Elvis Presley 2005 Single releases

Last release in the highly successful 18 week campaign by Sony/BMG.

This Elvis VS JXL dance remix of an album track which surfaced on the OceansEleven soundtrack brought The King back to the top in Britain after a 25year gap, following Way Down (1977) as his second posthumous numberone, charting for 12 weeks.

Dutch studio wizard JXL made every effort to remain true to the spirit ofElvis, which I’m sure he would have approved of.

We get two versions – the radio edit (3:35) and long version (6:09).

Congratulations to Sony/BMG for breaking Elvis records all over again.

Penultimate release in the 18-week Elvis CD singles campaign by Sony/BMG.Way Down was his first posthumous number one from 1977.

Between his return to live performance in 1969 and his untimely death, Elviscrammed in over one thousand appearances. But, as with his film commitmentsduring the 60s, his packed performing itinerary made recording sessionsincreasingly difficult to schedule.

In 1976, in an effort to get round these logistical problems, they wereorganised at Graceland, Elvis’ home – and among the fruits of these homerecording was the funky Way Down. The superb bass-vocal,provided by long-timecohort and friend J.D.Sumner, it added a highly distinctive edge, but thesingle also pioneered a new type of sound for Elvis, with the synthesiserprominent.

It was already rising up the charts when news broke of his death on August16 1977, lasting 13 weeks on chart.

Elvis’ first live recording on single, it came as a welcomed surprise in July1970 spending a massive 21 weeks on chart, one of his longest runs. He’d notscored a top spot for five long years, since Crying In The Chapel.

It also marked Elvis’ triumphant return to the concert stage following aneight year absence. He was clearly rejuvenated and it shows in this lustrousvocal performance, captured at Las Vegas. It’s got cabaret written all over it.

Becoming disenchanted with his film career, he was eager to tackle strong newsongs, so it was particularly disappointing when Suspicious Minds wasdenied the UK #1, only top be pipped by the bubble-gum classic Sugar Sugarby The Archies. Justice was done when the Wonder Of You did the trick.Tragically it was the last one he would live to see.

Throughout his career the King always made a point of warming up in thestudio and rehearsing on stage with a selection of his favourite gospelsongs.

A DVD now available,titled He Touched Me – The Gospel Music of ElvisPresley, specifically features him jamming his band together after shows.It was a self-indulgent release for him to revisit music from his formativeyears. He won Grammys for his Gospel albums,but not one for his ‘secular’ popalbums.

In the summer of 1965, amidst the onslaught of cutting-edge hits byThe Beatles, Byrds and Rolling Stones, this heartfelt release gave him asurprise UK #1, spending 15 weeks on chart. In reality,between his last topper– Devil In Disguise in July ’63 and this from May ’65, Elvis struggled,only getting in the top ten once with Kissin’ Cousins. It would be another fiveyears (1970) before hitting the top spot with next week’s release – The WonderOf You.

Release number 14 in the Elvis singles saga.As we near the end of Sony/BMG’sepic promotional campaign, out comes a superb song which was released at thetime when Elvis began to get serious competition from his rock’n’rollrivals – The Beatles.

Throughout 1963, Beatlemania swept across America like a tornado, and despiteElvis sending out compliments to the Fab Four, deep down he felt threatened.

His soundtrack albums, It Happened At The World’s Fair andFun In Acapulco enjoyed healthy runs in the LP charts. But the realtestament to Elvis’ enduring appeal and loyal UK fan-base, is that the onlysingle by an American act to reach number one in the UK between January 1963and June 1964 was this song. It spent 12 weeks on chart.

Arguably Elvis’ most popular UK release, and his fourth number one, and hislast of 1963 (November), spending 14 weeks on chart.

It was the third hit written for him by Otis Blackwell, following on fromDon’t Be Cruel and All Shook Up. It was also the highlight ofthe film Girls! Girls! Girls!, proving that even at the age of 27,the King could still rock it a bit, and remains a staple diet at partiesacross the nation.

The song had an interesting renaissance in 1993, when the US Post Officeissued an Elvis stamp, to mark what would have been his 58th birthday.Fans snapped up the first-day issues, then deliberately mis-addressed them,so that the letters bearing the Elvis’ likeness would be sent back tothem – marked return to sender!

Just as Elvis was filming Girls! Girls! Girls!, this became a hit in August1962, staying 14 weeks on chart, becoming his twelfth UK topper. With Good LuckCharm hitting number one in May, this sandwiched the Follow That DreamEP, which only reached 34 in the UK singles chart in June.

The release typified the easy-listening style that Elvis perfected in theearly ’60s, as he continued to concentrate on his burgeoning filmcareer. Penned by stellar writers Leiber and Stoller, and a little help fromDoc Pomus, the song was brought alive by Floyd Cramer’s loping piano andBoots Randolph’s sinuous sax playing. It deposed Aussie heart-throb FrankIfield’s memorable classic I Remember You from its top spot, giving Elvis histhird #1 of the year.

Elvis’ second number one of 1962 (May), Good Luck Charm replaced B.Bumble andStingers’ classic tune – Nut Rocker. It also gave him an American charttopper, though it would prove to be his last for a protracted seven year gapin the States.

His singing was confident and effortless, juxtaposed by a rich and timelessbass counterpoint, “uh-huh-huh” courtesy of Hugh Jarrett of Presley’sbacking vocal band The Jordanaires, who had first worked with himway back in 1956.

Good Luck Charm was recorded at ‘the home of the hits’ in RCA’s StudioB (now open to the public) in Nashvillle, just like ten other Elvis number ones.It spent 17 weeks on the chart.

The first number one for Presley in 1962 (February), staying on chart for 20weeks.

Lifted from Elvis flick Blue Hawaii, Rock-A-Hula Baby was originallyreleased as a double A-side, backed by the timeless classic Can’t HelpFalling In Love, which went on to feature in virtually all of his subsequentlive performances.

Blue Hawaii proved to be the most successful of all his‘soundtracks’, remaining at number one on the American album charts for anunbroken run of 20 weeks. In the UK album charts it was to become his firstlong running album of 65 weeks, pipping his previous record of 55 weeks withG.I.Blues from December 1960.

The King enjoyed the island’s atmosphere somuch, he returned there on three more occasions to make films. The song wasapparently an afterthought for the film, as the principal shooting had beenfinished. It was decided that it would be great value for money, by seeingElvis enjoying the then latest dance craze – The Twist.

Another Pomus and Shuman classic,more in the snappy rock’n’roll format whichwent to the top of the UK pile in November 1961. Wild In The Country inSeptember broke the No.1 sequence, so ‘Marie’ finished off a greatyear.

Paired with Little Sister on the b-side,it was a dynamite packageon release and remains one of Elvis’ best single release of the sixties.

Surrender gave Elvis his third number one in May of 1961, after Are YouLonesome Tonight? (January) and Wooden Heart (March). A dramatic Latin ballad, itgave Elvis the perfect opportunity to showcase his vocal range.

As with It’s Now Or Never, it had its roots firmly in Italy. DeanMartin, one of Elvis’ favourite singers had already had big success with areworking of the 1911 standard ‘Torna a Sorrento’ (Come Back To Sorrento).

Doc Pomus and Mort Shuman re-wrote the English lyrics, with Elvis relishingthe operatic-style climax. It also signalled an eight year hiatus from liveperformances as he concentrated on his Hollywood career.

By this time ‘The Pelvis’ was moving further away from his Rock’’Roll rootsand still being accepted by his huge faithful fanbase.

With his chart back-catalogue notching up 33 entries and 6 number ones behindhim, Wooden Heart became an instant hit with its distinctive Lederhosenswing. He poignantly dropped in some German, presumably after his experiencein the army, having being based in the country.

This was his second topper of early 1961 (March), coming hot on the heels ofAre You Lonesome Tonight? (January) making it his third in four months(a new record), and his best consecutive run to date.

His next UK single – Wild in The Country would break the sequence,peaking at four. Wooden Heart was lifted from his first post-Army film GI Blues,which would set the seal on the singer’s remaining Hollywood career.

It was back-to-back chart toppers for the King with Are You Lonesome Tonight?In November 1960 it was It’s Now Or Never, then in January 1961 he did it again with thismagnificently sung ‘torch’ song.

Initially a hit for Al Jolson in 1927, the ballad was a favourite of Colonel Parker’s wife Marie,so he asked his manager if he could do a cover version for her. It proved that,despite having spenttwo years in the army, Elvis hadn’t lost his touch or his appeal.

Curiously, it included the monologue from Shakespeare’s As You Like It – “All the world’s a stage” -and brought together the world’s most famous playwright and entertainer. It stayed on chart for 15 weeks.

Number five in the long running series of Elvis singles. Possibly hisgreatest release after American Trilogy. Considered to be his best selling UKtrack with total sales of more than 1.2 million. World-wide it sold anastounding 20 million copies, thus making it his best seller of all time. Itwasn’t exactly back to back number ones for the King.

His previous topper – (Now And Then There’s) A Fool Such As I was in April ’59, and it took afurther 20 months (November 1960) for Now Or Never to get there, spending 19weeks on chart. Taking it’s melody from O Solo Mio, with its distinctiveLatino feel which Presley remembered being sung by Mario Lanza and TonyMartin.

Adding new lyrics,it showed a greater vocal range in the thenmaturing voice. It eventually turned out to be his own personal favourite.

Fourth single in the four-month-long release campaign of Elvis’ UK numberones. Not one of his most recalled tracks,but a delight all the same.

Recorded in June 1958 in Nashville,which became part of a clever move by his managerand mentor Colonel Parker, as he stockpiled material while Elvis was stationed in Germany.It had previously been a hit for Hank Snow in 1953 and deposed Buddy Holly’s It Doesn’t MatterAnymore top spot, giving The King his fourth UK number one, entering the charts on 24 April 1959,exactly a month after he’d entered the USA army,spending 15 weeks on chart.

Done in a pseudo-Rockabilly style, with some glorious opening bass singing it sees Presley openup after a relatively gentle start.

The King is dead:Long live the King.

With the race well under way to get the 1000th UK chart single, chances areit could be Elvis Presley. In an audacious and ambitious move, Elvis willhave a single released every week from January 3, starting with All Shook Upand Jailhouse Rock which has just gone number one this week.

Monday January 10, (two days after what would have been Elvis’ 70th birthday) it will beOne Night – number one January 23,1959 – coupled with I Got Stung and thesinful original One Night With You, just for fun. The achingly desparate andlewd plea, written by Dave Bartholomew was re-titled from One Night With Youto One Night, because of Elvis’ sensitivity towards his fans.

It was his third UK topper (12 weeks on chart), by which time he’d signed up to theUS army and dispatched to Germany.

Packaged in replica 7” black vinyl format and RCA/Victor sleeve, the conceptof re-issuing all his 18 number ones is a brave but shrewd marketing move bySony/BMG as they attempt to get in to the Guinness Book of Records. Now hehas 19, a new record.

All CD singles will include original A&B sides plus a third bonus track.Theouter bags will have the original US picture sleeve, while the inner bagwill replicate a generic UK RCA sleeve. The actual disc will replicate theauthentic vinyl label artwork.