Elvis Presley – I’m Left, You’re Right, She’s Gone

These Sun records by Elvis are untouchable. Many artists have tried to get the same sound that Sam Phillips achieved with his small studio in Memphis Tennessee. This title makes you want to listen to the song.

This was written by Bill Taylor and Stan Kesler, who were part of a group called the Snearly Ranch Boys, which recorded for Elvis’ label, Sun Records. The melody for the song was lifted by a jingle for Campbell’s soup.

The head of Sun, Sam Phillips, arranged for Elvis to record the tune, and brought in a drummer named Jimmie Lott to play on it, augmenting Elvis’ regulars: guitarist Scotty Moore and bassist Bill Black.

In February of 1955, Elvis Presley records this as the “B” side to “Baby, Let’s Play House” to be released on Sun Records. This is the record that convinced RCA-Victor to drop $35,000 to buy Elvis from Sam Phillips…plus 5,000 Phillips owed Elvis.

I’m Left, You’re Right, She’s Gone

Well, you’re right, I’m left, she’s gone
You’re right, and I’m left all alone
Well, you tried to tell me so
But how was I to know
That she was not the one for me?

You told me all along
You’re right, our love was so wrong
But now I changed my mind
Because she broke the ties that bind
And I know that she never cared for me

Well, I thought I knew just what she’d do
I guess I’m not so smart
Oh, you tried to tell me all along she’d only break my heart
I’m left, you’re right, she’s gone
You’re right, and I’m left all alone

Well, she’s gone I know not where
But now I just don’t care
For now I’m falling for you

If you’ll forgive me now
I’ll make it up somehow
So happy we will be
In a home just for three
And I’ll soon forget her now I know

Well, I thought I knew just what she’d do
I guess I’m not so smart
You tried to tell me all along
She’d only break my heart

Well, you’re right, I’m left, she’s gone
You’re right, and I’m left all alone
Well, she’s gone, I know not where
But now I just don’t care
For now I’ve fallen for you

Bob Dylan – Froggie Went A-Courtin’

I am amazed at how many covers there are to this song. I remember Kermit the Frog singing it long ago. I didn’t know whether to use Bob Dylan’s or others for today. Jimmie Rodgers did a great version of Froggie Went A-Courtin’.

It is on the  Dylan album Good as I Been to You that was released in 1992.

Who covered it? Here is a partial list: Jimmie Rodgers, Paul McCartney, Bruce Springsteen, Woody Guthrie, Elvis Presley, Tex Ritter, and Blind Willie McTell.

There is a reference in the Stationer’s Register of 1580 to “A Moste Strange Weddinge of the Frogge and the Mouse.” The oldest known musical version is in Thomas Ravenscroft’s Melismata in 1611.

This great old story song has quite a history. Some people claim that it goes back 400 years to England and that the frog is actually a French Duke while the mouse is Queen Elizabeth I. It has been popular in America since colonial times, and it seems to change a little with each person who performs it.

Alternative names for the song per Wiki

  • “A Frog He Would a-Wooing Go”
  • “Crambone”
  • “Die Padda wou gaan opsit” (Afrikaans version in South Africa)
  • “Frog in the Well”
  • “Froggie Went a-Courtin'”
  • “Froggy Would a-Wooing Go”
  • “The Frog’s Wooing”
  • “A Frog Went a-Walkin'”
  • “King Kong Kitchie Kitchie Ki-Me-O”
  • “There Lived a Puddie in the Well”
  • “There Was a Puggie in a Well”
  • “Y Broga Bach” (Welsh)
  • “Yo para ser feliz quiero un camión”

Thanks to Observationblogger for helping me to think of this song again.

Froggie Went A-Courtin’

1. Frog went a-courtin’, and he did ride, Uh-huh,
Frog went a-courtin’, and he did ride, Uh-huh,
Frog went a-courtin’, and he did ride.
With a sword and a pistol by his side, Uh-huh.

2. Well he rode up to Miss Mousey’s door, Uh-huh,
Well he rode up to Miss Mousey’s door, Uh-huh,
Well he rode up to Miss Mousey’s door.
Gave three loud raps and a very big roar, Uh-huh.

3. Said, “Miss Mouse, are you within?” Uh-huh,
Said he, “Miss Mouse, are you within?” Uh-huh,
Said, “Miss Mouse, are you within?”
“Yes, kind sir, I sit and spin,” Uh-huh.

4. He took Miss Mousey on his knee, Uh-huh,
Took Miss Mousey on his knee, Uh-huh,
Took Miss Mousey on his knee.
Said, “Miss Mousey, will you marry me?” Uh-huh.

5. “Without my uncle Rat’s consent, Uh-huh
“Without my uncle Rat’s consent, Uh-huh
“Without my uncle Rat’s consent.
I wouldn’t marry the president, Uh-huh

6. Uncle Rat laughed and he shook his fat sides, Uh-huh,
Uncle Rat laughed and he shook his fat sides, Uh-huh,
Uncle Rat laughed and he shook his fat sides,.
To think his niece would be a bride, Uh-huh.

7. Uncle Rat went runnin’ downtown, Uh-huh,
Uncle Rat went runnin’ downtown, Uh-huh,
Uncle Rat went runnin’ downtown.
To buy his niece a wedding gown, Uh-huh

8. Where shall the wedding supper be? Uh-huh,
Where shall the wedding supper be? Uh-huh,
Where shall the wedding supper be?
Way down yonder in a hollow tree, Uh-huh

9. What should the wedding supper be? Uh-huh,
What should the wedding supper be? Uh-huh,
What should the wedding supper be?
Fried mosquito in a black-eye pea, Uh-huh.

10. Well, first to come in was a flyin’ moth, Uh-huh,
First to come in was a flyin’ moth, Uh-huh,
First to come in was a flyin’ moth.
She laid out the table cloth, Uh-huh.

11. Next to come in was a juney bug, Uh-huh,
Next to come in was a juney bug, Uh-huh,
Next to come in was a juney bug.
She brought the water jug, Uh-huh.

12. Next to come in was a bumbley bee, Uh-huh
Next to come in was a bumbley bee, Uh-huh
Next to come in was a bumbley bee.
Sat mosquito on his knee, Uh-huh.

13. Next to come in was a broken black flea, Uh-huh,
Next to come in was a broken black flea, Uh-huh,
Next to come in was a broken black flea.
Danced a jig with the bumbley bee, Uh-huh.

14. Next to come in was Mrs. Cow, Uh-huh,
Next to come in was Mrs. Cow, Uh-huh,
Next to come in was Mrs. Cow.
She tried to dance but she didn’t know how, Uh-huh.

15. Next to come in was a little black tick, Uh-huh,
Next to come in was a little black tick, Uh-huh,
Next to come in was a little black tick.
She ate so much she made us sick, Uh-huh.

16. Next to come in was a big black snake, Uh-huh,
Next to come in was a big black snake, Uh-huh,
Next to come in was a big black snake.
Ate up all of the wedding cake, Uh-huh.

17. Next to come was the old gray cat, Uh-huh,
Next to come was the old gray cat, Uh-huh,
Next to come was the old gray cat.
Swallowed the mouse and ate up the rat, Uh-huh.

18. Mr. Frog went a-hoppin’ up over the brook, Uh-huh,
Mr. Frog went a-hoppin’ up over the brook, Uh-huh,
Mr. Frog went a-hoppin’ up over the brook.
A lily-white duck come and swallowed him up, Uh-huh.

19. A little piece of cornbread layin’ on a shelf, Uh-huh,
A little piece of cornbread layin’ on a shelf, Uh-huh,
A little piece of cornbread layin’ on a shelf.
If you want anymore, you can sing it yourself, Uh-huh.

Elvis Presley – Little Sister

This song sounds so good. The mix is great with the bass coming through. Little Sister  was written by the Brill Building songwriters Doc Pomus and Mort Shuman. They also wrote the 1959 hit A Teenager In Love.

The song peaked at #5 in the Billboard 100 and #1 in the UK in 1961. Elvis recorded it at the RCA Nashville, Tennessee, studio in 1961. On the recording besides Elvis, was Scotty Moore (acoustic guitar), Hank Garland (electric guitar), Bob Moore (bass), D.J. Fontana and Buddy Harmon (drums), Floyd Cramer (organ), and The Jordanaires (backing vocals).

Dwight Yokum also does a great cover of this song.

 

Little Sister

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done

Well, I dated your big sister
And took her to a show
I went for some candy
Along came Jim Dandy
And they snuck right out of the door

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done

Every time I see your sister
Well, she’s got somebody new
She’s mean and she’s evil
Like that old Boll Weevil
Guess I’ll try my luck with you

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done

Well, I used to pull your pigtails
And pinch your turned-up nose
But you been a growin’
And, baby, it’s been showin’
From your head down to your toes

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done
Little sister, don’t you
Do what your big sister done

August 16, 1977

I can tell you what I was doing 42 years ago on August 16, 1977… I was ten years old and played some baseball with the neighborhood guys and went inside in the afternoon. I started to watch Gilligans Island and then the news interrupted the show. Elvis Presley had died.

It really didn’t affect me too much at the time until I saw my mom and stepdad react. My mom was somewhat upset and although I knew Elvis’s music, the impact just wasn’t there until the news items started to roll across. I called my dad and talked to him and it bothered him…he had just seen Elvis a few years before in Murfreesboro Tn.

I really wouldn’t know how they felt until December 8, 1980, when Lennon was killed. It’s a shame what happened to Elvis because he was trapped by his fame, manager, and by his own excesses.  After reading about him more it seemed like it was inevitable…I just wished it could have been different.

 

Elvis Presley – Wear My Ring Around Your Neck

Jim…https://wordpress.com/read/feeds/64726988 asked me to contribute a song to a song lyric Sunday. This weekend I had some time so I told Jim I would be happy to contribute a song. The theme is Wedding/Marry/Diamond/Ring/Cake so I thought of this Elvis song.

The song peaked at #2 in the Billboard 100 in 1958. The song was written by Bert Carroll and Russell Moody and released April. 1, 1958. This was at the period where everything Elvis touched turned to gold. I remember going to my cousin’s home and listening to an Elvis compilation of his 50s songs in the mid-70s when I was around 8-9. This song and All Shook Up, Hound Dog, Don’t Be Cruel and many more.

Elvis recorded this song on February 1, 1958, at Radio Recorders, Hollywood, California. The musicians were Guitar: Scotty Moore, Tiny Timbrell, Elvis Presley. Bass: Bill Black. Drums: D.J. Fontana. Piano: Dudley Brooks. Vocals: The Jordanaires.

In this song, Presley wants his girlfriend to wear his ring around her neck. Of course, the ring would be on a chain…as was the custom in the 1950s to signify they are going steady. Hope you enjoyed the song and have a great Sunday.

 

Wear My Ring Around Your Neck

Won’t you wear my ring around your neck
To tell the world I’m yours, by heck
Let them see your love for me 
And let them see by the ring around your neck

Won’t you wear my ring around your neck
To tell the world I’m yours, by heck
Let them know I love you so
And let them no by the ring around your neck

They say that goin’ steady is not the proper thing
They say that we’re too young to know the meaning of a ring
I only know that I love you and that you love me too
So, darling, please do what I ask of you

Won’t you wear my ring around your neck
To tell the world I’m yours, by heck
Let them see your love for me
And let them see by the ring around your neck

Let them know I love you so
And let them know by the ring around your neck

Elvis Presley – Blue Moon Of Kentucky

In 1954 Elvis, Scotty Moore, and Bill Black recorded this song as the B side to “That’s All Right Mama.” Presley’s recording became the best-known version of the song and is an early example of what was to become known as Rockabilly, a combination of Blues and Country together with an uptempo beat.

Bill Monroe wrote this song in 1946 and recorded the first version of the song playing mandolin and backed by his band the Blue Grass Boys. After the Presley version was released Monroe recut the song and added both styles to it.

Elvis Presley got an invite to the Grand Ole Opry soon after this and he was fearful of Monroe’s reaction to his version of the song, he sought out the older Opry star backstage and apologized to him for taking such liberties. Monroe reacted with generosity…Monroe later admitted Presley’s version of “Blue Moon of Kentucky” gave him very big songwriters royalty checks.

 

From Songfacts

Monroe, who died in 1996, was one of the most famous Bluegrass musicians of all time (the name “Bluegrass” is derived from his backing band – “The Blue Grass Boys”). Kentucky is his home state, and in this song, he is heartbroken over a girl who left him but wishes her well.

Elvis Presley recorded this as the B-side to “That’s All Right (Mama)” in 1954. It was his first single with Sun Records, recorded during his second Sun session on July 6, 1954. Over the years, Presley recorded many uptempo songs with heartbreaking lyrics – a good example is “I Gotta Know.” 

The state of Kentucky made this their official bluegrass song.

Other artists who covered this include Paul McCartney, Carl Perkins, Ray Charles and LeAnn Rimes. Al Kooper recorded it on his debut solo album I Stand Alone. This is the album with Al’s face inserted over a photo of the Statue of Liberty – and remember, there was no Photoshop in 1968! Kooper’s cover was ill-fated; right about this time was when his former Blood Sweat & Tears bandmates started saying negative things about him in the press. As he puts it in Backstage Passes and Backstabbing Bastards, “They depicted me as some demonic egomaniac with whips and chains who kept them all in cages.” The press had never had anything to characterize Al Kooper by up until this point, so they latched onto this. The Statue-of-Liberty photo hacking didn’t help.

I had to include a funny version from Planes, Trains, and Automobiles.

Blue Moon of Kentucky

Blue moon, blue moon, blue moon,
keep shining bright.
Blue moon, keep on shining bright,
You’re gonna bring me back my baby tonight,
Blue moon, keep shining bright.

I said blue moon of Kentucky
keep on shining,
Shine on the one that’s gone and left me blue.
I said blue moon of Kentucky
keep on shining,
Shine on the one that’s gone and left me blue.

Well, it was on one moonlight night,
Stars shining bright,
Wish blown high
Love said good-bye.

Blue moon of Kentucky
Keep on shining.
Shine on the one that’s gone and left me blue.

Well, I said blue moon of Kentucky
Just keep on shining.
Shine on the one that’s gone and left me blue. 
I said blue moon of Kentucky
keep on shining.
Shine on the one that’s gone and left me blue.

Well, it was on one moonlight night,
Stars shining bright,
Wish blown high
Love said good-bye.

Blue moon of Kentucky
Keep on shining.
Shine on the one that’s gone and left me blue.

The Searcher… Elvis Presley

Whenever I start reading about someone (In this case Elvis Presley) I usually dive deep into them. I’ve watched a few documentaries on youtube and the Comeback Special.

Last week Slightly Charming (I highly recommend checking out her blog) recommended this documentary on Elvis and it is the best one I’ve watched about him. It’s an HBO production with commentary by Priscilla Presley, Bruce Springsteen, Tom Petty, Robbie Robertson, and many others.

It is a two-part documentary around 3 hours long both combined. Much like the Peter Guralnick books I’ve been reading it is very even-handed but it doesn’t pull any punches.

Elvis was an interesting person. A poor southern boy who gained fame and fortune quickly and handled it well considering what he was going through until his mother passed away. After that came the Army stint in Germany and from there while his fortune and fame grew his artistic credibility went down. In the mid-sixties, while The Beatles, Dylan, and the Stones dominated the charts…Elvis, a big influence to all three was stuck in a cycle of bad movies and bad soundtracks that he didn’t want to do.

The documentary goes over Colonel Tom Parker his manager, The infamous Memphis Mafia, Las Vegas, and the failed marriage to Priscilla.

The one thing this film does is concentrate on his music and not the parody he turned into at the end of his life. I found myself rooting for him during the 1968 Comeback Special. He had the spark back again and his voice was the Elvis we heard in the fifties. After the dismal movie soundtracks, he made this great comeback special but then it slowly started to go down. There was still good music to come but the end was in sight.

This great documentary is worth the time to check out.

 

 

Elvis Presley – Jailhouse Rock

I’ve been reading a biography of Elvis and I recently have been watching a documentary about him. My son told me Saturday he was operating the lights for a play in his High School and wanted me to go. Saturday night I go and the play is a musical called…All Shook Up…set in the fifties using Elvis songs. Everywhere I turn there is Elvis.

No telling how many times I’ve heard this song but I really paid attention to it for the first time. Yes, Elvis had a great voice we know that but this voice is untamed and wild. It has a scratchy, driving, and go for your throat voice that he seemed to lose as he got older (well he did find it on the 68 comeback special) and tried to please too many people. This is rock and roll at it’s purest form…

The song peaked at #1 in the Billboard Hot 100 in 1957 at the time but now it’s not counted as a number 1. I could not understand why it was listed as a #1 record and on the Billboard site, it does not list it as such.

I found this about the change

Billboards latest ruling is based on the fact that the Billboard Hot 100 Chart was first launched on August 4th 1958 and so number one hits counted by other means on differently named charts prior to this date [But still ‘the Billboard chart of the day’] should not be counted.

From Songfacts

This was written by Jerry Leiber and Mike Stoller, who also wrote “Hound Dog,” which became a huge hit when Elvis recorded it. Leiber and Stoller excelled at writing catchy pop songs with elements of blues music. Their songs could be very funny and clever, and often take place in unusual situations. Some of their other hits include “Love Potion #9” and “On Broadway.” Mike Stoller played piano on this track.

This was featured in the Elvis movie of the same name, where Elvis plays a wrongly accused convict who becomes a star when he gets out. The film, which is considered one of the best of his 31 movies, is famous for the scene where Elvis performs this song in an elaborate dance number taking place in prison.

The movie score was the first one that Leiber and Stoller wrote. Stoller recalled to Mojo magazine April 2009: “We flew in to New York from LA, where were living at that time, and we had a hotel suite. We had a piano put in, in case the muse struck us, and Jean Aberbach – he and his brother (Julian) owned Hill & Range Songs and they had to deal with Colonel Parker but created Gladys Music and Elvis Presley Music-handed us a script for a movie. We threw it in the corner with the tourist magazines that you get in hotels. We were having a ball in New York, going to the theatre, going to jazz clubs to hear Miles Davis and Thelonious Monk, doing a lot of drinking. On a Saturday morning- we’d been there about a week – Jean knocked on the door and said, in a very Viennese accent, ‘Vell boys, you vill haf my songs for the movie.’ Jerry said, ‘Don’t worry Jean, you’ll have them’ Jean said, ‘I know.’ And he pushed a big chair in front of the door and sat down and said, ‘ I’m going to take a nap and I’m not leaving until you have my songs.’ So we wrote four songs in about five hours and then were free to go out.”

The four songs the duo composed were “Jailhouse Rock,” “(You’re So Square) Baby I Don’t Care,” “Treat Me Nice” and “I Want to Be Free.”

The movie got its name from this song. When Leiber and Stoller wrote it, the film was titled Ghost of a Chance. The duo had the script and wrote the song for the scene where inmates put on a show in the prison.

After the song was recorded, it was clear that it was going to be a hit, so the movie was renamed Jailhouse Rock. The single was released in September 1957 and reached #1 on October 21. The film was released on November 8.

The line, “Number 47 said to number 3, You’re the cutest jailbird I ever did see,” is a sly reference to prison sex but was not offensive enough to create any controversy over the song.

This was a massive hit. It was #1 on the US pop charts for seven weeks, and also reached #1 on the country and R&B charts. In the UK, it entered the charts at #1, becoming the first song to do so.

“Jailhouse Rock” has one of the most memorable intros in rock history: two guitar chords with snare drum hits. The intro last just six seconds, but the pattern repeats throughout the verses, establishing a firm musical hook that remains the envy of songwriters.

ABC television ran a series of educational cartoons called “Schoolhouse Rock” in the ’70s. Millions of kids learned about grammar, history, and astronomy from them. The title was a play on this song.

Ozzy Osbourne played a heavy metal version in 1987 when he did a tour of prisons.

Sha-Na-Na played this at Woodstock in 1969. Very few of the attendees saw their performance, as they didn’t go on until Monday morning (the event was scheduled to end at midnight on Sunday, but ran long). Jimi Hendrix followed Sha-Na-Na to close out the festival.

January 2005 marked what would have been Elvis Presley’s 70th birthday. In commemoration, Elvis’ record label re-released this in the UK where it went straight to #1, making it the oldest recording ever to top the UK charts. It also became the third single to hit #1 twice in the UK, following “Bohemian Rhapsody” and “My Sweet Lord,” both of which were also posthumous re-releases.

In 2007, Chris Rock performed this on the Movies Rock TV special, where modern pop artists performed classic movie songs. Brown re-created Elvis’ scene from the movie.

The Cramps recorded a version of this on the CD The Last Temptation of Elvis. All profits went to a music therapy charity. >>

On November 4, 1957, this topped both the pop and R&B charts. In an odd twist, the next five positions on both charts were also the same songs: “Wake Up Little Susie” by the Everly Brothers, “You Send Me” by Sam Cooke, “Silhouettes” by the Rays, “Be-Bop Baby” by Ricky Nelson, and “Honeycomb” by Jimmie Rodgers.

This song was covered by the Blues Brothers, and featured at the end of the movie of the same name. The brothers and the band are seen playing this song to their fellow inmates.

Mötley Crüe included a live version recorded at a show in Long Beach, California on their 1987 album Girls, Girls, Girls.

Elvis’ real-life band members DJ Fontana, Scotty Moore and Bill Black played his character’s band in the movie, along with Mike Stoller on piano. 

In the Leiber and Stoller autobiography Hound Dog, written with David Ritz, Leiber explained he was originally supposed to play the role in the movie because the casting director thought he looked more like a piano player than Stoller. When Leiber and Elvis both protested, the man insisted, “All he has to do is run his fingers over the keys. Any fool can do that.” But when the first day of filming started, Leiber came down with a toothache and had to visit the dentist, so Stoller stepped in. Because he wasn’t a member of the Screen Actors Guild, he wasn’t allowed any dialogue throughout the movie. He also had to shave his goatee because it was “a scene stealer.”

Ever wonder how this jail party ends? Possibly with the inmates peacefully returning to their cells, but it could also have a more violent conclusion. In the 10cc song “Rubber Bullets,” a #1 UK hit in 1973, they sing about a similar jailhouse party, but theirs ends with riot police taking action.

Jailhouse Rock

The warden threw a party in the county jail
The prison band was there and they began to wail
The band was jumpin’ and the joint began to swing
You should’ve heard them knocked-out jailbirds sing

Let’s rock everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock

Spider Murphy played the tenor saxophone
Little Joe was blowin’ on the slide trombone
The drummer boy from Illinois went crash, boom, bang
The whole rhythm section was the Purple Gang

Let’s rock everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock

Number forty-seven said to number three
“You’re the cutest jailbird I ever did see
I sure would be delighted with your company
Come on and do the Jailhouse Rock with me”

Let’s rock everybody, let’s rock
Everybody in the whole cell block 
Was dancin’ to the Jailhouse Rock

Sad sack was sittin’ on a block of stone
Way over in the corner weepin’ all alone
The warden said, “hey, buddy, don’t you be no square
If you can’t find a partner, use a wooden chair”

Let’s rock everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock

Shifty Henry said to Bugs, “For Heaven’s sake
No one’s lookin’ now’s our chance to make a break”
Bugsy turned to Shifty and he said, “Nix, Nix
I want to stick around a while and get my kicks”

Let’s rock everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock

Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock

Elvis Presley – Suspicious Minds

This one is probably my favorite of the after Army Elvis songs.  Colonel Parker had no qualms about pushing Elvis to the middle of the road. This one has some bite and is a great song. Elvis had 7 number 1 hits in the Billboard 100 total…this is his last one in his career. I actually thought he had more but he did place 109 songs in the top 100 and 25 top ten hits. Suspicious Minds peaked at #1 in 1969.

Elvis’ publishing company, along with his manager Colonel Tom Parker, tried to get fifty percent of the publishing rights to this song and threatened to stop the recording if they didn’t. Elvis insisted on recording the song regardless.

This was a big comeback song for Elvis. It was seven years since his last #1 hit.

From Songfacts

Memphis singer Mark James and Chips Moman wrote this. James recorded and released his own version, but it didn’t go anywhere. Memphis Soul producer Chips Moman brought this to Presley in 1969, and Elvis immediately fell in love with it and decided he could turn it into a hit, even though it had flopped for James.

This was recorded between 4-7 in the morning, during the landmark Memphis session that helped Elvis reclaim his title of “The King.”

This song was inducted into the Grammy Hall of Fame in 1999.

Artists to cover this song include Dwight Yoakam, Waylon Jennings, The Heptones, Candi Staton (#31 UK), B.J. Thomas and even The Fine Young Cannibals, whose 1985 version not only hit #8 in the UK, but was bizarrely referenced on the American TV show Psych, when Shawn tells his partner Gus: “Don’t be Fine Young Cannibals cover of ‘Suspicious Minds.’ We’re going to find her.”

In the UK, Elvis had a hit with this song three times. First in 1969 when it was originally released, then in 2001 when a live version recorded at The International Hotel, Las Vegas, in August 1970 was issued and went to #15, then in 2007 when it was re-issued to commemorate the 30th anniversary of Elvis’ death, going to #11.

Dennis Quaid and Elizabeth Mitchell dance to this in the 2000 sci-fi drama Frequency.

According to Elvis’ good friend Marty Lacker, who convinced him to record in Memphis with Chips Moman, the song’s fake ending was a result of tampering by Elvis’ longtime producer Felton Jarvis. “When Chips cut ‘Suspicious Minds’ and mixed it, the fade and bump at the end was not there,” Lacker told Goldmine magazine. “In other words, the song fades out and then it bumps up again. It’s that part where Elvis is just repeating and repeating the last chorus. In my opinion, it might be good for the stage, a dramatic thing, but it’s not good on a record. What happened was Felton Jarvis took the master to Nashville and started fooling with it thinking he could do better. And he couldn’t. He should have left it alone. He added background voices. The voices that Chips put on in Memphis, Mary Green and all those people, they’re fantastic southern sounding R&B-ish singers. Chips used them on a lot of the hits he had.”

Waylon Jennings and Jessi Colter first covered this in 1970 and landed at #25 on the country chart. Their version was re-released to promote the 1976 album Wanted! The Outlaws, the first country album certified Platinum, with more than a million records sold. This time, the single peaked at #2 and earned the couple a Grammy nomination for Best Country Performance by a Duo or Group with Vocal.

Suspicious Minds

We’re caught in a trap
I can’t walk out
Because I love you too much baby

Why can’t you see
What you’re doing to me
When you don’t believe a word I say?

We can’t go on together
With suspicious minds (suspicious minds)
And we can’t build our dreams
On suspicious minds

So, if an old friend I know
Stops by to say hello
Would I still see suspicion in your eyes?

Here we go again
Asking where I’ve been
You can’t see these tears are real
I’m crying (Yes I’m crying)

We can’t go on together
With suspicious minds (suspicious minds)
And be can’t build our dreams
On suspicious minds

Oh let our love survive
Or dry the tears from your eyes
Let’s don’t let a good thing die
When honey, you know
I’ve never lied to you
Mmm yeah, yeah

We’re caught in a trap
I can’t walk out
Because I love you too much baby

Why can’t you see
What you’re doing to me
When you don’t believe a word I say?

Don’t you know I’m caught in a trap
I can’t walk out
Because I love you too much baby

Don’t you know I’m caught in a trap
I can’t walk out
Because I love you too much baby

Don’t you know I’m caught in a trap
I can’t walk out
Because I love you too much baby

Don’t you know I’m caught in a trap
I can’t walk out
Because I love you too much baby

Don’t you know I’m caught in a trap
I can’t walk out
Because I love you too much baby

Don’t you know I’m caught in a trap
I can’t walk out
Because I love you too much baby

Don’t you know I’m caught in a trap

Elvis’s Fool’s Gold Loaf

Supposedly on February 1, 1976, Elvis Presley boarded his private jet (The Lisa Marie) from Graceland to Denver for one reason…a Fool’s Gold Loaf sandwich. He flew some buddies he was entertaining to the Colorado Mine Company restaurant who served these 50 dollar sandwichs. They actually only landed at the airport and were met by the owners of the restaurant with Nick Andurlakis the cook with 22 of these sandwiches to be consumed on the plane. Nick and the pilots were invited to stay and dine with Elvis…After the meal was finished…Elvis and his friends flew back to Graceland.

ColoradoMineCompany

The Colorado Mine Company is now sadly closed but Nick Andurlakis now owns a restaurant called Nick’s Cafe and still sells these to anyone brave enough to try. … better have some cholesterol pills and a couple of defibrillators would not hurt. 

Here are the ingredients and instructions if you dare. Nick has said…make these at your own risk. One should feed 8-10 people and a bite or two would not hurt… but again supposedly, Elvis could knock one down by himself…

2 T margarine
1 loaf French white bread
1 lb / 450 g bacon slices
1 jar of smooth peanut butter
1 jar of grape jelly

Preheat the oven to 350F/180C. Spread the margarine generously all over all sides of the loaf. Place it on a baking sheet in the oven.

Meanwhile, fry the bacon in a bit of oil until it is crisp and drain it thoroughly on paper towels.

Remove the loaf from the oven when it is evenly browned, after approximately 15 minutes. Slice the loaf lengthwise and hollow out the interior, leaving as much bread along the walls as desired. Slather a thick layer of peanut butter in the cavity of the loaf and follow with another thick layer of grape jelly. Use lots of both.

Arrange the bacon slices inside the cavity, or, if desired, layer the bacon slivers between the peanut butter and jelly. Close the loaf, slice and eat.

Here is much more about the event… “Thank You Very Much

https://www.messynessychic.com/2015/09/15/elvis-presleys-legendary-midnight-sandwich-run-on-his-private-jet/

 

 

 

 

Elvis Presley – That’s All Right

This is the song that started it all for Elvis. After trying many songs on the same night and not coming up with much, Scotty Moore, Bill Black, and Elvis Presley started to play this song and Sam Phillips knew he had recorded something different. Sam didn’t know what to think of the song…or how to classify it. That ni

On June 7, 1954, WHBQ Radio in Memphis became the first station to play this song when their disc jockey Dewey Phillips aired it on his Red, Hot and Blue show the day after Elvis recorded it.

Phillips was a pioneering DJ who played a mix of black and white music that attracted a large and diverse following. Elvis recorded “Blue Moon of Kentucky” the next night and it was the B side to this single.

The song didn’t chart nationally in 1954 but it was re-released in 2004 and peaked at #3 in the UK Charts. Scotty Moore’s solo in this record is fantastic. It’s simple but very effective.

From Songfacts

This was Elvis’ first single, and it came out of his first recording session. Elvis was a 19-year-old truck driver when he came to Sun Records in Memphis to record a song as a gift for his mother. Sun was owned by Sam Phillips, who his assistant, Marion Keiser, knew was looking for a “white man who sounds like a black man.” She alerted her boss to Elvis, and Phillips arranged some sessions with some local session players: bassist Bill Black and guitarist Scotty Moore.

The trio tried a few different songs in various styles, finally hitting the mark when they informally started playing Arthur “Big Boy” Crudup’s obscure 1946 blues song “That’s All Right,” in a fast, innovative style. Phillips liked what he heard and had them record the song this way. This uptempo Blues variation led some music historians to consider it the first rock song.

Presley told Rolling Stone magazine, “I said if I ever got to the place where I could feel all old Arthur felt, I’d be a music man like nobody ever saw.”

This song was only the second time Elvis and lead guitarist Scotty Moore played together. It was also the first song Elvis played in concert: On July 30, 1954, Elvis opened for Slim Whitman in Memphis’ and performed “That’s All Right, Mama,” “Blue Moon Of Kentucky,” and “I’ll Never Let You Go (Little Darlin’).” >>

According to Scotty Moore, this session wasn’t so smooth. He says Elvis started jumping around, “acting the fool,” which drew the ire of Sam Phillips, who owned the label and recording studio. Phillips made them start over, and it was this second take that was the keeper.

I slipped in the Beatles version in…

That’s Alright Mama

Well, that’s all right, mama
That’s all right for you
That’s all right mama, just anyway you do
Well, that’s all right, that’s all right
That’s all right now mama, anyway you do

Mama she done told me
Papa done told me too
‘Son, that gal your foolin’ with
She ain’t no good for you
But, that’s all right, that’s all right
That’s all right now mama, anyway you do

I’m leaving town, baby
I’m leaving town for sure
Well, then you won’t be bothered with
Me hanging ’round your door
Well, that’s all right, that’s all right
That’s all right now mama, anyway you do

Elvis Presley – Promised Land

I had a hard time deciding which version to use…Chuck Berry’s who wrote the song or the Elvis version. This is the version I know the best. The many reasons I really like this version is the clavinet and Ron Tutt’s drumming…and of course, that guy named Elvis does a good job. He also did a really good job on the charts. Altogether he had 109 songs in the Billboard 100, 25 top ten hits and 7 number 1 hits.

I heard this song a lot growing up along with his other hits.

Promised Land peaked at #14 in the Billboard 100 and #9 in the UK Charts. Chuck Berry wrote this when he was serving time in jail for violating the Mann Act. He had to borrow an atlas of the US from the prison library to plot his hero’s journey from Virginia to California.

 

Promised Land

I left my home in Norfolk Virginia
California on my mind
I Straddled that Greyhound,
and rolled in into Raleigh and all across Carolina

Stopped in Charlotte and bypassed Rock Hill
And we never was a minute late
We was ninety miles out of Atlanta by sundown
Rollin’ out of Georgia state

We had motor trouble it turned into a struggle,
Half way ‘cross Alabam
And that ‘hound broke down and left us all stranded
In downtown Birmingham

Right away, I bought me a through train ticket
Ridin’ cross Mississippi clean
And I was on that midnight flier out of Birmingham
Smoking into New Orleans

Somebody help me get out of Louisiana
Just help me get to Houston town
There are people there who care a little ’bout me
And they won’t let the poor boy down

Sure as you’re born, they bought me a silk suit
Put luggage in my hands,
And I woke up high over Albuquerque
On a jet to the promised land

Workin’ on a T-bone steak a la carte
Flying over to the Golden State
Oh when The pilot told me in thirteen minutes
We’d be headin’ in the terminal gate

Swing low chariot, come down easy
Taxi to the terminal zone
Cut your engines, cool your wings
And let me make it to the telephone

Los Angeles give me Norfolk Virginia
Tidewater four ten O nine
Tell the folks back home this is the promised land callin’
And the poor boy’s on the line

My Favorite Singers

There are so many singers that I cannot possibly list them all. I could make a top 30 and not get them all. This is my personal favorite top 10 plus some extra.

For the most part, I like singers with soul and meaning to their singing…not vocal gymnastics.

1…Aretha Franklin – Aretha could make any song better by singing it.

Related image

2…Van Morrison, Them and Solo  – Probably my favorite male singer.

Related image

3…John Lennon, Beatles – John hated his voice and always wanted an effect on it…It didn’t need it…one of his best performances was “A Day In The Life”

Related image

4…Bob Dylan – Bob changed popular singing.  I would rather hear Bob sing than many of the great traditional singers.

Image result for bob dylan 65

5…Elvis Presley – Hey he’s Elvis…

Related image

6…Otis Redding – Just a fantastic singer and performer and just taking off before he was killed in a plane crash.

Related image

7…Mick Jagger, Rolling Stones – Mick makes the most out of his voice.

Related image

8…John Fogerty…CCR – If I could have the voice of anyone…it would be Fogerty. The power that John has is incredible…his voice is its own instrument.

Related image

9…Janis Joplin – She put everything she had in each song. Her last producer Paul A. Rothchild was teaching Janis how to hold back and sing more traditional to save her voice for old age…which never came.

Related image

10…Johnny Cash – Last but far from least.  Only one man can sound like Cash…and that is Cash

Related image

Honorable Mention…any of these could have easily been on the list.

Steve Marriott, Paul McCartney, Levon Helm, Bessie Smith, Little Richard, Roger Daltrey, Pete Townshend, Elton John, Neil Young, Roy Orbison, Smokey Robinson, Sam Cooke, Joe Cocker, Billie Holiday, Freddie Mercury, Kate Bush, Ella Fitzgerald, Paul Rodgers, David Bowie.