Your ranking of the soundtracks

[r&b]

I've written my last post here. This obviously isn't the place for me. I never came here to cause any harm or upset anyone. I came here because I thought it was a place where fans could openly share their opinions on Elvis' music and what it has meant to them without having their "intent" questioned, or their rationality or any other insulting label that might make someone feel unwelcome.

To be honest, I would have never signed up and posted here if I knew this is how new members were treated. Elvis' music has always been about fun first and foremost and, well, this is anything but fun.

I do thank the many of you who were indeed supportive and welcoming. I like to think that a few thorns shouldn't spoil a rose but I guess for me it does. Especially online. As mentioned, I've met countless Elvis fans who are wonderful and not once does this kind of thing go on. This is the first negative experience I've had as an Elvis fan. Life is too short. It's back to the positive for me.

Can't say I blame you my friend. You have encountered the handful of individuals (maybe 6) who make it their mission to suck the fun out of this forum. And, give the devils their due, they do a great job at their self-appointed task. Most of us here have lives, and we participate on this forum to have some fun, celebrate the greatness of Elvis (in much, if not most of his work) and maybe learn a bit. The fun killers, if you look at the number of their posts, have made this forum their lives, and they are deadly serious about everything contained hereon. If we had real moderators, these folks would have been expelled years ago for their relentless personal attacks and rule violations. Alas, they continue with their sad conduct and continue driving this forum into the ground. Have a good life my friend.

And there are other people on here, who if you dare to say The Beatles, Sinatra, The Stones, or whoever were putting out better music than Elvis in the mid-60's (as most rational people would agree) you are called a person living in a Beatles bubble. And guess what? That sucks the fun of the forum as well because statements like that are not made for valid discussions, but only to incite. You see, it works both ways doesnt it. You cant have discussions either way with narrow minded people.

[rickeap]

It's more than that. Your ratings, to be frank, really do not reflect the common consensus on this material. They indicate you are a fan who cannot discern wheat from chaff. If that floats your boat, great, but from where I sit it's more than a bit unsettling.

I don't get it. So I'm supposed to follow the general consensus on what Elvis songs are the "right" ones to enjoy?

I'd say it indicates I'm a fan who likes most all of Elvis' music. What should I do - lie, give these songs a rating of 1 and say I don't enjoy his music?

And discerning wheat from chaff is always in the ear of the beholder.

As I said, dig what you want, and that's fine.

But greatness is not relative. It's important to understand that some things are a matter of opinion; others are not. Education helps you distinguish between the two. It's not complicated.

Artist has made it perfectly clear in the post included above that he is ranking songs based on how much he enjoys them rather than on the general consensus or on greatness. Education, in your eyes, appears to be a case of reading what critics have written and agreeing with it. Education, in my eyes, is having learned the ability to think for oneself. Either way, questioning someone's education/intelligence based on what music they enjoy is insensitive at best, bloody insulting at worst.

I thank you for the kind post. I'm a newcomer here and thought maybe I was breaking an "unwritten rule" or something when it came to enjoying Elvis' soundtracks...lol. I figured if I couldn't share my love and tastes for the man's music on here, then where can I?

The thing is, as you mentioned, these are just my humble opinions on how much I enjoy each song. I never made any claims about the songs I prefer being "objectively" better or worse than any of his other material. One of the things I've always loved about Elvis' music is that is has a "something for everybody" appeal. It ranges from primitive rock and roll to gospel to ballads to these "silly" soundtrack songs I often love. I find it odd that I should be made to feel "guilty" about enjoying the wealth of music Elvis left us.

I always try and respect everyone's tastes here. As mentioned, I always enjoy seeing different viewpoints from other fellow fans. I would never try to insist to another fan that there are "right" Elvis songs to applaud and "wrong" ones. I guess that's what puzzles me about this whole thing. And why should MY rankings stun anyone anyway? It's merely one man's opinion. My tastes are no more relevant than anyone else's. For all I know, I haven't a clue...

The only unwritten rule is that you must agree with a certain member or be attacked for having your own thoughts, your own ideas, and your own tastes. While I'm certainly not in agreement with your summaries of the various soundtracks, you have every right to like what you like, and enjoy what you enjoy. Once again, you never said you were trying to comment on the quality of the songs, just the enjoyment factor to you personally. Some can't get it into their head there is a difference between the two, and so resort to insults, put-downs and patronising remarks. To accuse a member of not being educated (or of needing an education) just because they like a film soundtrack that most think isn't very good is out of order but, alas, is par for the course here from a select group of members. That the same member finds your taste "unsettling" shows all too clearly that he has the problem here, not you.

100 % agree!

+ 1

And another +1.
I'm one of those who rarely looks in here now and when i do i get caught up responding to the patronising insults from the elite few. Sadly the offenders have failed to learn from their mistakes but allowed to continue dividing what should be a fun place to visit.
I love that people have different opinions and if someone likes Who Needs Money more than Guitar Man that's their choice. There's no need to defend that or need to have an `educated' opinion, which is just elitist rubbish.
And that's from someone who thinks Who Needs Money is crap and Guitar Man is great, but each to their own.

[Juan Luis]

I love that people have different opinions and if someone likes Who Needs Money more than Guitar Man that's their choice. There's no need to defend that or need to have an `educated' opinion, which is just elitist rubbish.
And that's from someone who thinks Who Needs Money is crap and Guitar Man is great, but each to their own.

+ a million right there. Thanks!

[bajo]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

[Chris Roberts]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

[Ciscoking]

I love that people have different opinions and if someone likes Who Needs Money more than Guitar Man that's their choice. There's no need to defend that or need to have an `educated' opinion, which is just elitist rubbish.
And that's from someone who thinks Who Needs Money is crap and Guitar Man is great, but each to their own.

+ a million right there. Thanks!

a billion right there...Thanks !

[jetblack]

Posts like these and members claiming that such posts are like a breath of fresh air and saying how anyone being negative of this is delusional is the prime reason why this forum is getting to become more ridiculous with each passing week. I find myself on here less and less.
There is something rotten in the state of this forum and it does not seem like things will improve very soon.

Although your frustration mirrors mine, I hope that your suggestion is incorrect. It is indeed odd to read in recent times a number of topics which elevate mediocre periods of Presley's career, and then see some members attack those who make note of it, or have the temerity to disagree with the accolades. In fact, the silliness is happening on this very topic. The vitriol and misrepresentation is astonishing and sad.

As predicted, it didn't take long for the usual suspects to launch their angry tirades.

Back on topic:

Clearly, the long view on Elvis' film soundtracks, especially the awful ones that caused his career free-fall in the 1960s, is in the eye of the FECC beholder. That said, I wish every one of them could have been as exciting, dynamic and committed as his work on MGM's "Jailhouse Rock." Everything would be different today.

Therein lies the crux. It seems you can't move on from the 1950's Elvis therein bringing a biased view to what came after.

Andy

[r&b]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

[jerrynodak]

I think I'll make this Saturday "60's Soundtrack Saturday. Lots of enjoyable, fun music.

[Hard Rocker]

Therein lies the crux. It seems you can't move on from the 1950's Elvis therein bringing a biased view to what came after.

Andy

Well said, Andy.

Gotta laugh at this "everything would be different today" nonsense. Elvis Presley is the most iconic singer of the 20th century, one the biggest selling artists of all time (if not THE biggest!), and maintains a very high profile and cultural relevance nearly 40 years after his passing. He has left an incredible legacy of recorded music, movies, and concerts, and still has a following of millions all over the globe. You don't have to like it all (and I certainly don't!) but to listen to some of the BS wafting around here, you'd think the guy's career was a failure!!! Dear oh dear. Some people really are in the wrong place. Considering the lack of respect they have for substantial swathes of the man's legacy, one has to wonder why they spend so much time on here day after day, year after year, bemoaning the events of 40/50/60+ years ago. Obviously they love wallowing in misery and trying to bring everyone else down to their level. That'll never happen. But seriously... get over it and get a life!

[poormadpeter2]

What is forgotten here is that if it wasn't for the crappy film soundtracks and the crappy films, we would never have the 68 comeback special or the American recordings because there never would have been that desperate urgency to save Elvis's career.

[Hard Rocker]

What is forgotten here is that if it wasn't for the crappy film soundtracks and the crappy films, we would never have the 68 comeback special or the American recordings because there never would have been that desperate urgency to save Elvis's career.

Swings and roundabouts. Nothing unusual about peaks and troughs in any career of a decent length. It's completely normal. However, that pithy truth will hardly deter the whinging miserablists. They love moaning so much they can't even help themselves. It's actually quite sad and pitiful really that grown men surrender so much of their daily lives in the pursuit of negativity on an Elvis Presley forum. We are talking here about a substantial slice of their weekly hours! Think about it! It defies all good sense.

[ICanHelp]

I've written my last post here. This obviously isn't the place for me. I never came here to cause any harm or upset anyone. I came here because I thought it was a place where fans could openly share their opinions on Elvis' music and what it has meant to them without having their "intent" questioned, or their rationality or any other insulting label that might make someone feel unwelcome.

To be honest, I would have never signed up and posted here if I knew this is how new members were treated. Elvis' music has always been about fun first and foremost and, well, this is anything but fun.

I do thank the many of you who were indeed supportive and welcoming. I like to think that a few thorns shouldn't spoil a rose but I guess for me it does. Especially online. As mentioned, I've met countless Elvis fans who are wonderful and not once does this kind of thing go on. This is the first negative experience I've had as an Elvis fan. Life is too short. It's back to the positive for me.

Can't say I blame you my friend. You have encountered the handful of individuals (maybe 6) who make it their mission to suck the fun out of this forum. And, give the devils their due, they do a great job at their self-appointed task. Most of us here have lives, and we participate on this forum to have some fun, celebrate the greatness of Elvis (in much, if not most of his work) and maybe learn a bit. The fun killers, if you look at the number of their posts, have made this forum their lives, and they are deadly serious about everything contained hereon. If we had real moderators, these folks would have been expelled years ago for their relentless personal attacks and rule violations. Alas, they continue with their sad conduct and continue driving this forum into the ground. Have a good life my friend.

And there are other people on here, who if you dare to say The Beatles, Sinatra, The Stones, or whoever were putting out better music than Elvis in the mid-60's (as most rational people would agree) you are called a person living in a Beatles bubble. And guess what? That sucks the fun of the forum as well because statements like that are not made for valid discussions, but only to incite. You see, it works both ways doesnt it. You cant have discussions either way with narrow minded people.

I don't disagree, but I see far fewer of the posts of which you complain than the posts that have driven away this new member. Can't we, moreover, disagree without being disagreeable? NOTHING justifies the language used, on a daily basis, by DJC and his cronies and, again, real Moderators would have stopped this conduct years ago.

[drjohncarpenter]

Therein lies the crux. It seems you can't move on from the 1950's Elvis therein bringing a biased view to what came after.

Actually, no. The point is the bar was set for movie soundtrack recordings with MGM's "Jailhouse Rock":

- committed performances
- excellent original material
- superb production

It's not about "moving on," but using the above to properly evaluate and appreciate which work met this standard. We honor the legacy of Presley's film recordings best not by sweeping such facts under the rug, but by embracing them.

[Chris Roberts]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

Elvis certainly sounded brighter and looked better than he had in more than a few years when he made Speedway. But when I watch the Let Yourself Go sequence (which is pure `60s kitsch) with Elvis bounding quite nimbly up those oil barrel stairs, I often think ahead ten years to him lumbering up a few steps to the stage or alighting the Lisa Marie with uncertain footing.

He was also better dressed in this movie after suffering some dubious costumes in the likes of Clambake and Double Trouble, and whilst it's not a movie that I'm fond of - or rate highly - it was more popular at the box office than any Elvis film since Tickle Me in 1965. Thanks in no small part to Nancy Sinatra. Whilst there was a spate of B-grade racing car movies made during the mid/late-sixties (Thunder Alley, Hot Rods to Hell, Wild Racers, Hell on Wheels, etc.) that were generally poor, but featured some good footage on the track. Speedway included. But it's not used convincingly here. Unlike Red Line 7000, for example, or even Hell on Wheels. Which is dire, although Marty Robbins done his own driving.

With regards to the songs, I really like Let Yourself Go, but nothing else on this soundtrack is quite as good, in my opinion. Five Sleepy Heads (which wasn't used) does have some charm given the melody is based on Brahms` Lullaby, whilst there was an attempt to choreograph something traditional (or a pastiche of) in the staging of He's Your Uncle, Not Your Dad. But the song is poor.

Curiously, Who Are You?, is another samba-inspired recording, although it's vastly inferior to the likes of Almost in Love and even All That I Am. There Ain't Nothing Like a Song is certainly lively and approached with some zest -- and it's a curious hybrid of a gospel/revival song, with a rock beat and a musical sensibility. But Elvis isn't quite at his best and doesn't seem entirely comfortable with the tempo. Whilst he and Nancy are drowned in a cacophony of voices at the song's climax.

Your Time Hasn't Come Yet Baby is actually quite sweet, although it's too insubstantial to transcend the movie.  But it's the kind of song with a lesson in the lyrics that is commonplace in animated films and children's television shows, however, Elvis - again - isn't at his best and lacks that lightness of touch heard so often in the early-sixties.

Conversely, Elvis sings really well on the title track. He sounds full-voiced and the tempo suits him well. The song is no great shakes, but it works as a title track and the rhythm is quite infectious. More so than Nancy's Your Groovy Self, in my opinion. Which is lyrically trite and doesn't find the kind of groove that she could really get into.

Had Elvis continued acting into the 1970s, I'm sure that musicals of this kind would have been a thing of the past. There was a musical component to most of his subsequent movies after Speedway (Charro! being the exception, of course) but he needed something more grown-up and substantial in his thirties and forties, not just dramatically, but with regards to musicals if he were to appear in such a film again. But that was long overdue by 1968. Especially with the genre in such uncertain territory at this time.

Very good synopses Greystoke. Although I now find enjoyment, which I often didn't at time of original release, in most of the soundtracks, 1968 was too late to change his movie direction. This should have happened in '65/66 after Elvis himself had said he was disillusioned with his career direction.

[r&b]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

Elvis certainly sounded brighter and looked better than he had in more than a few years when he made Speedway. But when I watch the Let Yourself Go sequence (which is pure `60s kitsch) with Elvis bounding quite nimbly up those oil barrel stairs, I often think ahead ten years to him lumbering up a few steps to the stage or alighting the Lisa Marie with uncertain footing.

He was also better dressed in this movie after suffering some dubious costumes in the likes of Clambake and Double Trouble, and whilst it's not a movie that I'm fond of - or rate highly - it was more popular at the box office than any Elvis film since Tickle Me in 1965. Thanks in no small part to Nancy Sinatra. Whilst there was a spate of B-grade racing car movies made during the mid/late-sixties (Thunder Alley, Hot Rods to Hell, Wild Racers, Hell on Wheels, etc.) that were generally poor, but featured some good footage on the track. Speedway included. But it's not used convincingly here. Unlike Red Line 7000, for example, or even Hell on Wheels. Which is dire, although Marty Robbins done his own driving.

With regards to the songs, I really like Let Yourself Go, but nothing else on this soundtrack is quite as good, in my opinion. Five Sleepy Heads (which wasn't used) does have some charm given the melody is based on Brahms` Lullaby, whilst there was an attempt to choreograph something traditional (or a pastiche of) in the staging of He's Your Uncle, Not Your Dad. But the song is poor.

Curiously, Who Are You?, is another samba-inspired recording, although it's vastly inferior to the likes of Almost in Love and even All That I Am. There Ain't Nothing Like a Song is certainly lively and approached with some zest -- and it's a curious hybrid of a gospel/revival song, with a rock beat and a musical sensibility. But Elvis isn't quite at his best and doesn't seem entirely comfortable with the tempo. Whilst he and Nancy are drowned in a cacophony of voices at the song's climax.

Your Time Hasn't Come Yet Baby is actually quite sweet, although it's too insubstantial to transcend the movie.  But it's the kind of song with a lesson in the lyrics that is commonplace in animated films and children's television shows, however, Elvis - again - isn't at his best and lacks that lightness of touch heard so often in the early-sixties.

Conversely, Elvis sings really well on the title track. He sounds full-voiced and the tempo suits him well. The song is no great shakes, but it works as a title track and the rhythm is quite infectious. More so than Nancy's Your Groovy Self, in my opinion. Which is lyrically trite and doesn't find the kind of groove that she could really get into.

Had Elvis continued acting into the 1970s, I'm sure that musicals of this kind would have been a thing of the past. There was a musical component to most of his subsequent movies after Speedway (Charro! being the exception, of course) but he needed something more grown-up and substantial in his thirties and forties, not just dramatically, but with regards to musicals if he were to appear in such a film again. But that was long overdue by 1968. Especially with the genre in such uncertain territory at this time.

I agree with your post, in fact, I think the next best song on the soundtrack is Your Time Hasnt Come Yet Baby, catchy & sung nicely, but it belonged more to 1963 than 1968. Terribly dated for a single in 1968. Hearing it today is more satisfying than in 1968 when it was the new Elvis single. I can skip the rest of this soundtrack however.

[ICanHelp]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

Elvis certainly sounded brighter and looked better than he had in more than a few years when he made Speedway. But when I watch the Let Yourself Go sequence (which is pure `60s kitsch) with Elvis bounding quite nimbly up those oil barrel stairs, I often think ahead ten years to him lumbering up a few steps to the stage or alighting the Lisa Marie with uncertain footing.

He was also better dressed in this movie after suffering some dubious costumes in the likes of Clambake and Double Trouble, and whilst it's not a movie that I'm fond of - or rate highly - it was more popular at the box office than any Elvis film since Tickle Me in 1965. Thanks in no small part to Nancy Sinatra. Whilst there was a spate of B-grade racing car movies made during the mid/late-sixties (Thunder Alley, Hot Rods to Hell, Wild Racers, Hell on Wheels, etc.) that were generally poor, but featured some good footage on the track. Speedway included. But it's not used convincingly here. Unlike Red Line 7000, for example, or even Hell on Wheels. Which is dire, although Marty Robbins done his own driving.

With regards to the songs, I really like Let Yourself Go, but nothing else on this soundtrack is quite as good, in my opinion. Five Sleepy Heads (which wasn't used) does have some charm given the melody is based on Brahms` Lullaby, whilst there was an attempt to choreograph something traditional (or a pastiche of) in the staging of He's Your Uncle, Not Your Dad. But the song is poor.

Curiously, Who Are You?, is another samba-inspired recording, although it's vastly inferior to the likes of Almost in Love and even All That I Am. There Ain't Nothing Like a Song is certainly lively and approached with some zest -- and it's a curious hybrid of a gospel/revival song, with a rock beat and a musical sensibility. But Elvis isn't quite at his best and doesn't seem entirely comfortable with the tempo. Whilst he and Nancy are drowned in a cacophony of voices at the song's climax.

Your Time Hasn't Come Yet Baby is actually quite sweet, although it's too insubstantial to transcend the movie.  But it's the kind of song with a lesson in the lyrics that is commonplace in animated films and children's television shows, however, Elvis - again - isn't at his best and lacks that lightness of touch heard so often in the early-sixties.

Conversely, Elvis sings really well on the title track. He sounds full-voiced and the tempo suits him well. The song is no great shakes, but it works as a title track and the rhythm is quite infectious. More so than Nancy's Your Groovy Self, in my opinion. Which is lyrically trite and doesn't find the kind of groove that she could really get into.

Had Elvis continued acting into the 1970s, I'm sure that musicals of this kind would have been a thing of the past. There was a musical component to most of his subsequent movies after Speedway (Charro! being the exception, of course) but he needed something more grown-up and substantial in his thirties and forties, not just dramatically, but with regards to musicals if he were to appear in such a film again. But that was long overdue by 1968. Especially with the genre in such uncertain territory at this time.

Greystoke: I thoroughly enjoy your posts. They invariably are informative, intelligent, well-written, even handed and lacking any agenda. Thank you.

[Ciscoking]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

Elvis certainly sounded brighter and looked better than he had in more than a few years when he made Speedway. But when I watch the Let Yourself Go sequence (which is pure `60s kitsch) with Elvis bounding quite nimbly up those oil barrel stairs, I often think ahead ten years to him lumbering up a few steps to the stage or alighting the Lisa Marie with uncertain footing.

He was also better dressed in this movie after suffering some dubious costumes in the likes of Clambake and Double Trouble, and whilst it's not a movie that I'm fond of - or rate highly - it was more popular at the box office than any Elvis film since Tickle Me in 1965. Thanks in no small part to Nancy Sinatra. Whilst there was a spate of B-grade racing car movies made during the mid/late-sixties (Thunder Alley, Hot Rods to Hell, Wild Racers, Hell on Wheels, etc.) that were generally poor, but featured some good footage on the track. Speedway included. But it's not used convincingly here. Unlike Red Line 7000, for example, or even Hell on Wheels. Which is dire, although Marty Robbins done his own driving.

With regards to the songs, I really like Let Yourself Go, but nothing else on this soundtrack is quite as good, in my opinion. Five Sleepy Heads (which wasn't used) does have some charm given the melody is based on Brahms` Lullaby, whilst there was an attempt to choreograph something traditional (or a pastiche of) in the staging of He's Your Uncle, Not Your Dad. But the song is poor.

Curiously, Who Are You?, is another samba-inspired recording, although it's vastly inferior to the likes of Almost in Love and even All That I Am. There Ain't Nothing Like a Song is certainly lively and approached with some zest -- and it's a curious hybrid of a gospel/revival song, with a rock beat and a musical sensibility. But Elvis isn't quite at his best and doesn't seem entirely comfortable with the tempo. Whilst he and Nancy are drowned in a cacophony of voices at the song's climax.

Your Time Hasn't Come Yet Baby is actually quite sweet, although it's too insubstantial to transcend the movie.  But it's the kind of song with a lesson in the lyrics that is commonplace in animated films and children's television shows, however, Elvis - again - isn't at his best and lacks that lightness of touch heard so often in the early-sixties.

Conversely, Elvis sings really well on the title track. He sounds full-voiced and the tempo suits him well. The song is no great shakes, but it works as a title track and the rhythm is quite infectious. More so than Nancy's Your Groovy Self, in my opinion. Which is lyrically trite and doesn't find the kind of groove that she could really get into.

Had Elvis continued acting into the 1970s, I'm sure that musicals of this kind would have been a thing of the past. There was a musical component to most of his subsequent movies after Speedway (Charro! being the exception, of course) but he needed something more grown-up and substantial in his thirties and forties, not just dramatically, but with regards to musicals if he were to appear in such a film again. But that was long overdue by 1968. Especially with the genre in such uncertain territory at this time.

Greystoke: I thoroughly enjoy your posts. They invariably are informative, intelligent, well-written, even handed and lacking any agenda. Thank you.

And friendly. Awesome.

[jetblack]

Therein lies the crux. It seems you can't move on from the 1950's Elvis therein bringing a biased view to what came after.

Actually, no. The point is the bar was set for movie soundtrack recordings with MGM's "Jailhouse Rock":
- committed performances
- excellent original material
- superb production

It's not about "moving on," but using the above to properly evaluate and appreciate which work met this standard. We honor the legacy of Presley's film recordings best not by sweeping such facts under the rug, but by embracing them.

Another 1956 classic. Elvis was at the top of his game as he recorded a classic over an already timeless recording.
It was also the perfect way to close that first album.

The 1956 TV performance oozes awesomeness too.

from 1954 to August 1956 he was at his greatest and most consistent in the studio... From the Seotember 1956 more dud recordings were made and released... among these: the Love Me Tender soundtrack, and some of the selections recorded for his second lp ...

Most of the 20th Century Fox "Love Me Tender" soundtrack is so-so, but Elvis' delivers everything with energy and style, so "dud" seems harsh. They are still better than what came out ten years later. Even the soundtrack work in 1957 and 1958 for Paramount and MGM had a handful of just OK tunes, but Presley is on fire with each master, so they remain listenable. This would not be the case later on.

It seems you have contradicted yourself with the above statements.

Andy

[Hard Rocker]

It seems you have contradicted yourself with the above statements.

Andy

Bullseye!

[drjohncarpenter]

It seems you have contradicted yourself with the above statements.

Nope. Two different discussions. Try using context in your judgement instead of bold font.

Thanks.

[Scarre]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

...and Guitar Man was of course nothing...

[stevelecher]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

...and Guitar Man was of course nothing...

They're talking about the movie songs, not the album bonus songs.

[jetblack]

It seems you have contradicted yourself with the above statements.

Nope. Two different discussions. Try using context in your judgement instead of bold font.

Thanks.

Yes. Same context / same soundtrack. You really should read your posts more clearly. No big deal that your inaccuracy was pointed out.

Andy

[r&b]

Almost in order of appearance! But, I would like to lift some of the later 60 soundtrack sessions which hold only a few songs. I think Elvis' singing during Stay Away Joe, LALLAL, The Trouble With Girls, Speedway, Charro and Change Of Habit were much better than some of the previous. Better songs too!

I agree, by Speedway Elvis knew that his career was about to change direction for the better, and as such he was more enthusiastic and didn't sound so bored. He also sounded more enthused for the Spinout session compared to the soundtracks recorded each side of it.

I agree he didnt sound as bored (how could anything be as boring as the Clambake vocals) and it is probably due to his happiness at the time. But the movie still contained typical useless mundane movie music except for Let Yourself Go. The only other tune sounding like it belonged to 1968 was Nancy's.

...and Guitar Man was of course nothing...

They're talking about the movie songs, not the album bonus songs.

Yes.
When Im talking soundtracks, I mean songs recorded for the movies. The bonus songs are entirely another subject matter. The Clambake songs were not recorded at the same time as GM obviously.