#elvis studio recordings

[hooked-on-elvis]

I am currently listening to "ELVIS: THE HOME RECORDINGS" (a collection of Elvis Presley's home recordings from the 1950s and 1960s) and I find incredible hearing him singing songs in that unprompted way, just having fun with friends and family, and then listen to the professional version he recorded years later.

Those are some of Elvis' personal favorites songs, folks. 🩷🥹 Here's some of them:

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"HANDS OFF" (or "KEEP YOUR HANDS OFF OF IT") Home recording: Fall 1960, at Monovale Drive, Hollywood (one of Elvis' homes). Studio recording: Elvis recorded this song again during a jam session at Nashville RCA's studio B in June 5th, 1970. The song was recorded in a version in conjunction with "Got My Mojo Working". The track was first release on the LP "Love Letters From Elvis" (1971).

2. "INDESCRIBABLY BLUE" Home recording: February 1966 at Rocca Place, Hollywood (another of Elvis' homes). Studio recording: Elvis recorded this song professionally, not long after, in June 10, 1966. It was first released by RCA Records as a single on January 10, 1967, backed with "Fools Fall in Love". It was releases in a LP as part of the "Elvis' Gold Records Volume 4" (January, 1968).

3. "AFTER LOVING YOU" Home recording: Recorded around 1966. Can you listen to Elvis' voice here being pretty much the same in the 1969 version? His voice by 1966 was already so improved. It's weird how they kept Elvis from singing what he really wanted to sing in order to keep the soundtrack albums going on. I'm not complaining, per say, because I don't actually hate the soundtrack songs of his movies, but we know Elvis himself was pretty beaten having to record what he called "silly songs" over the ones he truly loved, like this one (as we can see by the way he sings the song wholeheartedly).

Studio recording: During the American Sound Studio's legendary recording session under Chips Moman production, Elvis recorded this song professionally in 18th Feb, 1969, in Memphis, Tennessee.

My personal favorite. ♥ My absolute favorite Elvis album is "From Elvis In Memphis", no doubt. Hearing the home recording version of "After Loving You" is just priceless to me.

4. "WHAT NOW MY LOVE"

Home recording: Recorded sometime around 1966 too. Again, Elvis literally was kept from singing many great songs for a long time because of his Hollywood movie contracts, not to speak about the RCA deals causing the songwriters disputes over rights and proper payment. Long story short, the songwriters did not want to give up 25% of the rights to the compositions to Hill and Range Publishings and the other Presley publishing companies that published his recording materials. So Elvis ended up with some (crappy) less powerful songs to record for many, many years. Some of the songs he truly wanted to record thanks Heaven were brought to day light. Elvis had a great taste in music. (I just wonder how many more amazing songs recorded by his powerful voice we would have today if it wasn't for the tricky record deals he was under.)

Live version:  On January 14, 1973, Elvis Presley performed the song before a live audience of 1 billion people, as part of his satellite show, "Aloha from Hawaii", which was beamed to 43 countries via INTELSAT. Elvis' live rendition of the song is just breathtaking. You listen and see him performing it live and you just stop breathing. The song was first released on the live album "Aloha from Hawaii via Satellite" (February, 1973).

[almondcroissantsandink]

Baby, I'm standing at the great abyss of love and...and I'm teeterin'!

[brianmccormicksmash52321]

Happy 70th anniversary to Elvis Presley’s recording of That’s All Right!

[vintagepresley]

The littlest things about him just make me giggle. Him just randomly singing, “I Want You, I Need You, I Love You.”

[radio-elvis]

Elvis 1969 in Germany 8x10 picture Reprint

[lllsaslll]

Today's lil' Elvis Music Gem🙏

Yes, again with more Back In Memphis! But this time we've got "And the Grass Won't Pay No Mind" and the interesting Neil Diamond-filled story of the famed American Sound Studio sessions.

In 1969 just the day after his Elvis' 34th birthday when Elvis was planning his return to music recording, Marty Lacker successfuly convinced Elvis to skip on Nashville and to instead give Chips Moman and his Memphis-based American Sound Studio a chance. When Elvis agreed (without even consulting the Colonel first) but with a tight turn around, Moman had to reschedule the recording sessions of Neil Diamond that had already been set just four days out. "Fuck Neil Diamond, he'll just have to be postponed. Tell Elvis he's on." Moman told Lacker as he called from the front hall phone at Graceland.

Soon after, during a break in recording due to Elvis' cold turning to laryngitis, Elvis and the guys were going through the demos back at Graceland. When realizing the selection of songs being brought in by the Colonel were aweful Elvis made an important declaration; that from then on he would pick his own music. He asked that everyone be bringing in songs, "... from now on I want to hear every song I can get my hands on, and if I've got a piece of the publishing, that's fine, but if I don't and I want to do the song, I'm going to do it."

And the boys got to work, bringing in new music for Elvis to sample beyond the usual songs that the Colonel had special interests in. George Klein having connections with artists through his TV show then immediately got on the phone with Neil Diamond. He may have been kicked from his original recording slot, but Elvis' prior L.A. next-door neighbor agreed to him singing "And the Grass Won't Pay No Mind" when the sessions resumed in late January and February.

[swiftlypresley]

️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️️️ ️️️️️️️️️Taylor Swift and Elvis Presley in their studios.

(requested)

[seduccionarte]

"Cuarteto del Millón de Dólares" (Million Dollar Quartet). Así se llamaron las grabaciones que se hicieron el 4 de diciembre de 1956, en Sun Record Studios de Memphis, Tennessee.

Las grabaciones fueron en jam session entre Elvis Presley, Jerry Lee Lewis, Carl Perkins, y Johnny Cash.

[jhoneybees]

Feelin' in my body

Here's a little blurb for you lovelies! Something to make up for the long wait on the requests❤️

Characters: Late 70s!Elvis X reader

Warnings/triggers: a little sexual but it's all pretty fluffy

Tags: @atleastpleasetelephone @theelvisprincess @i-r-i-n-a-a @hooked-on-elvis @polksaladava @thelonelyheart

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“Baby?” Elvis calls out, turning his head to look into every room as he walks down the hallway, upstairs. He quietly steps down into the foyer, wanting to see if you're in the kitchen.

“Honey?” Lifting his sunglasses up to rest on top of his head as he looks around the room.

“Where is that girl?” He thinks to himself then as he walks past the stairs going down in the jungle room, he stops in his tracks hearing something familiar.

He cautiously takes one step at a time downstairs, frowning in curiosity when he realises the noise is music with a faint sound of someone singing under it.

He sighs and as he goes halfway down, enough to see who's in the room. His eyebrows soften and his lips curl into a crooked grin seeing you dancing around the jungle room, holding his microphone singing along to ‘I got a feelin' in my body'

“I got a feeling in my body, this will be our lucky day!” You sing, jamming around on the plush green carpet. Swinging your hips from side to side as the music plays.

Elvis breathes out a quiet chuckle, resting his hand on the bannister. Shaking his head in disbelief.

He finds it funny that you're singing and dancing to his music, he thought you'd be sick of it by now because of how many times you heard it in the studio while recording it but he's been proved wrong.

“Funny lil girl.” He tsks, grinning widely at how your hair bounces around and the little dress you're wearing is slowly riding up your thighs. Just about giving him the tiniest view of your white panties.

“Won’t you lift your eyes up, children, lift ‘em to the sky, heaven stands before you, gates are open wide, shelter for the weary, comfort the weak, we'll leave the devil's evil, sweatin’ on the stre-” You sing but suddenly you feel a pair of hands on your shoulders making you scream.

“Jus’ me, darlin'!” Elvis laughs loudly, pulling you against him when you realise. “What's my baby doin' in ‘ere?”

You breathe out relieved and start to giggle, sliding your hand up onto his chest giving it a little rub. “Dancing.”

“Dancing?”

“Mhm.”

“Mmm… I was enjoying your dancin’.”

You smile with another giggle, a little louder this time. “Yeah?”

“Mhm, would like ta see ya again.” He responds, giving your ass a small squeeze and light pat.

“Sit down then…the song ain't over.”

He hums, grabbing your chin to bring you into a gentle, playful kiss before going over to sit on the animal fur covered couch. Chuckling and rolling his eyes when you take your dress off, leaving you in just your matching white bra and panties that have little pink bows in the center.

“What's this?” He asks, holding his hand out for you to take, allowing you to climb onto his lap. Still holding his microphone.

“Wanna give ya a lap dance.”

“Why’s that?” He asks, smiling like a teenage boy.

“cause I got a feelin' in my body.”

[hooked-on-elvis]

ELVIS RECORDED A SONG FOR HIS FATHER

The story of the track “If I’m A Fool (For Loving You)” recorded at the American Sound Studio in Memphis, Tennessee (1969)

[ABOVE] Elvis and his father, Vernon Presley, early 60s and 70s.

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JANUARY 20, 1969 - AMERICAN SOUND STUDIO, MEMPHIS TENNESSEE

Elvis was working with the musicians in the studio since the night before, January 19. The night went on and it was already past midnight when, during a pause to catch the breath, Elvis Presley casually finds another song to record yet at that same recording session.

JANUARY 20, 1969 - AMERICAN SOUND STUDIO, MEMPHIS, TENNESSEE By 4:30 the next morning they were tired — and they’d pretty much exhausted the song list they’d come in with. Elvis and piano player Bobby Wood were sitting quietly on the piano bench talking about religion and music. Bobby had had a minor hit as a recording artist with “Searchin’” and had recorded Sun writer Stan Kesler’s “If I’m A Fool (For Loving You).” Elvis introduced Bobby to his father, and when Vernon said that “If I’m A Fool” was one of his favorites, Elvis decided to give it a try. Excerpt from "Elvis Presley: A Life in Music - The Complete Recording Sessions" (1998) by Ernst Jorgensen and Peter Guralnick

In an interview, this is what Bobby himself said about that moment:

Q: In 1964, you had a hit. Can you tell us when Elvis covered it? A: Yes, 'If I'm a Fool' in 1964 was a pretty big hit for me and so Elvis had know about that and his dad came in one night at the studio while we were recording Elvis. And he said, 'Dad, I'd like to have you meet somebody here'. And so he brought him over and I shook hands with him and then he introduced us and he said, 'Do you know who this guy is?' And he said, 'No, I'm not sure'. So Elvis said, 'What's your favorite record'. And he said, 'If I'm a Fool'. And he said, 'This is the guy that sang it'. And of course his father just said, 'Woah'. So Elvis went on and did it for his dad because that was one of his dad's favorite songs at the time.

Source: www.elvis.com.au

— BOBBY WOOD'S "IF I'M A FOOL (FOR LOVING YOU)", THE SONG VERNON PRESLEY HEARD AND APPRECIATED:

— [BELOW] Bobby Wood's EP released in 1964

— [BELOW] ELVIS' RECORDINGS: TAKES 1, 2 & 3 — JANUARY 20, 1969

What Elvis thought about his own performance on the song:

Maybe it was just too late in the day to introduce a new song, but even with Bobby’s help the master they produced elicited only one word from Elvis: “Rotten.” It’s a measure of how high Elvis’s standards had risen by this point: The master of “If I’m A Fool” may have been one of the lesser cuts Elvis made at American, but measured against the years of Hollywood soundtrack crap that came before, it was still a giant leap of musicality. Excerpt from "Elvis Presley: A Life in Music - The Complete Recording Sessions" (1998) by Ernst Jorgensen and Peter Guralnick

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THE MASTER OF "IF I'M A FOOL (FOR LOVING YOU)" WAS FIRST RELEASED IN 1970 IN THE COMPILATION ALBUM "LET'S BE FRIENDS".

Later the track was also released in the reissued album "From Elvis in Memphis" as bonus track in the "40th Anniversary Edition" (legacy edition, 2009).

MUSIC INFO: IF I'M A FOOL (FOR LOVING YOU)

Lyrics by Stanley Kesler.

Recorded February 20, 1969 at American Sound Studio, Memphis.

Guitar: Reggie Young, Elvis Presley. Bass: Tommy Cogbill. Drums: Gene Chrisman. Piano: Bobby Wood, Elvis Presley, Ronnie. Organ: Bobby Emmons. Harmonica: Ed Kollis. Trumpet: R. F. Taylor, Wayne Jackson, Dick Steff. Sax & Trombone: Jackie Thomas. Sax: Glen Spreen, J. P. Luper. Trombone: Jackie Thomas, Jack Hale, Gerald Richardson, French Horn: Tony Cason, Joe D'Gerolamo. Vocals: Mary (Jeannie) Green, Donna Thatcher, Susan Pilkington, Mary Holladay, Dolores Edgin, Hurshel Wiginton, Joe Babcock, Millie Kirkham, Sonja Montgomery.

Source: www.elvisthemusic.com

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— ADDITIONAL INFO

Elvis didn't only covered one version from his pianist Bobby Wood previously recorded tracks, but two. Still from the "Elvis Presley: A Life In Music" book:

On the 22nd Elvis returned to do repairs and to try another song Bobby Wood had recorded, the religious “Who Am I”.

Elvis' second song cover that had been previously recorded by Bobby Wood, "Who Am I?" was recorded in February 22, 1969 at the American Sound Studio, and first released in March 1971 in the compilation album "You'll Never Walk Alone". The track followed the same destiny as "If I'm A Fool (For Loving You)" being later released as a part of the "From Elvis in Memphis – 40th Anniversary Edition" (2009) also as a bonus track. Unfortunately I couldn't find Bobby's recording, not even the released EP with it.

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Here's a quick interview in video with Bobby Wood telling how he met Elvis and his impressions of him.

You can read a longer interview HERE [elvis.com.au].

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Well, well, well. Such a nice info I came across today. I wonder if Vernon liked his son's version of Bobby Wood's country song "If I'm A Fool", one of his favorites at the time. Anyhow, it's cute to learn Elvis was not at first interested in recording this song until he acknowledged his father's personal liking of it. I guess it makes this tune a special gift to Vernon from his son, if you think about it. It was one 'at the spur of the moment' decisions when Elvis just followed his heart. ♥

PICTURES: Elvis and his father, Vernon, and the R&B legend, Roy Hamilton, filmed during one of the recording sessions at the American Sound Studio in Memphis, Tennessee. Circa January 22, 1969.

[sissylittlefeather]

Kinktober Day 18: Dirty Talk

Burnin' Love

Warnings: 18+ Minors DNI, dirty talk, mentions of sex

Word Count: ~1.2k

Kinktober Masterlist

You walk into the studio sound booth at exactly 12:26am. Elvis has been there working on this song since about 4 in the afternoon and he's still not pleased with it. You haven't been a producer for long, and they usually only call you in when they're desperate to go home. That's how you end up here, in the studio, with Elvis Presley at nearly 1am. His band is exhausted. Their parts are perfect. It's his vocals that he isn't happy with yet. The song is complicated and he won't rest until it's just right. 

“Alright, goddamnit, let's go again.” He says into the mic, ready to run it through again. His voice has an edge to it like he's irritated to still be working on the same song. You were nervous enough to be called in, much less to be called in to work with him, but you also know that his musicians are exhausted and you might be reaching a point of diminishing returns. You take a deep breath and try to ignore how good he looks, dark hair a little messy, lips shining with where he keeps running his tongue over them. Clearing your throat, you speak softly into the mic. 

“Uh, Mr. Presley, maybe we should let the musicians go and you just try your tracks a few more times.” He looks up at the booth suddenly. Who the hell was that?!

“Honey, who are you?”

“I'm the producer, sir. They called me in to cover the night-”

“My name is Elvis. You don't need to call me sir.” He smiles up at the booth with his eyes sparkling behind his sunglasses. Your voice catches his attention and then when he sees you in the booth with your headphones on, he's ready to keep recording all night long. His irritation disappears with the curvature of your lips and the way your skirt hugs your thighs. 

“Oh, okay, Elvis. Maybe we should let them go?” He smirks a little and then shrugs. 

“Fine with me, honey. Y'all heard her. Clear out.” The musicians sigh gratefully and begin to pack up. “What's your name, doll?”

“Y/n. I think we only need a couple more takes.” You try to ignore his burning gaze and fiddle with something in the booth. 

“Oh, I don't know, honey. These lyrics are really throwing me for a loop. Might need your help.” You lift your head quickly and meet his eyes. Even behind his glasses, they're piercing and you can see as he looks up and down your body. He breathes out a laugh as he notices a blush rising in your cheeks. 

“Of course, sir- I mean Elvis. Whatever you need.” You stumble over the consonants and try to keep it together, but you can already feel yourself getting wet. He knows the effect he's having and thoroughly enjoys watching you drop into a chair as your knees go weak. 

“Whatever I need?” He gives you a devilish smile, adjusting the headphones on his ears and you whimper, glad he can only hear you when you have the mic turned on in the recording booth. 

Once everyone has gone and it's just you and him, you get the track ready to play for him to sing with, actively ignoring your arousal as it dampens your panties. 

“Okay, Mr. Presley-”

“Elvis.” He smiles and you almost faint. 

“Elvis, I'm going to play the track and you just do your vocal part.”

“Yes, ma'am.” Your hand shakes, but you press play and let the track run. He starts to sing and then stops, his fingertips on the headphones and a slight frown on his face while you pause the track. 

“What's the next line, doll?”

“Girl, girl, girl, girl, you gonna set me on fire.” He smirks. 

“Set what on fire?” You blink a couple times before you can answer. He licks his lips again, imagining how warm your body would be against him. Finally, you get it out. 

“Set me on fire.” 

“Am I setting you on fire, honey?” 

“I-um-I-what?” You stutter and stammer into the mic and he chuckles. 

“Can you sing the line for me?” He gives you a cheeky little grin and you start to suspect he's being difficult on purpose. But you're not about to let on that you've figured this out, so you sing the line. 

“Girl, girl, girl, girl you gonna set me on fire.” He was right, your sweet little voice is almost as pretty as you are. 

“Mmm honey, I've half a mind to get you in here singing backup for me.” Your cheeks turn pink again. 

“Oh, um, thank you. Shall we continue?” He nods. 

“Of course.” You push play and he keeps singing until he gets a few more lines done. “What's the line?”

“Burning, burning, burning and nothing can cool me.” He wraps his hand around the mic and pulls it in close to him.  

“Oh, honey, I think you could cool me just right, what do you think?” His voice in the microphone is smooth and sexy in your headphones and you feel your center drip even more. 

“Huh?”

“Nothin' baby.” He goes back to singing and you make it through the next set of lyrics before he stops you again. 

“Next line?”

“It's coming closer, the flames are now licking my body.” He chuckles again. 

“Licking what?”

“Licking my body.” You answer, trying to stay as professional as possible. A lopsided grin spreads across his face and he decides to kick it up a notch. 

“You want me to lick your body, honey?” You sit in stunned silence and stare at him. You're so turned on you can barely breathe. “I can think of a few places on your body I'd like to lick.” 

“Like where?” It comes tumbling out of you breathlessly before you can stop it. He wets his lips with his tongue. 

“I bet you've got a pretty little spot between your thighs that I'd love to get my tongue into.” You moan softly into the microphone and he adjusts himself to make his erection less uncomfortable. 

“Mr. Presley…” You whisper airily. 

“Elvis. I'd love to get these sideburns on your thighs, baby.” You whimper again and he doubles down. “Put my tongue in that pretty pussy.” 

You're so hot and bothered at this point that you can't even remember what you're supposed to be doing. He pulls the mic to his lips and keeps going. 

“You wanna cum in my mouth, baby?”

“Yes…” You hear yourself whisper as you grind against the chair for friction. 

“Let me put this big cock inside you? You want that, honey?” He starts to stroke himself over his pants and you bite your lip and whine. 

“Yeah…” You rub your thighs together and watch as he grins and continues to palm his dick over his pants. 

“Well, are you comin’ to me or am I comin’ in there?”

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Taglist:

@ccab @atleastpleasetelephone @deltafalax @msamarican @angschrof @lustnhim @jhoneybees @polksaladava @searchingforgravity @librababe99 @hooked-on-elvis @theelvisprincess @makethemorning @your-nanas-house @peaceloveelvis @mrspresley69

[radio-elvis]

ELVIS PRESLEY ROCK KING SIGNED AUTOGRAPH SIGNATURE 8.5X11 PHOTO PICTURE REPRINT

[lllsaslll]

today is really hitting in some kind of a way, it's a sentimental feeling . . .

[undying-love]

Paul on the last time he saw John

Paul was answering fan questions on Reddit about 3 years ago, and somebody asked him when was really the last time he saw John. And It's odd to not remember the last time you saw your best friend before death.

For some reason, I always get the feeling that Paul doesn't want to admit he saw a lot more of John throughout the 70s than what the public thinks. One time an interviewer told him "You saw a lot more of John in the years leading up to his death than people assume, didn't you?" Paul didn't answer directly, and just replied, "I was very lucky we settled our differences". And in the interview with Sean a couple of years ago, Sean tells Paul "I’ve seen interviews with him around the time when he’s about to go and see you and he seems really genuinely happy that he’s about to see you. I think he says like, ‘Well actually I’m about to have a meeting with him, Paul, I’m on my way’, or something and he kind of jokes, but he sounds happy that he’s going to see you." Oddly, Paul does not even aknowledge what Sean says and starts talking about something else. His exact reply was, "I think so much of what he did just, obviously Imagine and Instant Karma is great and the nice thing was, when I listen to the records, I can imagine him in the studio and go, ‘Oh ok, I know what he’s done. He’s just said to the engineer, “Gimme some Elvis echo.. Bog echo.”

WTF Paul

[allaboutannmargret]

Ann-Margret at Radio Recorders in Hollywood where she was introduced to Elvis Presley for the first time before filming Viva Las Vegas, July 1963.

“Except for a piano, the MGM soundstage where Elvis and I met was empty. In the background, a few of his guys hung around observing their boss, a ritual I would soon come to expect. Under the watchful gaze of director George Sidney, a studio photographer snapped shots of what the film company executives figured would be a historic moment.

“‘Elvis Presley, I’d like you to meet a wonderful young lady, Ann-Margret,’ said George Sidney. ‘Ann-Margret, this is Elvis Presley.’ The significance was lost on Elvis and me. I reached out my hand and he shook it gently. ‘I’ve heard a lot about you,’ we said at the same time, which made us laugh and broke the ice.”