 

It's a crazy Elvis rabbit hole that doesn't end! Lol

 

"Vince" (real name, Marvin Benefield) had a minor career going for awhile there with his Elvis impersonation. He also released a version of Baby Let's Play House that featured Scotty and Bill backing him up:


I wonder if Vince's copycat single of Such a Night was the reason RCA released Elvis' version as a single in 1964?

 

What's the point? Why but the fake when the real thing is available for the same price?

 

Yeah, it's puzzling. I guess I could see some people buying the "Vince" 45 of Such a Night when Elvis' version was only available on an album, if they couldn't afford the whole album. But I can't imagine who would buy the copy version of Baby Let's Play House at that point.

 

That points out a real shame too. If any Elvis song was released as a single in 1960, it should have been Such A Night. Vince Everett or whatever his name did a good job but I don't think anyone could ever top Elvis' version of that one. He nailed it down all the way around!

 

I agree. It's my all-time favorite Elvis recording. And it's a testament to its greatness that when it finally was released as a single in 1964, it still made the top 20.

 

I am with you all the way. Such A Night just captures everything that was great about Elvis's vocal ability, from his splendid range, to his unmatched sexiness and just plain raw vocal power. I cannot think of any other single performance that captures more of Elvis's raw vocal ability and talent than his version of Such A Night.

 

Elvis was scooped:
Wooden Heart
Such A Night
Suspicion
Memphis TN

 

Every time I hear Such A Night, I'm thinking why was this not his return single as I tap my foot? This song just screams "for any posers that's been messing around my rock and roll throne, you'd better clear out before I make a fool out of you!".

 

Wasn't Johnny Ray's version banned in UK? Stuck On You was a very SAFE choice for the first single. And no one could argue with the success of Are You Lonesome Tonight and It's Now Or Never. But YES, Such A Night could have followed those 3 singles. It was my mom's favorite too and it is certainly one of mine.

 

Some thoughts: had SUCH A NIGHT been a 1960 single (maybe right after NOW OR NEVER), it would have never been included on the "Elvis is Back!" Lp! Disturbing, isn't it?

 

You have a point there. Have you considered wearing a hat?

 

As much as I like EIB, Such A Night deserved single status in 1960 (I'm sure Elvis would have recorded another song for EIB since he was so revved up at the time). It would then have been on Golden Records Vol. 3 AND we might have ANOTHER cool song from the EIB sessions. That is pretty cool IMO.

 

I couldn't get it out of my mind that he would actually need TWO more songs if we pulled Such A Night from EIB to make a single. He would need one song on the album and one for the flip side of SAN. While I'm fantasy pitching a couple of songs to Elvis in 1960 at the EIB sessions, I'm also going to pretend that they could secure a publishing deal so that he could change these up and record them. For EIB to replace SAN, I'd like to hear Elvis do a cover of Well Oh Well by Tiny Bradshaw. For the flip side of SAN, he could cover Journey's End by Diana Washington. I think he would have nailed these with his knack for arranging (It's Elvis in 1960. He could have recited an insurance policy to music and would have sounded great) . I apologize for straying from the album Mark. Please overlook this foolishness.

 

Interview with Elvis - Jay Thompson

 

I Want You I Need You I Love You take 15
Written By :

Maurice Mysels & Ira Kosloff

Recorded :

RCA Studio, Nashville, April 14, 1956: April 14, 1956. take 15
An excellent version with a slightly different vocal delivery. Well worth having.

 

Cane And A High Starched Collar take 2 and master.
Written By :
Roy C. Bennett & Sid Tepper

Recorded :
Radio Recorders, Hollywood, August 8-9, October 7, 1960: August 8, 1960. take 2

This is an unusual little outtake. It sounds like a soundtrack song. This is one of those songs that as an outtake holds some interest, but if released on an album at the time would be a lesser songs ... in my opinion.

 

The song is from Flaming Star. It is the only song that Elvis sings in the movie besides the title song which is heard during the opening credits.

 

This award presentation from March 1961 in Hawaii was also included on A Legendary Performer vol. 2.
The entire press conference was released on the FTD book+cd project Rock Around The Bloch.

 

I Want You, I Need You, I Love You is the kind of song that I can listen to on repeat for absurd amounts of time, so I'm glad that it's one of the relatively few 50s songs with surviving/circulating outtakes. I love all of them, but take 4 (initially issued on Platinum) is probably my favourite.



A Cane & A High Starched Collar is lightweight, but I love it anyway. Elvis never sounded better than he did in the early 60s, and his vocal here is particularly charming (sort of ironic, considering the tone of the lyrics). It's definitely my favourite of the four Flaming Star songs.

 

After surviving a harrowing plane ride to the session, it was evident Elvis was bit "shook up" in the I Want You, INY, ILY session. The take on Legendary Performer has him screwing up the lyrics quite a bit. As with Love Me Tender, the songs recorded for Flaming Star are an attempt at folk music that is very lighthearted for the most part, Britches being another example.

The BEST song, Summer Kisses Winter Tears was filmed for the movie but test audiences giggled at the silliness of the scene and it was cut. The movie version of the song is not nearly as good as the studio version. The studio version was also used in Wim Wenders' Until The End Of The World movie. I LOVE Wim Wenders' movies!

 

That is a great scene, thank you for sharing!

 

Like DirkM, I love this Elvis song and the outtakes as well. I also like the guitar intro and closer of Scotty Moore. He reaches back to use a variation of the then unreleased intro to I'm Left, You're Right, She's Gone slow version.

 

Mark, you skipped over Harbor Lights. I presume that's because it was tacked onto the RCA Album Collection version of A Date With Elvis, and I think you covered it back in the original 50s thread. But it's worth noting this track was previously-unreleased when it came out on Legendary Performer Volume 2.

It's a pretty undistinguished track. The six pre-That's All Right recordings we have (the two acetates, I Love You Because and Harbor Lights) are interesting from a historical perspective, but they are pretty undistinguished. If this type of music was all Elvis could do, he never would have gone anywhere. It's really a testament to Marion Keisker and Sam Phillips that they were able to see potential in Elvis when he was just doing ballads like this.