SOUND ADVICE BLOG
A website blog that provides insights on Elvis music, movies and shares ideas on different subject matters related to Elvis. An opportunity to share and explore different aspects of Elvis career as well as his present day Legacy.
Elvis Country (Side B)
In June 1970 Elvis was in Nashville Studio B for a marathon session that would lead to including many of his country favorites to be released on the album ‘Elvis Country’. In this Sound Advice session we look at side B of the album.
As we flip the record to Elvis Country "I'm 10,000 Years Old" to Side "B" the first song is a song written by Dallas Frazier called There Goes My Everything. First released by Ferlin Husky in 1966 on his I Could Sing All Night LP. The song came well known on a recording from Jack Greene's recording where it was voted Single and Song of the Year in 1967 at the 1st Country Music Association Awards.
Below is the Jack Greene version along with a live performance from Elvis in 1970.
Elvis recorded the song on June 8, 1970 and song was released as a single on December 8, 1970 where it reached #21 on the Pop charts and #23 on the Country charts. Listen below to take 1.
The next song was It's Your Baby, You Rock It. Written by Shirl Milete and Nora Fowler the song was first recorded by Jesse Brady who used that as a stage name but later returned to his real name Allen Wright.
Elvis recorded the song on June 5, 1970 and below is Take 3 in which Elvis discusses the guitar intro. Take 3 has no back ground vocals a noticible difference to the master recording with the full background vocals and instrumentation.
Next up on Side B is The Fool a song originally recorded by Sanford Clark in 1956. Elvis recorded this song originally at his home in Bad Nauheim, Germany and then officially for this country album. Listen to Clark's original version in which Elvis keeps his version very similar too.
Elvis official recording took place on June 4, 1970. Below is the first original home recording as well as Take 1 from the recording session.
Faded Love was originally recorded by Bob Wills and his Texas Playboys in 1950. Elvis recorded the song on June 7, 1970 and only completed three takes utilizing the first take with an overdub master. The song was also remixed on the 1980 album ‘Guitar Man’ by producer Felton Jarvis.
I Washed My Hand In Muddy Waters is a Joe Babcock written tune from 1964. Babcock did studio work with the Jordanaires and formed the vocal group the Nashville Edition. He sang on more than 10,000 recordings including Elvis' Kentucky Rain and Suspicious Minds. The song was recorded by Stonewall Jackson and can be heard below. Elvis did the song while rehearsing for the movie That's The Way It Is and was available on The Lost Performances.
Elvis recorded "Muddy Water" on June 7, 1970 with a much faster tempo than the original Stonewall Jackson version and even more so than his impromptu rehearsal version above.
The final song on the album was a popular country song composed by Hank Cochran in 1963 called Make The World Go Away. The original version of the song was recorded by Ray Price that same year and it was a top 40 song for Timi Yuro (1963), Eddy Arnold (1965) and Donny & Marie Osmond (1975). Elvis recorded the song June 7, 1970 and utilize the song in his concert performances in the early 70's.
Below is the original Ray Price version along with Elvis concert performance from August 1970.
Elvis Country (Side A)
Elvis was heavily influenced by country music and in 1971 he released ‘Elvis Country’. In this Sound Advice session we look at side A of the album providing insight and comparisons from original artists and specific Elvis recordings.
Elvis Country "I'm 10,000 Years Old" was Elvis 11th studio album and released on January 2, 1971. It reached #12 on the Pop Charts and #6 on the Country charts receiving Gold status by the RIAA in December of 1977.
Segments of the song "I Was Born About 10,000 Years Ago" are used to link the songs together in the album. Recorded June 4, 1970 the song was released in its complete form on the LP Elvis Now in February 20, 1972.
The first song on the album on side one was Snowbird written by Canadian songwriter Gene MacLellan. Although this song was recorded by many performers it was best known through Ann Murray's 1969 recording which was released as a single in 1970. Elvis was fond of Ann Murray's singing and would record the song on September 22, 1970. Here is the song that influenced Elvis own recording by Ann Murray and his first take of the song during recording.
Listen to Elvis rehearsal and first take of Snowbird as well as the master recording.
Tomorrow Never Comes was a song written and performed by Ernest Tubb and released on Decca records in 1945. Elvis moody interpretation of the song is greatly in contrast with Tubbs original version.
Listen to Elvis' first take of the song which has a soft feel compared to the master version where he has full force grit and emotion in the song. Recorded June 7, 1970
Little Cabin On The Hill was written and recorded by Bill Monroe in which his title was "Little Cabin Home On The Hill". Elvis first recorded version was on December 4th, 1956 in which he imitated Monroe during the Million Dollar Quarter recordings.
Elvis would record the song on June 4, 1970. In many ways he stays true to the original recording. Listen to take 1 and the master recording.
Whole Lotta Shakin' Going On is widely known as a Jerry Lee Lewis song in which he recorded in 1957. However the first recoring was two years prior by Big Maybelle. A very cool but raunchier version of the songs.
Elvis recording from September 22, 1970 adds more of the country version with Elvis' vocals feeding off the drum beat.
The classic Funny How Time Slips Away was written by Willie Nelson but first recorded by Billy Walker on April 21, 1961. On July 1954 Walker along with Slim Whitman were headlining a show at the Overton Shell in Memphis along with newcomer Elvis Presley. This was Elvis' first professional appearance after his recording of "That's All Right Mama.
Elvis recorded the song on June 7, 1970 and performed this song during his life performances in the mid 1970's. Below is a live version from a 1972 concert and a performance by Billy Walker on the Opry.
The last song on Side A is a beautiful song written by Howard Barnes and Don Robertson called I Really Don't Want To Know in which they produced a demo in 1953. A year later the song was professionally recorded by Eddie Arnold. Elvis recorded the song on June 7, 1970 and released as a single December 8, 1970 where it peaked at #21 on the Pop Charts and #23 in the country chart. Below is the Eddie Arnold original along with Elvis’ undubbed version from the album and a live performance during one his final concert tours.
THIS IS ELVIS / LOST PERFORMANCES ‘REDUX’
With the recent release of Baz Luhrmann concert film ‘EPiC: Elvis Presley In Concert’ fans have finally got to see a glimpse of unreleased footage from Elvis’ previous concert films ‘Elvis: That’s The Way It Is’ and ‘Elvis On Tour’, and surprisingly some additional footage from Elvis’ 1957 concert in Hawaii. The Hawaii concert footage came from the Graceland archives.
UPDATED ARTICLE
With the recent release of Baz Luhrmann concert film ‘EPiC: Elvis Presley In Concert’ fans have finally got to see a glimpse of unreleased footage from Elvis’ previous concert films ‘Elvis: That’s The Way It Is’ and ‘Elvis On Tour’, and surprisingly some additional footage from Elvis’ 1957 concert in Hawaii. The Hawaii concert footage came from the Graceland archives.
Prior to the Baz ‘Elvis’ movie in 2022 the previous Warner Brothers theatrical release regarding Elvis was the 1981 documentary ‘This Is Elvis’. This film combined original Elvis archival footage with actor reenactments and voice over narration by singer Ral Donner, imitating Elvis speaking voice. For that time period, four years after Elvis death, the amount of archival footage in the movie was impressive spanning Elvis early career on television, movies and concert performances.
Based on the now available footage and audio of Elvis speaking about his career, this would be an opportune time to give a broader audience a fresh look of Elvis with a redux of the documentary ‘This Is Elvis’. Technology advances in film and artificial intelligence would create a fresh look of Elvis. An opportunity to showcase Elvis in the early days with first appearances on ‘Stage Show’, ‘Milton Berle Show’, ‘Ed Sullivan Show’ through his career to the new unreleased footage of the 70’s. The film would still document Elvis career in the army and movies as the original but without actors but perhaps even an ‘AI’ Elvis if the likeness was reasonable. The most important factor is the audience sees as much of the original Elvis as possible and utilize Elvis interview audio which they did not use in the original. Imagine a redux release called ‘This Is Elvis’: 50th Anniversary Special Edition it could be another theatrical blockbuster for Elvis.
With all the “unseen” concert footage available, obviously it can’t all be placed in a single “documentary” but in 1992 Warner Bros released Elvis: The Lost Performances on direct to home VHS tape format. The material included footage from both ‘That’s The Way It Is’ and ‘Elvis On Tour’ as well as rehearsals from the MGM studio lot from July 29, 1970. Much of the footage was not official release on another format such as DVD or Blu Ray. This is how I would package it.
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To me this content needs to remain in its original form as much as possible, and ideally in multiple releases for each previously released concert documentary. Content should be released separately as ‘The Lost Performances: That’s The Way It Is’ and ‘The Lost Performances: Elvis On Tour’. There are many options today on how the can be released with multiple streaming services but ultimately a physical release direct to customers is what the fans have been waiting for.
A key element is the editing of this content needs to stay original to the artist with original footage and audio content with no breaks into other footage. Simply fans would be seeing Elvis as those in the audience during those actual performances.
Depending on the quantity of content, each Lost Performances release could have multiple volumes and utilize the premise of the ‘Follow That Dream’ label that this is more for the dedicated die hard fan. Footage would be added into the ‘This Is Elvis’ redux movie enough to get the new fans interested to investigate additional content further. The best way to do this would be where old and new fans congregate, Elvis Week!
With the upcoming 50th anniversary in 2027 the “sound advice” suggestion would be a theatrical release of a new ‘This Is Elvis: 50th Anniversary” movie prior to Elvis Week. Then during Elvis week create a concert and presentations based on the “Lost Performances” upcoming series of releases. This would be done using Elvis imagery, multi-screens footage and lighting in a concert type environment.
Then with the excitement of the new concert material being viewed in Memphis, the first volumes of ‘The Lost Performances’ releases would be available during Elvis Week 2027. Along with the unprecedented release of this footage it would bring Elvis Week to the next level. The fans, the new footage and a guaranteed excitement that hasn’t been felt at Elvis Week since the Elvis In Concert ‘97 at the Mid South Coliseum!
Are you looking forward to seeing new Elvis material and let us know what you think about our ‘sound advice’.
CANDLELIGHT VIGIL: REIMAGINED
The Candlelight Vigil at Graceland, is an annual event that attracts Elvis Presley fans from around the world.
We provide some “Sound Advice” on how we would reimagine the candle light vigil incorporating technology and more fan interaction.
The Candlelight Vigil at Graceland, is an annual event that attracts Elvis Presley fans from around the world. This tribute takes place on the evening of August 15th, the day prior to Elvis’ passing. The inaugural candlelight vigil, the creation of the Elvis Country Fan Club, took place on the first anniversary of his passing in 1978. Other fan clubs participate as ‘honor guard’, lining up the driveway as fans make their way up to the mediation garden to pay their respect to Elvis.
“That moment as an Elvis fan is indescribable”
I attended my first candlelight vigil in 1992, coinciding with events that have since evolved into Elvis Week. I had no idea what I was going to experience that night but as the Memphis sun began to set, the crowds on Elvis Presley Boulevard continued to grow. People of all ages, speaking different languages, were dressed in Elvis inspired attire. The boulevard was filled with people as far as the eye could see! With Elvis singing Amazing Grace over the loudspeaker, then in the darkness one by one candles began to be lit, illuminating in the front wall of Graceland. That moment as an Elvis fan is indescribable; a photograph or video cannot capture the profound experience of being there.
After the initial ceremony, the procession on Elvis Presley Boulevard zig zag towards the exterior Graceland wall until reaching the front gates where fans begin the slow journey with candle in hand up the driveway up to the meditation garden. That particular year I reached the mediation garden just after midnight, but the lines continued until the early hours of the morning.
Over the years, I have been fortunate to attend many candlelight vigils in honor and remembrance of Elvis Presley. While these ceremonies are deeply moving and serve as a poignant reminder of the iconic singer, the Memphis heat, especially in August, can pose significant challenges. This was particularly evident on August 15, 2007, when the daytime temperatures in Memphis reached 106 degrees.
By the time the candlelight vigil began, the temperature was still 96 degrees, with the heat index soaring in the high 100’s. For most of our fan club members, waiting in line for the vigil became an insurmountable task. Fortunately, across the street stood the original Graceland Plaza and Graceland Crossing (now Enesco Shop), which provided a welcome respite from the scorching heat.
I recently attended the candlelight vigil, with the same protocol with fans lining up the boulevard to make their way up the driveway. Candlelight vigil 2024 was once again met with a heat index of 110 degrees, and unfortunately several medical issues arose during the evening. One such incident occurred right in front of us, an elderly lady fainted.
What set this event apart from 2007 was there was no viable escape from the heat. The plaza that was once stood directly on the boulevard had now been replaced by ‘Elvis Presley’s Memphis’ which on this evening is closed. The closest alternative for air condition was to walk back to the Guesthouse about 10 minutes away.
It’s important to recognize that attending the vigil is a profoundly moving experience. Elvis Presley Enterprises has honored the fans with the presence of the Presley family over the years. Additionally, the Elvis Country Fan Club has kept its original concept, which is commendable.
However, times have change and so have the tools and technology since the initial ‘vigil’ concept. It is important to continue to honor Elvis in a traditional format, but it’s equally important to prioritize attendees’ safety. It’s time to reimagine the ‘Candlelight Vigil’ and here is a suggested proposal.
In this suggested ‘Reimagined’ vigil, the lineup time would get significantly reduced by leveraging smartphone technology. Similar to Graceland tours and event bookings like the free listening events, fans could reserve their vigil participation in advance of Elvis Week, up to the day of the vigil. Essentially, this will become a ‘digital’ ticket and lineup order system for attendees on their smartphones. The digital ticket could provide a group number and an estimated time. For example, ‘Group #27 Estimated 9:45 PM’. This will reduce the number of people waiting in line and allow the line to flow more reasonable up the driveway. A digital sign board located at the line up entrance could indicate which group is allowed to lineup, and attendees would receive a notification on their phone when to lineup.
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The next item would be to utilize the ‘Elvis Presley Memphis’ complex, which includes the Soundstage, Ticket Pavilion and Dining area for fans to utilize during the evening event. The Soundstage would serve as a reflection area for Elvis’ life, with the visual of the vigil proceedings displayed on screen, accompanied by Elvis’ music and special dedication videos. The Ticket Pavilion and Dining areas would be accessible for fans throughout the evening. The Soundstage and Ticket Pavilion digital signage would indicate which group number is permitted to lineup.
As usual, the opening ceremony would commence at the gates of Graceland with Elvis Country and other dignitaries of Graceland, accompanied by the traditional candle lighting ceremony. The ceremony can be conducted without the need to lineup, and for those that prefer they can view the ceremony at the Soundstage facility.
Access between the main ceremony on Elvis Presley Boulevard and the complex would be provided via the pathway past the airplane building and bridge crossing to the complex. Elvis Presley Boulevard would be closed on either end, with access to the complex having its own separate security checkpoint and entrance.
These modification would enhance crowd control and facilitate the smooth flow of people towards the meditation gardens. The opening of the Soundstage with a ‘Memories’ event will captivate fans and offer more personalized experience opportunities. Moreover, it will ensure accessibility and viewing options for individuals with disabilities or those who are unable to walk a long distance.
The anticipated large crowd for the 50th anniversary of Elvis Presley’s passing in 2027 necessitates consideration for changes that if implemented now would assist in optimize the digital lineup system over the next few years. The increase of new generation Elvis fans and the implementation of technology systems is a perfect match.
Do you think the Vigil needs to be reimagined? Let us know in the comments and what changes you would make.
SOUND ADVICE BLOG INTRO
Welcome to our Blog an opportunity to share some ‘Sound Advice’ with other Elvis fans on multiple topics including music, movies, Memphis and more.
Welcome to our Blog an opportunity to share some ‘Sound Advice’ with other Elvis fans on multiple topics including music, movies, Memphis and more.
Thursday’s have become a key date it seems for the fan club as we have typically presented our Studio E’ events on that day and now going forward we will introduce blog articles on that day as well. Blogs will appear on Thursday’s when a Studio E event does not take place. What is ‘Studio E’? That is our highly interactive virtual studio where we go live to present various themed events and fans can chat live during the event. Check out the Studio E section of our website for more information that also includes a Q&A section to answer everything about getting access to the studio.
The fan club, in existence since 1990, has come a long way from our original beginnings of local monthly meeting gatherings and typed up newsletters. We now reach a worldwide audience and we share information in many different platforms including this new blog.
We have used the motto ‘Sharing The Legacy, Giving To Charities’ for some time now. We enjoy sharing not only the information but the experience and interaction with you, the fans. Studio E has been a great outlet for interaction and we are hoping that the ‘Sound Advice’ we provide will do the same.
As you read the blogs, we look forward to reading your comments and getting your feedback on the various topics. Most of all, you are here because we have one thing in common and that is our admiration for the king of rock’n roll. Elvis!
Thanks for stopping by to read, view and listen to items on our website. If you have other Elvis friends that may enjoy information we share make sure you tell them about us.
TCB,
Rob
President
Always Elvis Fan Club
