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Did you recognise bonus songs as studio songs in the 60s?

Wed Aug 17, 2005 12:17 pm

Listening to Tickle Me, a question came to my mind:

I have become an Elvis fan in 1977. It took me a very long time to find out, which song belonged to which session, which were movie-songs, which studio-songs, recording dates, etc. (My first source for Elvis were mainly Camden-LPs). For years I had wondered, why some songs sounded so different from others untill I found out, that RCA had combined songs from studio and movie sessions, from the 60s to the 70s. I have an LP that combines Do The Clam with Whole Lotta Shakin', another combinig Petula The Gardner's Daughter with Edge Of Reality and it took me years to find out, how Elvis could sound so extremly different on one LP.

How was it in the 60s? Now we have songs like for instance Slowly But Surely or Long Lonley Highway on a proper album (The Lost Album) and we know they were no movie-songs. But, was that clear in, say, 1965? Did you recognise them as non-movie? Did you actually know, that Tickle Me had only studio recordings? (Some of them were not found on albums back then).
Did you recognise the bonus - songs as different in the sense, that they were studio-recordings?
Could you tell them from those, which were movie-songs, but not included in the movie?
Did the average movie-songs sound inferior in comparison to their studio equivalents?
Did you recognise gems like Tiger Man and Too Much Monkey Business among the trash of Flaming Star (I didn't :oops: )?
Was Evis For Everyone a great album for you? Or just the first "left-over-thing"?
Where you proud of the new albums or did you feel you should better hide covers like Clambake?
Could you go to your friends an point out, that you liked the latest Elvis-release? Or at least the gems like Guitar Man? How did it feel to find it hidden as an album-filler? Did it help the album or did you buy the movie-soundtrack just for "completeness"? Did you buy the soundtracks for the "fillers" or for the soundtrack itself or did'nt it matter to you?

I do not want the exact answers to each and every question. These are more examples than real questions. What I am interested in is the feeling you had beeing an Elvis fan in the (mid-) 60s and especially if you knew what you had in your hands with your latest LP/single.

I put this topic in the main section, because It is not meant as light talk. I want to point out, how the fans were aware of Elvis song output before the times of internet.


Wed Aug 17, 2005 1:00 pm

In those days (the mid sixties) you just played the LP's, EP's and singles.
You went to the shop to see if there was a new disc available. Sometimes a new single, sometimes a new EP or LP.
And if you saw a disc with songs you did not have yet, you bought it.
And because mono LP's were 1 guilder cheaper than stereo LP's, most people bought mono LP's! I made 75 guilders a month (of which 33% taxes were deducted!) of which I had to pay travelling to and from my job. LP's were guilders 16,99 mono and 17,99 stereo. Singles were 3,40 to 3,60 depending on what label they were on.
Luckily I did not drink beer or smoke cigarettes so I could spend most of my money on discs. :D
I had a portable recordplayer, kinda like a small suitcase, with the recordplayer in the bottom part and the speaker in the top part.
Only during the later sixties I got a tapedeck, a stereo recordplayer, a stereo amplifier with 2 speakers and only then I started to buy stereo LP's.
In 1978 shops here in Rotterdam sold lots of overstock USA LP's for 10 guilders each (instead of 17,99) so I replaced a lot of those German pressed mono LP's with USA pressed stereo versions.
Around the same time Ernst Jorgensen and 2 friends published their first editions of "recording sessions" detailing where and when songs were recorded. And only then did I learn some LP's were filled with leftover songs.
But I still think Elvis for everyone is a great album!