Review by Piers Beagley - Elvis Information Network
1965, the tenth anniversary of Elvis' signing with RCA, started positively, if somewhat surprisingly, with Elvis at #1 in the Billboard album charts with Roustabout. At the top of the charts for only one week, unfortunately the rest of the year would be dominated by The Beatles with three of their albums sitting at #1 for a total of twenty-four weeks. To help prove that Elvis was still a creative musical force, what RCA needed was an inspired album of new studio cuts.
Elvis' last studio album was the very fine Pot Luck from 1962; yet three years later the important follow-up ended up being a hodge-podge of half-baked remnants from RCA's vaults. As a celebration of a decade of Elvis’ musical importance it was a terribly weak album.
As the booklet notes in the article “1965 - The Biggest Year Ever” ….
“In truth, 1965 prove to be the least inspiring year of Elvis’ recording career to date. He held no separate recording sessions for RCA at all, and the three movie soundtrack albums appealed only to the hard-core Elvis fan base. In a musical landscape that was changing rapidly, none of these albums offered any new artistic statement from Elvis.”
A fair number of FTD collectors could hardly see the need for this release as a Classic Album, however with Disc One’s additional twelve tracks (that could have made the original album) it does provide an interesting look at what was left in RCA's vaults at the time.
It is also an acknowledgement of what RCA’s Steve Sholes, Elvis or Colonel Parker had decided was not worthy of release in the previous decade. The bonus for collectors is the first official CD release of the UK's maracas overdubbed version of ‘Wild In The Country’, plus a wonderful twenty-three track bonus disc of previously unreleased early sixties’ outtakes all in sensational sound quality.
The Packaging
The twelve-page booklet is one of FTD’s best. Included is a lengthy essay about the album and why RCA chose what they did, plus an article on “1965 - The Biggest Year Ever”. Our colleague, Gordon Minto, edited the sleeve notes so it is a little amusing that his name is spelt wrong (”Mitno”) in the credits! And I don't think the album was released in the UK in “December 1975” as stated on page 11!
There are some great photographs from the time, a collection of memorabilia, plus alternate album cover art. I always thought the original UK LP cover with Elvis in black denim and wearing “Beatle-boots” was far more fashionable for 1965.
Disc 1 (51 minutes)
As the booklet notes, we get recent The Complete Elvis Presley Masters versions here so the sound is brilliant in comparison to the dullness of the original vinyl album.
The original album was an extraordinary mixed bag that was far too outdated for The Beatles’ chart-topping era. To Elvis fans it can be viewed as an enjoyable eclectic mix but in 1965, with The Rolling Stones, The Byrds, The Beatles and The Four Tops all charting at #1, the kick-off track, ‘Your Cheating Heart’ from 1958 with its corny backing-vocals and quaint guitar riff was basically archaic. ‘Summer Kisses, Winter Tears’ was a dreadful 1960 soundtrack leftover, while ‘Sound Advice’, ‘Santa Lucia’ and ‘Forget Me Never’ were similar outdated fluff. No wonder the album sales’ tanked, despite the heavy promotion of it being Elvis' first studio album since 1962.
Only ‘Memphis, Tennessee’ had any balls and was the obvious track that should have started the album. To fans, the Sun studio’s 1954 overdubbed ‘Tomorrow Night’ was a real collectable but no one would have been fooled that Elvis recorded it in 1965. I guess it showed how desperate RCA really were. The only track that truly captured the joy and passion of Elvis at his best was the final track ‘When It Rains, It Really Pours’ a left-over from the February 1957 Loving You album session.
The Optional Masters
Of the additional twelve “Optional Masters” the UK maracas overdubbed ‘Wild In The Country’ is fascinating since no one seems to know exactly why and when it was overdubbed. It is also a track that fans thought might have never got an official CD release.
In the end, Disc 1 is a peculiar, if slightly insignificant, history lesson about Elvis’ RCA mid-sixties‘ period. Like the original album, this twenty-four track collection is a weird mixed bag (with almost every track sounding way too dated for 1965) that in the end delivers an amusing hour of eclectic listening rather than an album you will often return to.
Disc 2 (56 minutes)
With EU Public Domain labels pumping out substandard audio compilations of Elvis’ left-over outtakes, at last FTD has found a place where they can put out similar compilations. Here FTD presents a sensational twenty-three outtakes, all officially previously unreleased and all in sensational sound quality. Even if you previously own them on bootleg, here they so sound so much better, more dynamic, and you can really enjoy the studio ambience of Elvis at work.
There are also plenty of outtakes that have never been out previously on bootleg.
The tracks have been mastered by Sebastian Jeansson and Vic Anesini and are top-notch audio quality, and this collection could have been a stand-alone FTD release in a similar vein to the earlier Silver Screen Stereo or Long Lonely Highway collections.
The booklet explains… “Disc 2 is a selection of previously unreleased outtakes from between 1960 - 1963. Most of Elvis' outtakes from this period have been featured in the FTD Classic Album series, but these previously unreleased omissions are included here for the first time Elvis collectors around the world.”
Fans have to realise that if these outtakes haven’t previously been chosen for FTD release, then they probably won’t offer any major revelations - or will be similar to other outtakes. Having said that, there are multiple tracks here that make this compilation a real joy to listen to.
‘For The Millionth And The Last Time’
Take 2 kicks off the second CD and what a gem it is. The true delight here is the outstanding audio, which sparkles in clarity, and the wonderful moment towards the end when Elvis forgets the lyrics and hums the words instead, while the group still continues to the finale. There is a notable chuckle in his vocal and happy sigh at the end. This early take does not feature the accordion arrangement of the master. By Take 6 the accordion has been added, as well as the arrangement having the more obvious tango rhythm rather than the smoothness of the earlier take.
‘Lonely Man’
Take 9 is another superb version and Elvis' vocal is pure magic. This cut only fails due to a couple of piano and accordion stumbles, an odd noise at the very end, plus I swear one of The Jordanaires also drifts off-key on the very final note. Another beauty for our collections.
‘I Slipped, I Stumbled, I Fell’ (Take 10)
Similar to the previous take, this differs from the final release as it features the weaker ending without the final down-beat. Elvis, however, sings the cute “ummm, my knees are week" @01.20 which for some reason would be dropped from the master take.
(Note: This is incorrectly listed as being Take 9 on the cover and in the booklet).
‘No More’ (Take 9)
Elvis and the band worked hard to perfect this Blue Hawaii number. This was only the third complete attempt and Elvis’ timing falters on the lyrics. In the end, the final release would have to be a splice. The audio here has a noticeable odd left > right echo that is not present on the Blue Hawaii FTD soundtrack outtakes.
‘Slicin' Sand’ (Take 10)
This minor faux rock song took an unbelievable nineteen takes to get to the master. Taken at a slightly faster tempo, this take is great fun with Elvis clapping along to Scotty’s wild guitar solo and it only fails due to the rather limp finale.
‘I'm Not The Marrying Kind’ (splice of Takes 5 and 6).
With these takes spliced together this version adds Take 5’s long false start to Take 6’s very enjoyable ending. It still is very close to the final cut, but here in sensationally crisp audio quality.
Several of the ballads included here, ‘I Met Her Today’ (listen out for Elvis’ cool finger-snaps), ‘I Feel That I've Known You Forever’ and ‘I'm Falling In Love Tonight’, are all very close to the final versions, with Elvis obviously searching for true perfection, as only he does.
If there is an early sixties’ movie session worth re-visiting it has to be Kid Galahad and here we get four delicious new outtakes. The audio quality has a lovely depth and is an improvement to the earlier FTD soundtrack album. The Jordanaires are also on the left channel here (as on The Complete Elvis Presley Masters), whereas the FTD soundtrack release had them placed on the right.
‘King Of The Whole Wide World’ (Take 6)
“Rich man wants to be the princess” jokes Elvis before they start. This was the final attempt before they dropped The Jordanaires’ “Nah, nah, nah, nah” intro. It is still a fabulous early version, with a less guitar-orientated arrangement, plus lots of wild Boots Randolph sax and Buddy Harman tight drumming. Never previously released, even on bootleg, I love it.
‘Home Is Where The Heart Is’ (Take 12)
Similar to the gorgeous Take 10, with a slower tempo to the master and with the gentle picking guitar arrangement, this is totally exquisite and essential for your collection.
‘Riding The Rainbow’ (Take 6)
Compared to early try-outs they had now sped up the rhythm to a twist tempo but still included some lovely jazzy piano licks courtesy of Dudley Brooks. Realising this could never be the master, Elvis throws in a delicious groan on the final “To where you are”. Another gem.
‘This Is Living’ (Take 8)
“You know what I don’t like? I don’t like that break” instructs Elvis beforehand. The previous four attempts had all quickly failed. While close to the master, this is another cute if slightly reticent alternate version which needed only one more try before it was done.
‘Something Blue’ (Takes 5 and 6)
“The time is cut” jokes Elvis when Take 5 doesn’t get past the intro. An absolutely exquisite track from March 1962, with delicious Floyd Cramer piano and, for a change, a very subdued Boots Randolph saxophone. While this version is close to the master, Elvis knew they could do better.
‘Gonna Get Back Home Somehow’ (Take 6)
“Hot Diggity! Watch me Bob!” says Elvis as they roar into this brilliant alternate take that features more unbelievably tight drumming from Buddy Harman. Similar to the master but in sensational sound.
‘Fountain Of Love’ (Take 6)
This version still features the more prominent solo Spanish guitar picking, as opposed the multiple guitars mix of the final arrangement.
‘Happy Ending’ (Take 9)
“That was a good tempo” notes Elvis. This is interesting for being the specially recorded “movie version” one take after the record version had been finalized. With a narrow mix, almost mono, Elvis’ vocal is pushed higher and he notably puts more energy and emotion into the final lines of the song. You can understand why it would work better on screen.
(*Note - This isn't actually the "movie version" - the "movie version" is actually Take 10)
‘How Would You Like To Be’ (Take 1)
With The King of Rock 'n' Roll being forced to record songs such as this, one can understand why The Beatles had such an impact. Elvis obviously wanted this song over as quickly as possible. However, being the first take, this is actually quite fun, although you can hear Elvis' frustration at the end “Arhhh” because he knew he had messed it up mid-song.
I always thought it more enjoyable to have a Latino-flavoured movie soundtrack rather than the dullness of It Happened At The World's Fair, so for fans of Fun In Acapulco the last four tracks are a real treat – and none have ever been out on bootleg before!
‘Bossa Nova Baby’ (Takes 4 and 5)
A cute false start proceeds Take 5, “oooooooo” Elvis jokingly sings. Take 5 is very different from the master and I can’t understand why it hasn’t been released before. In the same basic tempo, it has a more relaxed vibe as the full arrangement hasn’t been fleshed out. The driving acoustic guitar line, the piano riff, as well as the all–important maracas are all missing here. Another great new outtake for the collection.
Both ‘I Think I'm Gonna Like It Here’ and ‘The Bullfighter Was A Lady’ remakes are close to the final master, but Elvis knew he could do better. Listen out for Elvis’ delicious laugh @1:49 “I think I'm going to like it here.. hah!” and on ‘The Bullfighter Was A Lady’ you can hear his voice fade away on the final line.
‘Vino, Dinero Y Amor’ (Take 1)
This is another delightful first take. Compared to the final release, Elvis sings the “With wine on your lips..” verse extremely slowly and listen out for the incredible length that Elvis holds the note of “El Amor”. This was never going to be the final release, but what a great try-out.
Overall Verdict
The focus of this Classic Album, Elvis For Everyone!, is very effectively explored not only by the twenty-four tracks left in RCA’s vaults but also by the excellent booklet and essays about Elvis in 1965 (not) his greatest year ever! Nevertheless there is little doubt that it will be the tremendous collection of previously unreleased outtakes on Disc 2 that will provide the most enjoyment for FTD collectors.
Fifty years later Elvis For Everyone! still feels like an outdated mismatched collection, whereas the second CD of studio outtakes still sounds fresh and exciting. Hot Diggity!
Congratulations to the FTD team for this neat compilation and can we have more please?
