Elvis Presley
There's Always Me
Volume 1-4
Released: 1995, by Bilko 1598/1599

Volume 1: 1956-64
Volume 2: 1960-69
Volume 3: 1956-69
Volume 4: 1960-70

Silvers-EAC-WAV-FLAC

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Volume 1: CD1
  1. Shake Rattle And Roll (# 2, 3, 5)
  2. Lawdy Miss Clawdy (# 7-9)
  3. I Want You, I Need You, I Love You (# 3)
  4. I Need Your Love Tonight (# 7)
  5. I Got Stung (# 18, 20)
  6. Ain't That Loving You Baby (# 9, 10 fast version)
  7. Lawdy Miss Clawdy (# 12)
  8. Shake Rattle And Roll (# 7)
  9. Fever (# 1)
  10. Like A Baby (# 3, 4)
  11. Stuck On You (alt. take)
  12. I Feel So Bad (alt. take)
  13. Dirty Dirty Feeling (alt. take)
  14. Thrill Of Your Love (alt. take)
  15. Such A Night (alt. take)
  16. Are You Lonesome Tonight (alt. take)
  17. Girl Next Door Went A-walkin' (alt. take)
  18. A Mess Of Blues (alt. take)
  19. It Feels So Right (alt. take)
  20. Fame And Fortune (alt. take)
  21. Surrender (alt. take)
  22. Working On The Building (# 2)
  23. I'm Coming Home (alt. take)
  24. It's A Sin (# 1, 2)
  25. I Want You With Me (# 1)
 Volume 1: CD2
  1. There's Always Me (# 2, 6)
  2. Starting Today (# 1)
  3. Sentimental Me (# 1)
  4. Judy (false start & # 1)
  5. Put The Blame On Me (false starts & # 1)
  6. For The Millionth And The Last Time (# 2, 6, 10)
  7. Good Luck Charm (# 1-3)
  8. Anything That's Part Of You (# 2)
  9. I Met Her Today (# 1, 7)
  10. I Feel That I've Known You Forever (# 1, 2)
  11. Just Tell Her Jim Said Hello (# 2, 5, 6)
  12. Suspicion (# 1, 2)
  13. She's Not You (# 1, 2)
  14. Echoes Of Love (# 2, 3)
  15. Please Don't Drag That String Around (# 1, 4, 5)
  16. Devil In Disguise (# 1-3)
  17. Never Ending (# 1, 2)

Volume 1 reviews
Volume 2: CD1

  1. You'll Be Gone (f.s. & # 4)
  2. Indescribably Blue (# 1)
  3. I'll Remember You (# 1,2)
  4. Suppose (# 1)
  5. Witchcraft (# 2)
  6. Finders Keepers, Losers Weepers (# 1)
  7. Western Union ( f.s. # 1,4)
  8. Slowly But Surely (# 1)
  9. Blue River (# 1,2)
  10. It Hurts Me (alt. take)
  11. Stay Away (alt. slow take)
  12. Singing Tree (# 1, remake version)
  13. Singing Tree (alt. take)
  14. Summer Kisses, Winter Tears (# 23,25,26)
  15. Britches (# 1,5,7)
  16. We'll Be Together (2 alt. takes)
  17. I Don't Wanna Be Tied (fs)/Plantation Rock (alt inc v repair)
  18. I'm Comin' Home (# 1,2)
  19. In Your Arms (try-out version)
  20. kiss Me Quick (# 1)
 Volume 2: CD 2

  1. U.S. Male (# 1)/ wings Of An Angel (a.k.a. The Prisoners Song)
  2. U.S. Male (# 4)
  3. Guitar Man (# 1,2,5)
  4. After Lovin' You (# 1/4)
  5. Do You Know Who I Am (the session, approx. 10 takes)
  6. Any Day Now (the session, approx. 12 takes)
  7. Power Of My Love (alt. take)

Volume 2 reviews
Volume 3: CD 1
  1. Something Blue (# 1,2)
  2. Fountain Of Love (# 1/6)
  3. Gonna Get Back Home Somehow (# 1,2)
  4. That's Someone You Never Forget (# 1,2,5)
  5. I'm Yours (# 1,4 & workpart # 1)
  6. Little Sister (f.s. & # 3,9)
  7. His Latest Flame (try-out, # 1/3)
  8. Easy Question (f.s. & # 3)
  9. Give Me The Right (# 2,3)
  10. Lawdy Miss Clawdy (# 1,3)
 Volume 3: CD2
  1. Rubberneckin' (# 1)
  2. True Love Travels On A Gravel Road (# 1/7)
  3. And The Grass Won't Pay No Mind (# 1/5)
  4. Power Of My Love (# 2/6)
  5. Come Out, Come Out (instumental try-out)
  6. It Keeps Right On A Hurtin' (# 2)
  7. I Met Her Today (# 19,20)
  8. Love Me Tonight (# 4,5)
Volume 3 reviews
Volume 4:CD1

  1. Mine (# 3, 4)
  2. Fame And Fortune (# 1)
  3. His Latest Flame (# 9/12)
  4. Fame And Fortune (# 4, 6, 7)
  5. Just For Old Time Sake (# 3, 4)
  6. Night Rider (# 1/3)
  7. Tomorrow Is A Long Time (# 1, 2)
  8. Beyound The Reef (# 1)
  9. Down In The Alley (# 2, 3, 4, 6)
  10. Love Letters (# 5, 8)
  11. Big Boss Man (# 4, 5, 9)
  12. Mine (# 9)
  13. U.S. Male (# 7)
  14. Stay Away (# 3, 7, 8, 11, 14)
  15. U.S. Male (# 6, 9, 10)
  16. Mine (instrumental)
 Volume 4: CD2

Rehearsals, 29 July  70
MGM studios, Culver City, CA

  1. Don't It Make You Wanna Go Home
  2. Something
  3. Words
  4. I Just Can't Help Believin'
  5. Little Sister/ Get Back
  6. I Washed My Hands In Muddy Water
  7. I Was The One
  8. Cattle Call
  9. Baby, Let's Play House
  10. Don't
  11. Money Honey
  12. A Fool Such As I
  13. Froggy Went-A-courtin'
  14. Such A Night
  15. It's Now Or Never
  16. What'd I Say
  17. The Lord's Prayer
Volume 4 reviews

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Volume 1 Reviews
Beginning in 1989, the Bilko label began to release some amazing products, such as "Elvis Rocks Little Rock" and "The Request Box Shows." But just as soon as the name Bilko was on every Elvis' fans lips, the label disappeared without a trace and was not heard from for four long years. Their last release, "Hang Loose" a 1970 Las Vegas stage rehearsal from That's the Way It Is left us wanting more. But what did the Bilko label have left? When Bilko finally reemerged in late 1995, Elvis fans around the world were stunned, not just at the sound quality of the first release, but also the contents.
"There's Always Me Volume 1" contains over two hours and twenty minutes worth of great material documenting some of Elvis' first sessions with RCA in the 1950s and most of his Nashville sessions from 19601963. Before I begin talking about the contents track by track, let me say at the outset that the sound quality of these outtakes are amazing; there is a little hissing on some of them, but some of these performances are over 40 years old. Packaged in a deluxe gatefold sleeve, the sleeve contains many glorious pictures from the period covered on the set. For fans of Elvis' early period, this is an invaluable release. Without further delay, let's look at the set track by track!

The set starts out with four versions of "Shake, Rattle, and Roll" from February 3 of 1956, but only one of these versions is complete, take 2. Here we see Elvis' youthful exuberance for the music, and Elvis, Scotty, Bill, and DJ having tons of fun just working on a very familiar song; he had debuted it on national television six days before. Like alternate take 8 from the '50's Masters Box set, these versions include the extra verse and the piano solo not found on the original master. When take 3 breakdowns right after the intro, the culprit Elvis says, "Cut, cut! I was learning the verse." Notice how he changes the lyrics to the first verse between takes 1,2,3, and 5. Take 5 breaks down, when the band cracks up in a fit of laughter.

Next comes three rocking and exciting versions of "Lawdy Miss Clawdy," a Lloyd Price R&B hit from 1952, from the same February 3rd sessions in New York City. Take 7 proceeds smoothly until a huge drumming mistake by DJ causes Elvis to breakup laughing hysterically. During take 8, Scotty misses his guitar solo completely, and Elvis is heard to say, "That's the best we've done yet." Comments like these show that the 21-year-old Elvis was in charge of production and not Steve Sholes. Take 3 of "I Want You, I Need You, I Love You" is very similar to take 4 just released on the Platinum box, as the guitar is more prominent and the tempo is a little slower. It is a good performance, but not a master.

Up next are three songs from Elvis' June 10 and 11th 1958 sessions, which not only produced four top ten hits, but also set the stage for his 1960s Nashville recordings. It was his first session without Scotty and Bill, who had quit over money disputes, and DJ had been relegated to second drummer. With musicians like Hank Garland, Bob Moore, and Buddy Harman, Elvis belted out some fantastic rock and roll. One of the best songs from that session, "I Need Your Love Tonight, " is showcased via take 7, which has recently been released on Platinum. This fantastic alternate take is one of the gems on this disc. It is definitely a song that deserved to reach #4 on the Hot 100 during April of 1959 as the B-side to "A Fool Such As I."

The bass is more prominent in the outtakes of "I Got Stung," another great B-side. Take 18 breaks down because Elvis messes up the lyrics and following the goof, he is heard to say "Fuckin' shit;" I bet you RCA will not release this take. False start take 19 contains a snippet of army talk found on Essential Elvis Vol. 3, and take 20 is simply an all out rocker. It certainly deserved to a top ten hit. Takes 9 and 10 of 'Ain't That Loving You Baby," the fast version, show Elvis and the musicians on the track and messing up. Take 10, I believe, is a long false start because the song stops suddenly during the second guitar solo; either the session tape ran out or Bilko cut this. The next two tracks, "Lawdy" take 12 and "Shake, Rattle, and Roll" show Elvis and the band having fun and working on some great material.

Up next are numerous outtakes from Elvis' first post army sessions, which would yield three #1 singles and the album "Elvis Is Back." This was some of his best material and also some of my favorite. These sessions showed the diverse direction with which he wished to take his singing career. Up first is take 1 of "Fever," a song written by Otis Blackwell under the pseudonym John Davenport and a hit for both Little Wille John and Peggy Lee in 1956 and 1958, respectively. Like Lee's version, Elvis' is just bass and drums, although this take has a longer bass introduction. This great song showcases Elvis' sexuality much like "Love Me" from 1956. Before the first take begins, Elvis says to Chet Atkins, "I hit a few bad notes, but we've got plenty of tape!" It is shame that not all of the tapes from these sessions are intact and available; much is missing from March 20 and 21st, 1960, as well as April 3 and 4th, the date which "Fever" was recorded. After the opening of take 3 of "Like a Baby," Atkins is heard to say, "Pretty rough!" Take 4 of this great R&B song is a performance that only Elvis could have turned in. There is great sax support from Boots Randolph working at his first ever session with Elvis.

The alternate of "Stuck on You" is probably an earlier take since the master was take three. The two takes are very similar in style. This song was not one of Elvis' favorites, but it quickly went to #1 for four weeks in April of 1960. "I Feel So Bad, " which is probably take 1 found on Platinum and song not from the 1960 sessions, is a little looser in this take, but still a fantastic cover of Chuck Willis' 1954 R&B hit. "Dirty, Dirty Feeling" was written by the great Jerry Liebler and Mike Stoller for "King Creole," but is was never recorded during those last hectic 1958 sessions. This alternate take is missing the guitar solo and has less prominent background vocals by the Jordanairs. There is a switch in sound quality midway through the song as the track pans out from one to two speakers. "Thrill of Your Love" is a fantastic dramatic ballad, near gospel in style. For the first 35 seconds of this track, we hear Floyd Cramer trying to get the intro right, for he was the reason for delay. Once again, the Jordanairs' backing vocals are less prominent but Elvis turns in a nice performance.

The alternate take of "Such A Night," which is probably take 1, is truly wonderful and the second gem on this set. It is a full and rocking alternate of Clyde McPhatter and the Drifters' 1954 R&B smash, not just some paltry false starts like on "A Legendary Performer Vol. 2." Why this gem did not make Platinum I will never know? "Are You Lonesome Tonight" was the Colonel's wife's favorite song, and it was at his instigation that Elvis recorded it; this outtake is simple and eloquent. The fact that BMG had this take and refused to release it on the Platinum box really bothers me; this is why we need importers like Bilko. Who knows how many unheralded treasures remain buried in the vaults?

"Girl Next Door Went A'Walking" was written by Thomas Wayne, the singer of "Tragedy," a hit in 1959 on the Fernwood record label that had been produced by Scotty Moore. This outtake is another gem; in fact, this song is one of the most overlooked on the "Elvis Is Back" album. At the end of the song, Elvis yells, "Hold It! Hey!" to the guitarist for playing wildly at the end. Take 1 of 'A Mess of Blues, " recently released on Platinum and in better quality, sounds a little hissy on this release. Despite this flaw, this is another magnificent version of Doc Pomus and Mort Shuman's first composition for Elvis. Unfortunately, it was the B-side to the #1 "Its Now or Never," reaching only #32 during the summer of 1960. This take becomes especially hilarious when the drummer makes a mistake and Elvis laughs out loud. "It Feels So Right" take 3 had also been recently released on Platinum, and was one of Elvis' favorite songs from the March sessions because it reminded him of "One Night With You." This take is true down and dirty blues, and listen out at 1:10 into the song for an muffled expletive.

On Volume 4 of this series, there are many outtakes of "Fame and Fortune," but few compare to this alternate. It took over 15 takes to get the master, which would eventually reach #17 in the spring of 1960 as the B-side of "Stuck On You." This alternate take sounds like a later take, for the song initially began in a higher key and it is missing the answering guitar phrases in the middle of the song. Also note the cute ad-libbed ending by Floyd Cramer. This is a fabulous vocal performance by Elvis and one of the reasons that I bought this set. During March of 1961, almost a year later, Elvis had a #1 hit for two weeks with "Surrender," another song based on Neapolitan standard. This is a good outtake of the song but the guitar is a little distorted. "Working on the Building" comes from the same October 31st, 1960 session and is the fifth gem on this set. During the first twenty seconds of the song, Elvis and the band decide how they want to approach this song. Then the gospel song is performed with a good feel and some terrific harmony vocals. One of the best on the set!

"I'm Comin' Home" is another good alternate take from the March 12-13, 1961 sessions that produced "Something For Everybody." The guitar solo is a little sloppy in the middle and this is probably what did this song in. On take 1 of "It's a Sin," Elvis and the band breakdown during the bridge of the song. Take 2 is very similar to the master, as it features a beautiful trailing coda by Hank Garland. "I Want You With Me" contains a snatch of a try-out take and then the actual take 1, which has already been released on Collector's Gold. At the end of it, Elvis as producer asks for a playback.

Disc two of the set kicks off with two outtakes of the series' title, "There Always Me," from the March 12th and 13th sessions that made up "Something For Everybody." This song is a fine, dramatic ballad that is laced with a lot of tension added by Elvis. On take two, his voice is a little too high in some spots, ruining an otherwise good take. Take 6 breaks down when his cousin Gene walks in right at the beginning of the take. In a somewhat angry tone, Elvis says to him, "What the hell are you all doin' . . . . we're right in the middle of a take." Take 1 of "Starting Today is a fine take that is very similar to the master. On take 1 of "Sentimental Me," Elvis' voice is a little scratchy in places, probably due to the long sessions. Again it is similar to the original, though, there is a big drum crash at the end.

During the outtakes of "Judy," we actually hear Elvis playing some rhythm guitar, a rarity at a post 1960 Nashville session. He is instructing the band how to play the intro. Take 1 has a little heavier backbeat. These four songs show us that this material was not as strong as the 1960 sessions' material, a major problem for Elvis. Just before two false starts of "Put the Blame on Me," one of the few rockers from the 1961 sessions, we hear Elvis jokingly reciting a few lines from "Starting Today." The first two attempts at the song are aborted because Elvis burps and his voices cracks, respectively, in exactly the same spot. Then, he and the band run though a great outtake of the song, one that is full of vigor and aggressiveness.

The next four songs date from Elvis' October 15th and 16th, 1961 sessions, which produced the #1 hit "Good Luck Charm" and two songs destined for "Elvis for Everyone." One of these was "For the Millionth and the Last Time," and on this release, we are given three outtakes. Take 2 is very similar to the original but Elvis forgets the lyric near the end of the song, rendering this take useless. Take 6 was later released on "Elvis Latino" by BMG Argentina in 1996; on this take, the piano answers the vocal in a higher key, and the tempo is a little sped up. Take 10 is quickly aborted when Elvis loses track of the lyric and becomes immediately apologetic. Take 1 of "Good Luck Charm" was originally released in Europe on the E.P. Collection, Vol.2, in 1982. The song was a #1 hit for Elvis in April of 1962 and was the second of three duets with the Jordanaires' Gordon Stoker. Just before take 1 begins, Elvis is overheard saying to the band, "If you goof up, just keep going." In fact, near the end of the take, Elvis mentions that someone has goofed. Take 2 breaks down because the tempo is too slow for Elvis' liking. Take 3 also breaks down midway through, but for no apparent reason.

Take 2 of "Anything That's Part of You" is another fine, dramatic version of the song. During the ending of the song, you can hear Elvis' passion for the lyric, as if he were remembering his dead mother. Buried as a B-side to "Good Luck Charm," the song only made it to #31 on the Hot 100 during the spring of 1962. Elvis must have heard something in this take he didn't like for this is a magnificent take. "I Met Her Today is another good Don Robertson song which challenges Elvis' vocal ability. Take 1 is very similar to the master. Take 7 is another fantastic version of the song that showcases Elvis going into vocal orbit during the bridge, as if an alligator had him by the foot. This is a must have take!

The next four songs come from the March 19th, 1962 sessions that made up the bulk of "Pot Luck" and his second single release of 1962. Takes 1 and 2 of "I Feel That I've Know You Forever" are very similar to the master of this great and very underrated Doc Pomus and Mort Shuman song. These takes are two very fine versions. "Just Tell Her Jim Said Hello" was Jerry Liebler and Mike Stoller's attempt at writing a country song, and when released as the B-side to "She's Not You" in the summer of 1962, only reached as high as #55. On take 2 of the song, Elvis' voice is not as deep in some parts as it would be on the eventual master, take 6. Take 5, which should really be called 5a, is an attempt by Elvis and the musicians to experiment with different instrumentation for the song, done in a higher key, and with a faster tempo. Take 5b, which is listed as take 6 on the back cover, is quite similar to the released master.

Bilko saved some of the best outtakes for the latter half of the disc, and boy, are the following outtakes great!! "Suspicion" has always been a very underrated song in the Elvis' cannon even by his own record company, RCA. The fact that Elvis vocal clone Terry Stafford had a massive top three hit with the song in the summer of 1964 is hard to swallow, especially given the fact that RCA had released the song as the B-side to "Kiss Me Quick" in April of 1964. What was RCA thinking? Anyway, this great, dramatic song is highlighted by two alternate versions. Take 1 is a little slower than master, and the word enunciation is not as tight, but nevertheless, it is a fantastic alternate. Take 2 has the same tempo as the master, and probably would have been used had not Elvis substituted the word tears for fears during the last verse. "She's Not You" became a #5 hit for Elvis during the summer of 1962, and is one of the few songs written by Pomus, Liebler and Stoller. Take 1 is a little shorter than the master, but still very similar. Following the false start on the following take, which was caused by one of the Jordanaires being too loud, Elvis scolds Lamar Fike, one of his hired hands, for making fun of the singer. Again take 2 is very similar to master, even down to the vocal inflections during the piano solo.

The concluding four songs come from the May 26th, 1963 sessions that were intended for an album later that summer, but instead were scattered among several releases; they would all be gathered together for the "The Lost Album" in 1992. Take 2 of "Echoes of Love" breaks down instantly due to Elvis. Take 3 is close to the master, take 10, but lacks the rich instrumentation. "Please Don't Drag That String Around" was a fantastic Otis Blackwell and Winfield Scott song that unfortunately failed to chart during the summer of 1963 as the B-side of "You're the Devil in Disguise." The following are some of the best outtakes on disc two. Take 1 is a fabulous outtake that is a little less polished. Take 4 falls apart in the middle due to a drummer's mistake, as does take 5, which is almost like the master version of the song, take 6. "You're the Devil in Disguise" went to #3 in the charts in the summer of 1963 in spite of the fact that it was written by Giant, Baum, and Kaye, probably the worst songwriting team under contract to Hill and Range to ever write for Elvis. Take 1 breaks down immediately due to the bass player; to him, Elvis says, "Don't make it so big!" Take 2 also breaks down because Elvis flubs the lyric. Upon aborting the take, Elvis asks, "How did it sound up to there, Freddy," meaning Freddy Beinstock one of the owners of Hill and Range, Elvis' main supplier of original songs until the 1970s. Take 3 is very similar to the master, but the guitar solo isn't as smooth and Elvis laughs midway through the take. These are some of the best outtakes on the entire disc, and well worth getting.

"Never Ending" appeared as the B-side to "Such A Night" in the summer of 1964. Take 1 is complete with Elvis ending the track after two minutes by saying "okay!" Take 2 falls apart because Floyd Cramer goes wild on the piano. Upon hearing this, Elvis says, "Man, I was just up here enjoying the hell out of myself!" In a sense, that is how one can see Volume 1 of "There's Always Me." Bilko did a fabulous job with this release, and left us wanting more. They would not disappoint us with Volume 2! In conclusion, Volume 1 is well worth getting, is real treat for every Elvis fan, and the sound quality is perfect!! Don't let this one pass you by, or as the Colonel would say, "Don't You Dare Miss It!"

Review by Mike Cavino

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Volume 2 reviews
For the Elvis scholar, this series is indispensable, holding mostly pristine quality studio outtakes from Elvis' RCA years, spanning a 15 year period (1956-1970). With Volume 2, another two cd set with great color photos and long fold out presentation, the focus is on sessions from 1960 through 1964, and 1967 to 1969.
Elvis the "studio professional" would be a good way to categorize his early sixties work. He made movies, gave a few live appearances, and recorded music for both film and non-film use. As we know, the musical balance would tip in unfortunate favor of soundtracks while the song quality diminished. On disc one we get a bunch of alternates from the May 1963 sessions (later to be referred to as the "lost" studio album, as the songs were relegated to various soundtrack albums as "bonus" tracks), as well as material from 1960-61 and 1964-67. We hear a super-fine singer, with an awesome studio and session musicians at his command, slaving over very mediocre songs. I'll take the weakest track from the "Elvis Is Back" sessions over things like "Finders Keepers" any day. "Western Union" is infuriating, it is such a shameless rip-off of "Return To Sender", while the bossa-nova styled "You'll Be Gone" (one of Elvis' only attempts to songwrite) is pleasant enough. "Blue River" does rock, in a goofy sort of way, and take two is the official cut (with a bit more distortion). Listen for the Jordanaires goofing up their backing vocals near the end of the tune --this was how it was released on 45 (as the flip to "Tell Me Why") in 1965 !

There's good alternate material from 1961's "Something For Everybody" sessions like"I'm Coming Home", the jaunty Charlie Rich number, which features terrific lead guitar from Hank Garland and from the "Flaming Star" sessions of August 1960. "Summer Kisses, Winter Tears" is a haunting ballad (even better out of the context of the film it was intended for) -- on take 26 Elvis coughs in the middle but they still play all the way through! The best studio recording of the three (!) he made for the amazing year of 1964 (remember the Beatles?), "It Hurts Me", is rendered beautifully in an earlier take -- only the ending needs refinement. What a waste of a collossal talent. Had he recorded more goodies like this one, the Beatles impact on Elvis' reign might've been at least a bit muted. For the hardcore, the September 11th take of "Singing Tree" is here for first time anywhere; it's just about as tedious as the released version recorded the next day (and not very different either).

Disc two offers us some more of the crazy "US Male" sessions from January 1968 -- EP was never sillier or naughtier than this! There's lots of rough language between (and during) takes, just for the fun of the musicians assembled ("Do two more like that and we'll have a complete party album," says Felton Jarvis to Elvis over the talk-back speaker). It has to be pointed out that NO ONE back then knew that anyone would ever hear this stuff -- "underground" releases were virtually non-existant (at least until the Dylan "Great White Wonder" double album put out in 1969). Thus, borderline-bad taste material like the "Wings Of An Angel" jam would never have been played, even for laughs. RCA/BMG is right to withhold this from the general public -- it would be misconstrued by the unknowing masses as "proof" Elvis was a racist. As it is, the outtakes show a loose and swinging rocker, rediscovering himself during these sessions (and I love Bob Moore's stand up bass); takes 1, 2 and 5 of "Guitar Man" from September 1967, feel the same way.

Bilko saves the best for last with material I thought we'd never hear -- outtakes from the American studios visit in February 1969! As they say, "this is the shit"! We get full dubs from the actual session reels with studio chat (some more of the "nasty" Elvis), flubs, and changing arrangements! His singing is so soulful and committed on these sessions, his first in Memphis since 1955, it's a thrill and an honor to be privy to this material. "After Loving You" rolls along for eight plus minutes, Elvis playing guitar along with the house band on this one (a la "One Night"). The crisp snare drum sound of Gene Chrisman is a hallmark of these sessions -- and I love hearing how perfectly placed his fills are on this song -- just listen to his playing during the first verse of the song -- precision, care and passion! Awesome!

"Do You Know Who I Am", not one of the best songs of all time, is illuminating nonetheless. For nearly a half hour (!) you are standing next to Elvis as he tries to master this song! They change the key ("Better for me" he says) and producer Chips Moman reveals himself as a take charge guy, right down to letting Elvis know when he's flat or fine (how often did that EVER happen at an Elvis session?) -- Elvis: "I still miss that fuckin' modulation!" Chips: "No, you hit it!" This is great stuff, even Elvis' comment about masturbation (right around the ten minute mark) -- I kid you not.

Chips Moman is clearly to Elvis at American what Sam Phillips was to Presley during the Sun sessions fourteen years earlier -- a visionary who knew how to get the best out of his artist, musicians, studio and material. He's running the show and we all know what a great result he got. Wonder why Elvis or the Colonel didn't want to work with him again? We get to work with Elvis through "Any Day Now" and hear how close it was in arrangement to the 1963 Chuck Jackson original before the string overdubs. Critic Greil Marcus says Elvis sings this number "with a naked piety ... that cannot be heard in any of his other recordings". "Power Of My Love" is the one found on the great "From Elvis In Memphis" album, sans the overdubbed backing vocals -- he's loose as a goose here!

The "There's Always Me" series presents an excellent study of Elvis Presley, artist, at work; with the American Studios material you can upgrade that to genius at work. Volume 2 contains two essential discs for the serious Elvis fan. Thanks, as always, Bilko!

Reviewed by Johnny Savage, USA

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Volume 3 Reviews

Again from Bilko we get another essential two disc set, containing even more superb quality studio outtakes from 1956 to 1969. Volume 3, housed in the familiar long fold-out cover with unique color photos, studies Elvis working on some excellent songs, especially those from Memphis in 1969.
Elvis was at his consummate best at his Nashville sessions in the early 1960's. He worked on lending his voice to many different styles during his tour of duty in Europe, and the sheer focus he brought to the songs he recorded when he returned to civilian life is stunning. Of course, the material didn't always live up to this standard, as we are all aware. Songs like "Something Blue", "Fountain Of Love" and "I'm Yours", heard here in interesting multiple alternate takes, are average at best for the greatest recording artist of the 20th century. Every song from the March 18, 1962 session (not 1961, as the cover states) sounds like a watered-down version of an earlier Elvis number -- "Gonna Get Back Home Somehow", for example, despite containing a tough, rockin' groove, lacks distinction. "(Such An) Easy Question" gives us Elvis doing his very best Dean Martin imitation (with a touch of Bing Crosby), the full alternate take being slower and actually sexier, for what it's worth.

The highlights of the first disc are, undeniably, the outtakes from the June, 1961 singles session which produced "Little Sister" and "(Marie's The Name of) His Latest Flame", along with another taste of Elvis ripping up "Lawdy Miss Clawdy" in New York on February 3, 1956 (!). The Nashville date in June was guitar god Hank Garland's last work with Elvis before a car accident sidelined his career -- his titanic and downright nasty solo runs throughout "Little Sister" are just "work outs" in the versions we get here, and they're still great! I wish Elvis had chosen this style of the song when he did it on tour in the seventies, it's perfect. As we hear on this set, the early takes of "His Latest Flame" (can't believe Bobby Darin had first chance to record this and passed) began with an unimpressive organ-based arrangement -- the song doesn't sound very good at all. Some of this material was released in the UK 15 years ago on "The EP Collection, Vol. 2", but we get more of it here. The switch to a driving piano with more intense "Bo Diddley" beat made a classic later on that night. Finally, there is the 21 year old tiger in New York, bantering with his band and nearly nailing "Lawdy Miss Clawdy" on the first take -- Scotty hit a few bum notes in the solo. Elvis would never again sound this innocent, yet powerful, after the 1950's. How I hope more of this material surfaces in the future!

With disc two Bilko again saves the coolest for last with more outtakes from Elvis' landmark American Studios visits in January and February, 1969! We are privileged to hear another session reel containing relevant studio chat, mistakes, and changing arrangements! It is a genuine thrill to monitor over nineteen minutes of Elvis working on "True Love Travels On A Gravel Road", a wonderful love ballad released that year on "From Elvis In Memphis". There's a magnificent rehearsal take (also found on Bilko's 'American Crown Jewels') with just voice, piano, bass and drums that will make you weep. There are uptempo run throughs (some with "naughty" words), Chips Moman actually cutting off a take in mid-verse ("Get that tempo right."), and Elvis and Reggie Young discussing the chord changes (yes, that's Elvis' acoustic on there too). You learn why these recordings are some of Elvis' very best -- they were all committed to making great music.

On "And The Grass Won't Pay No Mind" the mutual respect is apparent as Elvis tosses organist Bobby Wood some headphones ("You want earphones Bobby? Right here, over the wall."). There are attractive, rowdy and undubbed versions of "Power Of My Love" and "Rubberneckin'", plus another nice rehearsal mix of voice, piano, bass and drums on "It Keeps Right On A-Hurtin'" (El sings a line of "Only The Lonely" before the intro). It's fascinating to imagine what Elvis' voice would've sounded like on "Come Out, Come Out", which was recorded in instrumental form when he was out for a few days with a cold. The tune itself is slow and swampy, featuring a tremelo-laden lead guitar line -- Elvis would've really done well with it. Now all we need are "Poor Man's Gold" and "Memory Revival" to complete our studies of the "lost" songs from American.

As I've said before, Chips Moman played the same role for Elvis Presley in 1969 that Sam Phillips did in 1954-55 (and Steve Binder did in June, 1968). Someone with a feel and an understanding of the artist he was working with, and the vision, determination and confidence to see it through. Elvis' work at American Studios yielded best selling records and critical accolades. The fact that Tom Parker was somehow unable to get Elvis working with Chips and American ever again is yet another reason to be unimpressed with his management of Presley. At least we got what we got. And now there's more of it!

Strangely, the disc ends with a couple more early sixties outtakes (including another version of the excellent Don Robertson ballad from 1961, "I Met Her Today") that are a jarring contrast to the soulful rock glory of Memphis 1969. In any case, this series remains absolutely essential to any serious Elvis fan. If you're reading this, that means you!


Johnny Savage, USA

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Volume 4 Reviews

This is the first volume of the series I bought, because of the That's the Way It Is-rehearsals. At the time I was completely going for the live-CD's and with a wife and two little kids you have to choose now and then. But after hearing this CD I decided to take an extra mortgage on my house and to dive into the studio-CD's again. This must be saying enough, so I think more review isn't necessary.

Okay, okay, since I have time enough... and an extra reason to listen to the CD once again I will continue a little more. Let's start with Disc 2, 'cause that one was the reason to buy the set anyway. The first real song, Something, which is in any of Elvis' version a precious diamond, is very beautiful. Easily sung as always, with an extra solo rehearsal of the chorus at the end. Words, also beautiful as always, taught me it is possible to steal somebody's ass away. More familiar from the movie is I Just Can't Help Believin' (somebody ate the words). I won't say anything about this version because probably everyone knows it and it's my favorite song, so I can't be neutral. To me Little Sister/ Get Back is a real highlight on the set. It's more than 5 and halve minutes and I wouldn't mind if it was twice as long. Next we get a few songs known from 'The Lost Performances': 'I Washed My Hands in Muddy Water', 'I Was the One', 'Cattle Call', 'Baby Let's Play House' (superb music!), 'Don't' and 'Money Honey' all show the well known relaxed Elvis, fooling around and in the meanwhile making some great music. Not listed follows a small part of 'Hard Headed Woman'. In 'A Fool Such As I' Elvis really honors the title. Fooling around from very low to very high, punishing his guitar Elvis does this oldie in the way only he could. 'Froggy Went A Courtin'' is complete on this CD, but I can't say it really gives more than on BMG's 70's box-set 'Walk a Mile in My Shoes', except for his catching laugh at the end. After this laughing intermezzo we get respectively a very powerful version of 'Such a Night' and a very serious 'It's Now or Never'. At least... he starts seriously but before finishing the first verse he starts changing words again.... and closes the song with one line of 'Are You Horny Tonight?'. The other highlight of this CD is at the moment available on BMG too. The 'Platinum'-set has it in a slightly better quality, but this version of 'What'd I Say' is so great that even over a telephone-line it would sound good. The CD is closed by 'The Lord's Prayer', which isn't my favorite, but it only takes 28 seconds.

Disc 1 starts with two takes of 'Mine' (3/4). The first one is so beautiful I almost got angry at Elvis because he breaks it up. 'Fame and Fortune' is from the first take on a great song, as proved on this CD. It's so good I wonder why they did more takes back then.... Think it's more powerful than the released version, but from a commercial view it may be too much. Next up are 4 takes of 'His Latest Flame', more than 4 minutes Elvis in a great shape, making the song perfect. Three more takes of 'Fame and Fortune' fill another 5 minutes on the CD, getting closer to the original release. 'Just for Old Time Sake' and 'Night Rider' are both well done, but belong not to my favorites, although I have to admit 'Old Time Sake' is a beautiful song. My favorite on this part of the set is next, Bob Dylan's 'Tomorrow Is a Long Time' can't be long enough and after this 6 minutes I still want more. 'Beyond the Reef' is one of those songs of which I can understand it wasn't released back in the 60's. It just isn't my song. The next one is.... as you may expect when you know the title of one of my pages. 'Down in the Alley' has always been one of my favorite songs. At the and of take 3 Elvis is totally breaking up laughing and still not recovered in take 4, but in take 6 he makes it to the end. 'Love Letters' is one of those other songs that's much too short. It doesn't matter to me if I hear the 60's or 70's version, I even love Allison Moyet's version. Next on is 'Big Boss Man', in my opinion this is really the session leading to the return of the King. Another beautiful version of 'Mine' is followed by take 7 of 'U.S. Male', one of those 'real' Elvis-songs. A short jam leads into 5 takes of 'Stay Away', all up-tempo. For the slow version you'll need '24 Carat Gold', which was meant to be 'There's Always Me, Volume 5'. The last track Elvis is singing on shows the rockin' takes 6, 9 and 10 of 'U.S. Male' ('ahh, shit' according to Elvis). The Disc is closed by a karaoke version of 'Mine', beautiful, but I miss something.

Following Willem's star-system the first disc of the set is certainly *****, the final ****1/2 is caused by the second disc.

Review by Lex Raaphorst

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