Status of Elvis Sessions IV by JAT Productions

[colonel snow]

Thanks Daryl for the explanation.


colonel snow

[bluehawaii]

Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.


colonel snow

That 465 pages is just a .docx file formatted to Times New-Roman 11 point and spaced at 1 1/2, which is what was requested before uploading. No photographs or documents included in any of that. That's just text. I did a word count last night covering 1968-1977 and it came out to be 203,121 words, as it stands now. This doesn't include any of the other chapters of the book, such as discography, RIAA gold & platinum, Grammy nominations, Songs & Songwriters Index, etc.

I believe that I originally had it at Times New Roman 10 point and the spacing was much less. Changing these drastically changed the number of pages, so I wouldn't look at the page count. I would look at the word count.

DarylR

Unlike you I'm out of words. Thanks for the update! I'm sure nothing is final at this point but this looks like it's going to be a multi volume publication to me.

[DarylR]

Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.


colonel snow

That 465 pages is just a .docx file formatted to Times New-Roman 11 point and spaced at 1 1/2, which is what was requested before uploading. No photographs or documents included in any of that. That's just text. I did a word count last night covering 1968-1977 and it came out to be 203,121 words, as it stands now. This doesn't include any of the other chapters of the book, such as discography, RIAA gold & platinum, Grammy nominations, Songs & Songwriters Index, etc.

I believe that I originally had it at Times New Roman 10 point and the spacing was much less. Changing these drastically changed the number of pages, so I wouldn't look at the page count. I would look at the word count.

DarylR

Unlike you I'm out of words. Thanks for the update! I'm sure nothing is final at this point but this looks like it's going to be a multi volume publication to me.

Yes, nothing is final. This is very much preliminary in determining who our editor is going to be. Joe, myself and another individual who will remain nameless are supposed to have another telephone conference call probably at the beginning of May. During this meeting we will likely discuss who our editor will be and an editor consultation will be scheduled. Right now, we are simply submitting a portion of the manuscript for evaluation. They are going to give us feedback on how to cut down the number of words, look for spelling and grammatical mistakes that have been overlooked, etc. I was told yesterday via email that they had received the manuscript and that I should hear from someone from administration early next week.

I am curious if there will be any documentation included on unreleased concerts, home recordings, rehearsals or songs?

In the last book, there were lists but nothing to substantiate their existence.

Anyone can make up a rumor list.

And will there be any notations on material in private hands?

Also, will there be any new discoveries as far as footage goes? (this might be outside the scope of the book).

Well, of course there are unreleased concerts; albeit in soundboard quality.

As far as home recordings, there's a rumor of one but it has never been substantiated. I believe there's one individual that claims that he knows of one or has one. I've never been able to confirm this, though I have dealt with him on occasion.

As far as rehearsals, it's a bit tricky. I don't know if anyone knows this or not but Al Dvorin, before he died, had a copy of Elvis' lyrics book that was used on tour and in Las Vegas as well as Lake Tahoe. Somewhere, I have a picture of this book and somewhere I have Joe's notes on it. Years ago, Joe met up with Al's son and was able to go through the lyric book and there are some songs in there that there is no known recording by Elvis. Now, how do you interpret those songs? Did Elvis rehearse them? We can't really say for sure. Maybe some people like James Burton, Glen D. Hardin, Jerry Scheff, David Briggs, or Tony Brown may know or even someone like Terry Blackwood of the Imperials or Donnie Sumner of The Stamps. But would they even remember? I think at the very least, considering that they were in the lyric book, Elvis was considering adding them to his act; else why would the lyrics even be in there? I seem to recall that there were a few songs in there that were written by Pete Hallin that I believe were gospel songs. These songs were titled, "I Found The Lord," "Don't Throw It All Away," and "Lift Me Higher."

Unless a tape surfaces of those rehearsals, there's really no way to know. I'm aware that there is purported a 1969 rehearsal tape in private hands and Joe met with this person and he got a rundown of what is on the tape. Somewhere, I have a copy of Joe's notes on that tape.

The way we are planning on handling the rehearsals in the book is listing the dates, hours, and locations of the rehearsals in the book for each rehearsal. Then we will list the songs where we believe these songs were either rehearsed, contemplated for rehearsal or inclusion into his stage show as well as tapes of rehearsals that are known to exist or have been released. This is pretty much how we handled it in "Sessions III" but it will be augmented by photographs of Elvis Presley rehearsing in various years.

IMG953129.jpg

Although Joe has published lists of unreleased highlights and a soundboards list in several of his previous "Sessions" books, I think you have to look at how many of those recordings have come out in regards to the unreleased highlights lists.

As for the "soundboards" lists, Joe and I have acquired a spreadsheet that I believe was prepared by someone close to Ernst that lists all of the soundboards that they have in the Sony / RCA archives. Mind you, this list is probably about 10-15 years old but I don't think Ernst is actively pursuing soundboard recordings unless it fell in his lap. By my estimation, there hasn't been any soundboards that FTD has put out over the last 10-15 years that isn't on the list. That said, the list doesn't include things such as the Memphis Recording Service soundboard from September 1970 Las Vegas. There are some notes on the list pertaining to each show, as it appears that someone had listened to all of the shows. These notes are generally in regard to the sound quality, whether the recording is complete, date and location, etc. I do seem to recall though that there was a note pertaining to the December 1975 soundboard that came out on the "Dinner At Eight" FTD that Ernst had acquired that soundboard from Dick Bogart, a former RCA recording engineer. Also, as far as soundboards go, there was an individual that Joe had do some work on one of his previous books that recorded many soundboards from 1969-1973. Joe spoke to this individual and specifically asked them about what happened to all of these soundboards, since there are so few from that period. From what Joe told me, this individual told Joe that his son had a drug addiction at one time and stole some things from his father, including tapes and I also believe gold records. There was a Graceland Auction several years ago in which there was a lot which included RCA paperwork referring to this individual needing his gold records that he had worked on with Elvis replaced due to theft. I've never been able to verify whether this theft of the gold records was ever connected to what Joe told me about these soundboard tapes being stolen, but I do remember seeing a video clip several years ago of an interview with Chuck Negron, lead singer for Three Dog Night. In the video, Negron said that he took his personal gold records to a pawn shop and pawned them off to continue to fuel his drug addiction. That story stuck in my head when I saw the RCA paperwork about the stolen gold records.

Of course, anyone can make up lists. In fact, I don't want to name any names, but there was an individual several months ago who called me and claimed that he had photographs from the September 1957 Christmas sessions and the March / April 1960 "Elvis Is Back" sessions and when he called, he said that he would call me the next day, which he never did. From what I understand, this individual put someone up to calling me twice and saying that he had these photographs. That's a sick individual. Joe and I have identified this individual, as he has routinely made claims about tapes, stories, etc. that he has seen or been offered, but to this day have never surfaced.

As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Another individual did supply us with the complete multi-track recordings of selections that were made on two different nights from the February 1970 engagement. You hear when they turned on and off the recording equipment during the two shows. One was the February 16, 1970 Dinner Show and the other was the February 18, 1970 Dinner Show. There's a couple of interesting things that can be heard. One is that there's a false start that precedes the master of "Proud Mary." The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance. There's also a buzzing noise that permeates the recordings from that show. Elvis also makes a funny comment about having just woken up and having eaten breakfast. He then said that during the show he got a aftertaste of bacon in his mouth.

Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.

I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.

I hope I answered all your questions.

DarylR

[cadillac-elvis]

Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.


colonel snow

That 465 pages is just a .docx file formatted to Times New-Roman 11 point and spaced at 1 1/2, which is what was requested before uploading. No photographs or documents included in any of that. That's just text. I did a word count last night covering 1968-1977 and it came out to be 203,121 words, as it stands now. This doesn't include any of the other chapters of the book, such as discography, RIAA gold & platinum, Grammy nominations, Songs & Songwriters Index, etc.

I believe that I originally had it at Times New Roman 10 point and the spacing was much less. Changing these drastically changed the number of pages, so I wouldn't look at the page count. I would look at the word count.

DarylR

Unlike you I'm out of words. Thanks for the update! I'm sure nothing is final at this point but this looks like it's going to be a multi volume publication to me.

Yes, nothing is final. This is very much preliminary in determining who our editor is going to be. Joe, myself and another individual who will remain nameless are supposed to have another telephone conference call probably at the beginning of May. During this meeting we will likely discuss who our editor will be and an editor consultation will be scheduled. Right now, we are simply submitting a portion of the manuscript for evaluation. They are going to give us feedback on how to cut down the number of words, look for spelling and grammatical mistakes that have been overlooked, etc. I was told yesterday via email that they had received the manuscript and that I should hear from someone from administration early next week.

I am curious if there will be any documentation included on unreleased concerts, home recordings, rehearsals or songs?

In the last book, there were lists but nothing to substantiate their existence.

Anyone can make up a rumor list.

And will there be any notations on material in private hands?

Also, will there be any new discoveries as far as footage goes? (this might be outside the scope of the book).

Well, of course there are unreleased concerts; albeit in soundboard quality.

As far as home recordings, there's a rumor of one but it has never been substantiated. I believe there's one individual that claims that he knows of one or has one. I've never been able to confirm this, though I have dealt with him on occasion.

As far as rehearsals, it's a bit tricky. I don't know if anyone knows this or not but Al Dvorin, before he died, had a copy of Elvis' lyrics book that was used on tour and in Las Vegas as well as Lake Tahoe. Somewhere, I have a picture of this book and somewhere I have Joe's notes on it. Years ago, Joe met up with Al's son and was able to go through the lyric book and there are some songs in there that there is no known recording by Elvis. Now, how do you interpret those songs? Did Elvis rehearse them? We can't really say for sure. Maybe some people like James Burton, Glen D. Hardin, Jerry Scheff, David Briggs, or Tony Brown may know or even someone like Terry Blackwood of the Imperials or Donnie Sumner of The Stamps. But would they even remember? I think at the very least, considering that they were in the lyric book, Elvis was considering adding them to his act; else why would the lyrics even be in there? I seem to recall that there were a few songs in there that were written by Pete Hallin that I believe were gospel songs. These songs were titled, "I Found The Lord," "Don't Throw It All Away," and "Lift Me Higher."

Unless a tape surfaces of those rehearsals, there's really no way to know. I'm aware that there is purported a 1969 rehearsal tape in private hands and Joe met with this person and he got a rundown of what is on the tape. Somewhere, I have a copy of Joe's notes on that tape.

The way we are planning on handling the rehearsals in the book is listing the dates, hours, and locations of the rehearsals in the book for each rehearsal. Then we will list the songs where we believe these songs were either rehearsed, contemplated for rehearsal or inclusion into his stage show as well as tapes of rehearsals that are known to exist or have been released. This is pretty much how we handled it in "Sessions III" but it will be augmented by photographs of Elvis Presley rehearsing in various years.

IMG953129.jpg

Although Joe has published lists of unreleased highlights and a soundboards list in several of his previous "Sessions" books, I think you have to look at how many of those recordings have come out in regards to the unreleased highlights lists. As for the "soundboards" lists, Joe and I have acquired a spreadsheet that I believe was prepared by someone close to Ernst that lists all of the soundboards that they have in the Sony / RCA archives. Mind you, this list is probably about 10-15 years old but I don't think Ernst is actively pursuing soundboard recordings unless it fell in his lap. By my estimation, there hasn't been any soundboards that FTD has put out over the last 10-15 years that isn't on the list. That said, the list doesn't include things such as the Memphis Recording Service soundboard from September 1970 Las Vegas. There are some notes on the list pertaining to each show, as it appears that someone had listened to all of the shows. These notes are generally in regard to the sound quality, etc. I do seem to recall though that there was a note pertaining to the December 1975 soundboard that came out on the "Dinner At Eight" FTD that Ernst had acquired that soundboard from Dick Bogart, a former RCA recording engineer.

Of course, anyone can make up lists. In fact, I don't want to name any names but there was an individual several months ago who called me and claimed that he had photographs from the September 1957 Christmas sessions and the March / April 1960 "Elvis Is Back" sessions and when he called, he said that he would call me the next day, which he never did. From what I understand, this individual put someone up to calling me twice and saying that he had these photographs. That's a sick individual. Joe and I have identified this individual, as he has routinely made claims about tapes, stories, etc. that he has seen or been offered, but to this day have never surfaced.

As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.

I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.

I hope I answered all your questions.

DarylR

Hey, I am just a fan and I really appreciate you explaining it for me.
It's just seems so frustrating after all these years that some of those collectors
still want to hold on to rare recordings....you would think by now that time would be right.
Well known collectors like Paul Dowling and Paul Lichter surely must have some thing in their collections of interest.
And I wonder if Sherif Hanna also has more rare stuff to part with. His disc with hayride recordings was
so very facsinating to hear, and I hope he has more of that kind of stuff.
I still have hope that one day the "Only You" live tape will surface before I die, or
the "The day in the life of a DJ" footage will surface from 1955. That is surely in some vault somewhere.
Also, concerning the soundboard tapes that Ernst has access to must have increased since the passing of Bruce jackson.
Because it was from his estate that "Atlanta-76" was sourced from if I read correctly?

[TheKingForever]

Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Another individual did supply us with the complete multi-track recordings of selections that were made on two different nights from the February 1970 engagement. You hear when they turned on and off the recording equipment during the two shows. One was the February 16, 1970 Dinner Show and the other was the February 18, 1970 Dinner Show. There's a couple of interesting things that can be heard. One is that there's a false start that precedes the master of "Proud Mary." The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance. There's also a buzzing noise that permeates the recordings from that show. Elvis also makes a funny comment about having just woken up and having eaten breakfast. He then said that during the show he got a aftertaste of bacon in his mouth.

Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.

I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.

I hope I answered all your questions.

DarylR

I think you meant february 19 dinner show and LIBM from 16 feb dinner show wasnt recorded.
Thankfully the mentioned feb 70 recordings was released in great quality on bootleg in 2011 and is a favorite of mine.

[reg]

hope those mistakes dont get into the new book that woul d be bad

[DarylR]

Described is the period 1953-1967 with 465 pages; I expect period 1968-1977 is around 400-500 pages too.
But as I stated in a previous post I’m not a photo-collector. I hope to see included all kind scans of related documents.
As far as new discoveries, Joe and I did try to locate some things, like the "We Had It All" tape. Probably the most exciting thing we found was an acetate with the stereo masters from "Follow That Dream." Also found an acetate from the "Clambake" sessions which has some of the guide vocals where Elvis added his vocal later. I want to be clear that this "Follow That Dream" acetate has nothing to do with what Memphis Recording Service recently did by stereofying the monaural masters. We tried to locate other tapes but were unsuccessful. Joe was able to get a rundown of the takes from the "Change Of Habit" sessions but was unable to locate the session tapes. I don't recall if he found the tape boxes or some paperwork that indicated a breakdown of the takes (complete take, long false start, false start, etc.). I'd have to ask him. Somewhere I have a copy of his notes. We did find several audience recordings of shows from Bobby Morris and a friend of Bobby's before Bobby died, but I believe that they are already out there. One was from August 1969 and two others were from February 1970. Another individual did supply us with the complete multi-track recordings of selections that were made on two different nights from the February 1970 engagement. You hear when they turned on and off the recording equipment during the two shows. One was the February 16, 1970 Dinner Show and the other was the February 18, 1970 Dinner Show. There's a couple of interesting things that can be heard. One is that there's a false start that precedes the master of "Proud Mary." The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance. There's also a buzzing noise that permeates the recordings from that show. Elvis also makes a funny comment about having just woken up and having eaten breakfast. He then said that during the show he got a aftertaste of bacon in his mouth.

Also found a bunch of cool interview clips with various people who knew or worked with Elvis. Probably one of my favorites in this was Bones Howe recounting the story about whether Elvis would have recorded "MacArthur Park" had he been offered the song first. I believe these interview clips were done or used for a radio special on Elvis after he died. There's people in there like Felton Jarvis, Marion Keisker, Sam Phillips, Steve Binder, etc.

I don't think it's a good policy to publicly identify people who may have rare items that may be of interest. We will likely note some of the things in private collections, space permitted. Some of these people spent a lot of money acquiring their collection though, whether that be tapes, photographs, jewelry, autographs, jumpsuits, you name it. I'm pretty content in what Joe and I own already. Joe and I have acquired a wealth of photographs and documents for this book. Some of the stuff I never thought I would ever see in my lifetime. The thing is that we are still not finished acquiring photographs. There's still a few contracts and photographs that I would like to find. I doubt we will find them but you never know.

I hope I answered all your questions.

DarylR

I think you meant february 19 dinner show and LIBM from 16 feb dinner show wasnt recorded.
Thankfully the mentioned feb 70 recordings was released in great quality on bootleg in 2011 and is a favorite of mine.

Yes, TheKingForever is correct. I did go back and listen to it again. It is the February 19, 1970 Dinner Show. However, according to the notes I have, "Let It Be Me" was recorded during the February 16, 1970 Dinner Show as well.

About nine months ago, Joe and I acquired a bunch of photographs from 1970, including the January / February 1970 Las Vegas engagement. This amounted to about 250 photos just from this engagement alone.

One of the things I would like to do in that section on the February 1970 recordings is a page featuring a collage of records of the original or influential 45 singles of the songs featured on the "On Stage February 1970" album. in the center would be the photo that was used for the cover of the album along with an RCA document that we have that references some of these recordings. It would be something like this.

1. See See Rider - Chuck Willis 45 single
2. Release Me (And Let Me Love Again) - Esther Phillips, Ray Price, Engelbert Humperdinck 45 singles
3. Sweet Caroline - Neil Diamond 45 single
4. Runaway - Del Shannon 45 single
5. The Wonder Of You - Ray Peterson 45 single
6. Polk Salad Annie - Tony Joe White 45 single
7. Yesterday - The Beatles 45 single and picture sleeve
8. Proud Mary - Creedence Clearwater Revival 45 single
9. Walk A Mile In My Shoes - Joe South 45 single
10. Let It Be Me - The Everly Brothers, Jerry Butler & Betty Everett, and Glen Campbell and Bobbie Gentry 45 singles

Over the last 10-15 years, I have been acquiring records for the book and I have all of these already.

I don't know if I will be able to do this, but I'd like to try. I also have all the new songs by the original artists from the "In Person," "That's The Way It Is," "Madison Square Garden," "Aloha" and "Recorded Live On Stage In Memphis" albums. This would cover stuff like Chuck Berry's "Johnny B. Goode," both Don Gibson and Ray Charles' "I Can't Stop Loving You," The Bee Gees' "Words," Little Walter's "My Babe," B.J. Thomas' "I Just Can't Help Believin'," Al Martino's "Mary In The Morning," Dusty Springfield's "You Don't Have To Say You Love Me," The Righteous Brothers' "You've Lost That Lovin' Feeling," Ian Matthews & Southern Comfort's album featuring "I've Lost You," Simon & Garfunkel's as well as B.J. Thomas' recording of "Bridge Over Troubled Water," Three Dog Night's "Never Been To Spain," Kris Kristofferson and Ray Price's recordings of "For The Good Times," Mickey Newbury's "An American Trilogy," Frankie Laine's "You Gave Me A Mountain," James Taylor's and The Masqueraders' "Steamroller," Hank Williams' "I'm So Lonesome I Could Cry," "Jimmie Rodgers' "It's Over," Jim Reeves' "Welcome To My World," Sonny & Cher's "What Now My Love," The Beatles' "Something," Frank Sinatra's "My Way," Loggins & Messina's "Your Mama Don't Dance," and Kris Kristofferson's "Why Me."

Like I said, I have tons of these records. Over the winter I was frequently at my local library where they have a book scanner that can scan album covers, as I don't have the equipment to do this at home. So I got all the album covers that we may possibly use by other artists other than Elvis scanned. I had already done all the 45 and 78 singles.

If you look in the back of Ernst's "A Boy From Tupelo" where he showed the original and influential singles to Elvis' Sun era, that is where I got the inspiration to acquire and scan all of these records. I got stuff such as the Freddie Bell & The Bell Boys as well as Willie Mae "Big Mama" Thornton's singles of "Hound Dog," Arthur Crudup's "That's All Right," Bill Monroe's "Blue Moon Of Kentucky," Arthur Gunter's "Baby, Let's Play House," Little Junior Parker's "Mystery Train," Carl Perkins' "Blue Suede Shoes," Lloyd Price's "Lawdy, Miss Clawdy," Little Richard's "Long Tall Sally," "Ready Teddy," and "Rip It Up," Willy & Ruth, Georgia Gibbs, Jimmie Rodgers Snow's singles of "Love Me," Bernard Hardison's "Too Much," Smiley Lewis' "One Night Of Sin," Hank Snow's "(Now And Then There's) A Fool Such As I," Tony Martin's "There's No Tomorrow," The Blue Barron's "Are You Lonesome Tonight?," Lowell Fulson's "Reconsider Baby," the Odetta album with her recording of "Tomorrow Is A Long Time," Jimmy Reed's 45 singles of "Big Boss Man" and "Baby, What You Want Me To Do," Jerry Reed's single featuring "Guitar Man" and the album with both it and "U.S. Male," Mac Davis' recording of "In The Ghetto," Mark James' recording of "Suspicious Minds," Eddie Rabbit's album featuring his recording of "Kentucky Rain," Dennis Linde's and Arthur Alexander's singles of "Burning Love." This is just to name a few prominent ones. I've acquired tons more. Like I said, I don't know if we will use all of them. There's a few obscure ones that I just happened to stumble across. There's some obscure covers as well but I doubt we will use very many of these, if any.

DarylR

[colonel snow]

See previous post:
The first version of What now my love with English lyrics was recorded on 8 february 1962 by
Jane Morgan (Kapp 450). Based on the French song “Et maintenant”.


colonel snow

[colonel snow]

Release me
See previous post with “original” versions for LP On stage.
The original version was recorded in december 1949 by Eddie Miller & his Oklahomans (4Star 1407).
Other versions mentioned here in the topic and recorded:
28-12-53 – Ray Price (Columbia 21214);
00-06-62 – Esther Philips (Lenox 5555).


colonel snow

[colonel snow]

(See previous post(s)
Are you lonesome tonight?
The version by Blue Barron Orchestra with vocal Bobby Beers & The Blue Notes / vocal recitation DJ John McCormack (MGM 10628) was recorded in december 1949.

Another version often mentioned as influence on Elvis was recorded 28 december 1958 by Jaye P. Morgan (MGM 12752).



colonel snow

[TheKingForever]

The likely reason why we haven't gotten the February 16, 1970 Dinner Show performance of "Let It Be Me" is because Elvis shouts the words, "spotlight" and "thank you" mid-performance.

That version of LIBM is from february 19 dinner show.
Not february 16th so I think your notes are wrong.
Your posts regarding february 70 make me wanna listen to these recordings again.
He was simply amazing that season in Vegas

[colonel snow]

See previous post(s)

My way
The original version was recorded on 30 october 1968 by Paul Anka for an album.
Frank Sinatra recorded his version on 30 december 1968 (Reprise 0734).

Note: It’s not my intention to add a lot more of original versions here for all those mentioned Elvis’ LP’s; this information about originals is available on various websites.


colonel snow