The Story Behind Elvis' 18th #1

When l was asked by BMG in early 2002 to provide a track and discography history for Elvis' recording of A Little Less Conversation, I was surprised that they were asking me and not their Elvis catalogue producers and curators, Ernst Jorgensen and Roger Semon. What they really wanted to know was where the alternate vocal version featured in the Ocean's Eleven movie had come from. Even more surprising was that they were planning to release it as a new single. It was surprising because the original track had been a mediocre movie song that was released without much attention being paid to it! Of course that was before it had been remixed by JXL as a dance mix, had been sent out as a 12-inch advance promo to clubs for DJs to test club goers reaction to it and got picked up by Nike for their inescapable FIFA Word Cup advertising campaign, so I told them what I knew, and had been asked to research!

What I came up with was this ... the original single version was released in November 1968 with Almost In Love on the B-side. In the US, the single had been released two months earlier with both sides reaching the Top 100 at #69 and #95 respectively. In the UK, without any official cinema release of Elvis’ Live A Little, Love A Little, in which both songs were featured, the single failed to reach the chart at all.

Recorded during the MGM soundtrack sessions at Western Recorders in Los Angeles on 7 March 1968, and with no soundtrack album to accompany the movie, the song was not issued on LP until November 1970, as one of ten tracks on the Almost In Love budget album.

A new vocal version using the original film backing track was taped on 24 June 1968, again at Western Recorders, during the studio recordings for the Elvis NBC-TV Special. With various portions of the show abandoned once other segments had been decided upon, A Little Less Conversation was cut from both the final production of the television show and simultaneous soundtrack album. It did not surface until 1998 on Memories: The 68 Comeback Special. Another previously unreleased performance, found on an acetate (a disc cut for evaluation purposes only) turned up three years later on the movie soundtrack for the 2001 remake of Frank Sinatra’s 1960 Ocean’s Eleven starring George Clooney.

The original 1968 single version was re-mastered for release on Command Performances: The Essential 60’s Masters II in 1995, and in the same year, with the longer 1970 album version, on the Doubles Features set for Live A Little, Love A Little, The Trouble With Girls, Charro! and Change of Habit. The vocal track used on the JXL remix and in the World Cup 2002 Nike commercial was the one featured on the Ocean’s Eleven soundtrack, and whether from single, film or television tapings, only ever existed on an acetate.

The Elvis Vs JXL remix version was released on 25 June 2002, and debuted as a rather surprising #1 in the UK, preventing Kylie Minogue's latest single Love At First Sight, her third from her globally successful Fever album, reaching the top spot. The Elvis remix marked the first time an artist (namely Junkie XL, aka Tom Holkenborg) outside the Presley organisation has been allowed to remix an Elvis song. According to the Official Chart Company, it sold a staggering 243,000 copies, and gave Elvis his 18th UK Number One single logging four weeks at the top, and went on to be 2002's fifth best selling single with 634,000 copies sold that year.

Postscript

According to Piers Beagley of the Elvis Information Network, some years after the track history and research I supplied to BMG in 2002, and the remix had been a #1 hit, and featured as a bonus track on the 30 #1 Hits album that October, Ernst Jorgensen changed his mind about the NBC acetate, and has since said that it was in fact take 2 from the Live A Little, Love A Little sessions, which was the same version used in the Clooney film. Originally, the acetate was found among the NBC demos, but it was in fact for Elvis to listen to, and was not actually a new vocal take. What fooled Ernst and others at the time (apparently) was that the acetate had a fabulous thumping audio mix compared to the original session tapes, so they presumed it had to be an alternate version as it sounded so different.

With thanks to Tony King for the scan of the original 1968 picture sleeve

Elvis' Most Historic Live Audience Recording

It is the early part of 1977 and I am standing outside a small independent record store in Shoreditch staring at an Elvis album displayed in the window that I had not seen before! That album was a 2 record set bootleg that has since been tagged as Elvis' most historic live audience recording that was simply light years ahead of anything that had been released during his lifetime! Even the sleeve notes were light years ahead of anything that RCA had given the Elvis fan! It was obvious that this was no ordinary live album! It was an attention grabber, the likes of which we had never seen before! My thoughts now, as back then, were how come, it took a bootleg record label to deliver the kind of live album, both in sound and packaging, that Elvis fans at that time, had craved to see released for years!

The album was recorded on two C120 compact cassettes by superfan, police officer John Herman, who placed two tape decks on top of the stage, which explained the high quality audio, even though John’s original plan was to plug his tape recorders into the the sound system, with the help of sound engineer Bill Porter, to create a soundboard recording, that didn't work out as planned. Looking at the album jacket today, it's still a stunning piece of cover art that at the time put RCA firmly in the shade. Not only did it feature 16 great photos shot by John, and Bob Heiss, from the actual show, but also included the kind of insightful sleeve note that we never had on any officially released live product. Printed on a bright blue background, the overall design was exceptional, and considering the fact that it was an audience recording, the sound quality was equally out of this world for its time. It’s no wonder that it sold out so quickly, and resulted in multiple reprints over the years since its original 1977 release. If there were any awards for bootleg records, this one would have walked away with every one for sound, design and marketing, and due to its popularity would have, by today's standards, easily earned itself a certified gold or platinum status.

The whole thing was perfectly summed up in the sleeve note by J.J.R... Whatever it is that Elvis Presley has when it comes to generating excitement in a live audience, he has always had. Early on it was evident. Pandemonium. Chaos. If you would ask HIM what it is, he would probably say, “Beats me Jack.” But the fact remains almost from the first time he stepped on stage, audiences have been caught in the magnetism, charisma, (or whatever the hell you want to call it) of the man.

The screams, the yells, the shouts. It had never happened before. True, Sinatra had generated an incredible excitement, but they swooned for “Frankie boy.” The screams and shouts that accompanied Elvis were in keeping with the unleashing of the raw power being generated by Tupelo, Mississippi’s favourite son.

Then for a long time the screams and shouts were silenced.

I mean who can scream to HE’S YOUR UNCLE NOT YOUR DAD and the rest that those of us who dug Presley were forced to sit through in the movie houses?

And just then, when most of the civilized world had counted Elvis Aron down and out, he unleashed the raw power once again, and about ten years ago the screams and shouts, this time accomapnied by swoons and shrieks, made a comeback. The man was working ‘live’ again. And when you refer to a Presley concert as ‘live’ you can bet your Sun 78’s that ‘live’ takes on a whole new meaning.

A Presley audience is special. Watching them is part of the show. But then watching them is impossible, because if you’re watching them it means you’re in the same room. And if you’re in the same room, it means you’re one of them. It’s that kind of vicious circle.

Which brings us to this record.

Why another live recording? Well one of the disadvantages of Elvis’ re-emergence as a live artist was the lack of originality on the part of his record company and management people with regard to record releases. The Presley-record buying public was a victim of over-kill. One live recording after another was released, and the Elvis fans like dutiful collectors they are, bought one package after another. Until finally it’s to the point, where even the die-hard collectors are thumbing their collective noses at the little pooch listening attentively to the gramaphone. We’ve had it. I mean how many versions of CAN’T HELP FALLING IN LOVE does one need before the message comes across?

Alright, now granted CAN’T HELP FALLING IN LOVE is included in this recording, as are many of the other songs Elvis continually does in his act night after night. That can’t be helped. After all, it’s what the people pay to see. But here for the the first time on record, is the excitement of an Elvis Presley concert in its totality.

December 31, 1976. The hands of the clock nearly straight up approaching midnight and a new year. Within these album jackets are the moments as they happened. Nothing deleted. Not just the high’s but also the quieter moments – which in their strange ways are as exciting as the fever-pitch moments. A man being called to the stage by Elvis, and then presenting Presley with an appropriate Bicentennial gift of a “Liberty Bell”. (The man is Jim Curtin, a long time Presley afficiando from Derby, Pa.) Elvis introducing his “daddy” and little Lisa. And then there’s his introduction of the song FAIRYTALE, which he describes as “the story of my life.” Most astonishing is his compliance with spontaeneous requests from the audience.

He was having a good time, and wanted everyone to be happy. It was like the man was entertaining the 16,409 people in the Pittsburgh Civic Arena that night in his own living room. You know how you get when you have a bunch of friends over on New Year’s Eve to celebrate – their wishes are your commands. You wait on them hand and foot. You mingle with them, talk with them, and by the time everyone splits half-gassed with lamp shades on their heads, everyone had a hell of a good time. And you as the host are the one responsible.

Well, that’s the feeling one gets after listening to this recording. It was like, everyone was invited to Graceland, and Elvis threw this unbelievable bash, and a good time was had by all.

Not that the evening didn’t have it’s musical highlights. It assuredly did. Some of the songs are here for the first time on a live recording. BIG BOSS MAN, FAIRYTALE, HURT, RECONSIDER BABY, the beautiful EARLY MORNING RAIN, LOVE LETTERS, two surprise ‘oldies’ LITTLE SISTER and IT’S NOW OR NEVER. And the whole evening is capped off by Elvis sitting at the piano and performing RAGS TO RICHES and the haunting UNCHAINED MELODY.

No shortcuts here. Ninety minutes of non-stop Presley. No edits. No hype, No canned connection. Back to the days of the one-night stands down South. Audiences saw him then for the first time. Not quite sure what he made happen, but enjoying whatever it was.

If throughout the rest of the year there was a Presley drought, listening to the man belt them out as ‘76 gave way to ‘77, one could stop, ponder, and say “it was a very good year!” 

With thanks to Tony King for the sleeve and label scans