Today (Elvis Presley album)
Today is the twenty-second studio album by American singer Elvis Presley, released on May 7, 1975 by RCA Records. The album featured a new rock song, "T-R-O-U-B-L-E", released as its first single and went Top 40 in the US. "Bringin' It Back" was its second single in the US. The album features covers of songs by Perry Como, Tom Jones, The Pointer Sisters, Billy Swan, Faye Adams, The Statler Brothers and Charlie Rich; the Today sessions were held in RCA's Studio C, Los Angeles, March 10–12, 1975, marked the last time Presley would record in a studio. He last recorded at Studio C, Hollywood in 1972 where he recorded the gold records "Burning Love" and "Separate Ways". At this time, Elvis was 40 years old, he was accompanied by Sheila Ryan. In the 2005 FTD TODAY release from these sessions, Presley asked her to "step up here Sheila, let me sing to ya baby" on Take 1 of Don McLean's "And I Love You So", he continued to make "And I Love You So" and "Fairytale" a part of his live concerts until his death.
On stage, he referred to "Fairytale" as the story of his life. "Green, Green Grass of Home" was released as a single in the UK, where it went Top 30, received US airplay. Presley first heard the song in 1967 while driving his bus back to Memphis after making another movie, heard Tom Jones' new single "Green Green Grass of Home" for the first time and loved it, he had the Memphis Mafia call the local AM station to make them replay it over again. Eight years he cut his own version. In 2005 Today was reissued on the Follow That Dream label in a special edition that contained the original album tracks along with a selection of alternate takes. Elvis Presley – lead vocals James Burton – lead guitar John Wilkinson — rhythm guitar Charlie Hodge — harmony and backing vocals, rhythm guitar Duke Bardwell — bass guitar on "T-R-O-U-B-L-E" Glen Hardin — piano Tony Brown – piano on "Bringin' It Back" Ron Tutt — drums David Briggs – clavinet Greg Gordon – clavinet on "Bringin' It Back" Buddy Spicher – fiddle Chip Young, Johnny Christopher – guitar Millie Kirkham – background vocals Weldon Myrick – steel guitar Norbert Putnam – bass guitar except "T-R-O-U-B-L-E" and "Shake A Hand" Mike Leech – bass guitar on "Shake A Hand" Mary Holladay – background vocals Ginger Holladay – background vocals Jimmy Gordon – keyboards Lea Berinati – background vocalsTechnical Al Pachucki, Mike Shockley, Rick Ruggieri - engineer Today at Discogs APL1-1039 Today Guide part of The Elvis Presley Record Research Database APD1-1039 Today Guide part of The Elvis Presley Record Research Database
From Elvis in Memphis
From Elvis in Memphis is the tenth studio album by American rock and roll singer Elvis Presley. It was released by RCA Records on June 17, 1969, it was recorded at American Sound Studio in Memphis in January and February 1969 under the direction of producer Chips Moman and backed by its house band, informally known as "The Memphis Boys". Following the success of Presley's 1968 Christmas television special and its soundtrack, the album marked Presley's return to non-soundtrack albums after the completion of his film contract with Paramount Pictures. Presley's entourage convinced him to leave the RCA studios and record this album at American Sound, a new Memphis studio at the peak of a hit-producing streak; the reason for going to Moman's studio was for the soul sound of the house band,'the Memphis Boys'. The predominance of country songs among those recorded in these sessions gives them the feel of the "country soul" style; this impression is emphasized by the frequent use of the dobro in the arrangements.
In any case, the Memphis Boys have a solidly southern soul sound. From Elvis in Memphis was released in June 1969 to favorable reviews; the album peaked at number 13 on the Billboard 200, number two on the country charts and number one in the United Kingdom, its single "In the Ghetto" reached number three on the Billboard Hot 100. The album was certified gold by the Recording Industry Association of America in 1970. In years, it garnered further favorable reviews, while it was ranked number 190 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time. After Presley's 1960 return from military service, his manager, Colonel Tom Parker, shifted the focus of the singer's career from live music and albums to films and soundtracks. In March 1961, he performed what would become his last live concert for the next eight years: a benefit for the construction of the USS Arizona Memorial at Boch Arena in Pearl Harbor, Hawaii. During the first half of the 1960s, three of Presley's soundtrack albums reached number one on the pop charts and a number of his most popular songs were from his films, including 1961's "Can't Help Falling in Love" and 1962's "Return to Sender".
After 1964, Parker decided. He viewed the soundtracks as complementary, with each helping to promote the other; as it turned out, the commercial success of Presley's films and soundtracks diminished, while he was disappointed with the quality of his work. From 1964 to 1968, Presley had just one top-ten hit: "Crying in the Chapel", a gospel number recorded in 1960. Only one LP of new material by Presley was issued: the gospel album How Great Thou Art, which won him his first Grammy Award in the Best Sacred Performance category. In 1968, Colonel Parker arranged a deal with NBC for a Christmas television special starring Presley in front of a live audience. Parker planned to have Presley sing Christmas carols only, but producer Steve Binder convinced the singer to perform songs from his original repertoire; the high ratings received by the special and the success of its attendant LP re-established Presley's popularity. During the making of the special, Presley said to Binder: "I'll never sing another song that I don't believe in, I'm never going to make another movie that I don't believe in."
As part of his decision to refocus on music rather than film, Presley decided to record a new album. Presley left his usual studios, recording new material in Memphis. After the special he approached Scotty Moore and D. J. Fontana, who had played with Presley during his early hit-making career, who rejoined him on the television show. Presley asked Moore about using Music City Recorders in Nashville, but that suggestion never came to fruition. During a January 1969 meeting at Graceland, Presley told his usual producer, Felton Jarvis, that he did not want to record his next album at RCA Studios. Two of Presley's friends, DJ George Klein and Marty Lacker, suggested that he use American Sound Studio, an up-and-coming studio with which Lacker was involved. RCA contacted the studio's producer Chips Moman. Willing to work with Presley, Moman postponed a session with Neil Diamond after being asked to produce the sessions with Felton Jarvis as second producer, it was agreed that Presley's recordings would take ten days and cost $25,000.
He would be backed by the studio's house band, the 827 Thomas Street Band, which consisted of Reggie Young on guitar, Tommy Cogbill and Mike Leech on bass, Gene Chrisman on drums, Bobby Wood on piano, Bobby Emmons on organ. Although RCA Records oversaw their company policy to record only in their own studios, the label sent their personnel out to American Sound. Recording began on January 1969, when Presley arrived at the studio nursing a cold. In addition to his personal entourage, he was accompanied by Hill & Range publisher Freddy Bienstock, Colonel Parker's assistant Tom Diskin, producer Felton Jarvis, executive Harry Jenkins and engineer Al Pachucki, representing RCA Records. With Pachucki on the board, American Sound engineer Ed Kollis joined the musicians on harmonica; the session, which produced recordings of "Long Black Limousine", "Wearin' That Loved On Look" and several non-album songs, continued until 5:00 am. After the first day's recording and his colleagues expressed discomfort with the size of Presley's entourage, the singer was accompanied by fewer people for the remaining sessions.
The next day Presley recorded "I'm Moving On" and "Gentle on My Mind", leaving the studio while working on the latter to rest his throat. The following night, he did not appear, as hi
You Don't Know Me (Eddy Arnold song)
"You Don't Know Me" is a song written by Cindy Walker based on a title and storyline given to her by Eddy Arnold in 1955. "You Don't Know Me" was first recorded by Arnold that year and released as a single on April 21, 1956 on RCA Victor. The first version of the song to make the Billboard charts was by Jerry Vale in 1956, peaking at #14 on the pop chart. Arnold's version charted two months released as an RCA Victor single, 47-6502, backed with "The Rockin' Mockin' Bird", which reached #10 on the Billboard country chart. Cash Box magazine, which combined all best-selling versions at one position, included a version by Carmen McRae that never appeared in the Billboard Top 100 Sides listing. In his book Eddy Arnold: Pioneer of the Nashville Sound, author Michael Streissguth describes how the song came to be:Cindy Walker, who had supplied Eddy with "Take Me in Your Arms and Hold Me", recalled discussing the idea for "You Don't Know Me" with Eddy as she was leaving one of Nashville's annual disc-jockey conventions.
"I went up to the Victor suite to tell Steve Sholes good-bye," she explained, "and just as I was leaving, Eddy came in the door." Walker remembered him saying, "I got a song title for you...'You Don't Know Me.'" "But I know you," teased Walker. "This is serious, replied Eddy, who proceeded to outline his idea. The songwriter promised to let the idea stew in her head for a while, and soon, she remembered, the lyrics tumbled onto the page. "The song just started singing. It sort of wrote itself..." The best-selling version of the song is by Ray Charles, who took it to #2 on the Billboard Hot 100 chart in 1962, after releasing the song on his #1 album Modern Sounds in Country and Western Music. It was kept from the #1 spot by Sheila by Tommy Roe; this version topped the "Easy listening" chart for three weeks in 1962, was used in the 1993 comedy film Groundhog Day. The song was the 12th number one country hit for Mickey Gilley in 1981; the song has been performed or recorded by hundreds of artists, including Elvis Presley, Bob Dylan, Willie Nelson.
Charles re-recorded the song with Diana Krall on his #1 album of duets, Genius Loves Company, the only song common to both of Charles' two #1 albums. It was sung by Meryl Streep in the 1990 film Postcards from the Edge, by John Legend in the 2007 Curb Your Enthusiasm episode "The Bat Mitzvah", by Robert Downey Jr. in the 1998 film Two Girls and a Guy, by Lizzy Caplan in the 2013 Masters of Sex episode "Phallic Victories". Artists that released versions of the song: Eddy Arnold: Pioneer of the Nashville Sound Lyrics of this song at MetroLyrics
Elvis for Everyone!
Elvis for Everyone! is the eighth studio album by American singer and musician Elvis Presley, issued by RCA Victor in mono and stereo, LPM/LSP 3450, in August 1965. Recording sessions took place over a ten-year span at Sun Studio in Memphis, RCA Studio B in Nashville and Radio Recorders in Hollywood, California, it peaked at number 10 on the Top Pop Albums chart. Sessions in late May 1963 failed to coalesce into his fifth studio album of the 1960s, by 1965 Presley's musical output had been focused on his movie career and soundtrack output, he had not released a proper studio album since Pot Luck in June 1962, although seven non-movie singles had been issued since. RCA Victor invented the concept of an "Anniversary Album" to celebrate Presley's tenth year with the label, which became Elvis For Everyone; the album's cover depicting Presley standing next to the RCA Victor trademark Nipper the dog, sitting atop a cash register. Since May 1963, Presley had only made one non-movie session in January 1964 that yielded a mere three tracks, two of, issued as sides for singles.
Bereft of new material, RCA Victor assembled this album from unused tracks going all the way back to the Sun Records years, from sessions for both soundtracks and regular commercial releases. Owing to its assembly from scraps and rejects, although it made the top ten on the LP chart, it was the first Presley album to sell fewer than 300,000 copies during the decade. Of the tracks on Elvis for Everyone! only "Summer Kisses, Winter Tears," recorded for but not used in the film Flaming Star, had been issued, on the extended play single Elvis by Request: Flaming Star and 3 Other Great Songs. Several tracks had not been issued on record before. "In My Way" had appeared in the 1961 film Wild in the Country, "Sound Advice" in the 1962 film Follow That Dream, the traditional Neapolitan ballad "Santa Lucia" in the 1964 outing Viva Las Vegas. The remaining eight tracks had been unissued in any form; the Sun ballad "Tomorrow Night" had overdubs added for release on this album. RCA had intended to include the unreleased Sun Records track "Tennessee Saturday Night," but withdrew it from the album and replaced it with "Tomorrow Night".
Neither has reference to a Presley Sun recording with this title been mentioned in any other source, nor has a Presley Sun recording with this title been discovered, although a song entitled "Tennessee Saturday Night" was slated for Loving You but not recorded. In its format as a compilation of unissued leftovers from various sessions, given its rather short running time, this album anticipated the Presley budget releases with a similar concept that would appear during the late 1960s and early 1970s on the low priced RCA Camden label. RCA opted not to include it as part of its reissue program, appending its songs as bonus tracks to other albums as appropriate, with the overdubbed version of "Tomorrow Night" being replaced by the original Sun Records master version in general circulation. In 2014 Elvis for Everyone was reissued on the Follow That Dream label in a special 2-disc edition that contained the original album tracks along with numerous alternate takes
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Elvis Country (I'm 10,000 Years Old)
Elvis Country is the thirteenth studio album by American singer and musician Elvis Presley, released on RCA Records in January 1971. Recorded at RCA Studio B in Nashville, it reached number 12 on the Billboard 200, it peaked at number six in the United Kingdom. It was certified Gold on December 1977 by the Recording Industry Association of America; the lead single of the album, "I Really Don't Want to Know" backed with "There Goes My Everything", was released on December 8, 1970 and peaked at number 21 on the Billboard Hot 100, number two on the Adult Contemporary chart, number 23 on the country singles chart. The bulk of the album came from five days of recording sessions in June 1970 which yielded 35 usable tracks. Presley performed every track "live", recording his vocal part in the same take as the band, as was standard practice for him. Eight tracks from the session were released two months earlier in November 1970 on the That's the Way It Is album. During the sessions and producer Felton Jarvis realized they had several country songs in hand and decided to record several more to create a full album of country material.
Needing two more satisfactory tracks, Elvis returned to the same studio in September where he recorded "Snowbird" and a manic, one-take version of "Whole Lotta Shakin' Goin' On." Nearly every style of country music is represented. Snippets of the song "I Was Born About Ten Thousand Years Ago" act as a bridge between each track. After this album, Presley would return to his usual practice of recording a random batch of songs on each trip to the recording studio, letting his producer assemble them into albums; the June 14, 2004, compact disc reissue included six bonus tracks from the same sessions. Three of them had been released on the LP Love Letters from Elvis; the others were the B-side "Where Did They Go, Lord?", the unabridged version of "I Was Born About Ten Thousand Years Ago" released on Elvis Now. In 2008 Elvis Country was reissued on the Follow That Dream label in a special 2-disc edition that contained the original album tracks along with numerous alternate takes. In late 2011, RCA Legacy announced a 2-CD "Legacy Edition" set of the Elvis Country album.
Enthusiasm was short-lived as fans criticized the decision to pair the album with the leftover set, 1970's Love Letters LP instead of compiling rarities from the acclaimed Elvis Country set. However, both albums originated from the same recording sessions. Sourced from Keith Flynn. Elvis Country at Discogs
If Every Day Was Like Christmas
"If Every Day Was Like Christmas" is a 1966 Christmas song by Elvis Presley released as a single and featured on his 1970 Camden Elvis' Christmas Album. The song was released on November 15, 1966 as an RCA Victor 45 single, 47-8950, backed with "How Would You Like To Be" from the movie It Happened at the World's Fair; the track was recorded on June 1966 at RCA Studio B in Nashville. Elvis Presley's lead vocals were added on June 12. Background vocals were provided by Millie Kirkham, The Jordanaires, The Imperials Quartet on backing vocals; the song was written by Red West. The song was included on the 1970 RCA Camden reissue of Elvis' Christmas Album collection, re-released by Pickwick Records in 1975 and by RCA in 1985; the album was certified Diamond by the RIAA in 2011 with sales of over 10 million copies. Guitar: Harold Bradley, Scotty Moore, Chip Young. Bass: Bob Moore. Drums: D. J. Fontana. Drums & Timpani: Buddy Harman. Piano: David Briggs. Organ: Henry Slaughter. Steel Guitar: Pete Drake. Saxophone: Rufus Long.
Backing Vocals: Millie Kirkham, June Page, Dolores Edgin, The Jordanaires, The Imperials The single reached No. 2 on the Billboard "Best Bets For Christmas" survey in 1966, returned to the chart in 1967, spending a total of eight weeks in the chart. In the United Kingdom, the song reached No. 9 in the UK Singles Chart in December 1966. Lyrics of this song at MetroLyrics