June 1958 Recording Sessions (Updated )

[promiseland]

"TANKS" for the Welcome, JavierTCB! I am very glad to be here!

Thank you very much for sharing these great candids.

Take a look around. This is a special forum for serious Elvis fans!

Yes it's the best!

[javierTCB]

"TANKS" for the Welcome, JavierTCB! I am very glad to be here!

[tankers2]

I have been looking and I love every bit of it! So interesting and fun!

[Mike Eder]

Has it ever been established exactly why Scotty and Bill weren't there for the session?

[The fool]

This June 2 gate photo in bigger size from The Complete Elvis Almanac magazine.

[The fool]

David has already posted this one here before, but this is just a little - very little - more uncropped. This is from a Mexican magazine Estrellas, October 1977.

[drjohncarpenter]

Has it ever been established exactly why Scotty and Bill weren't there for the session?

They were not told.

[davide]

David

[davide]

A New one

[drjohncarpenter]

A New one

Neat, but isn't it the same image used on the front page of that June 1958 Mt. Vernon newspaper in your previous post?

[davide]

A New one

Neat, but isn't it the same image used on the front page of that June 1958 Mt. Vernon newspaper in your previous post?

Yes the same image, but a photo rather than from the clipping.

Davide

[drjohncarpenter]

A New one

Neat, but isn't it the same image used on the front page of that June 1958 Mt. Vernon newspaper in your previous post?

Yes the same image, but a photo rather than from the clipping.

Davide

I love the screaming girl by the driver side window!

[Joe Car]

Thanks again davide!!

[Tim C]

I don't know if this has been discussed anywhere else but on picture 2 of Tankers2's post (page 3), there appears to be a woman with a video camera recording the event......Maybe the video is out there somewhere, anyone know anything about this?

[drjohncarpenter]

I don't know if this has been discussed anywhere else but on picture 2 of Tankers2's post (page 3), there appears to be a woman with a video camera recording the event......Maybe the video is out there somewhere, anyone know anything about this?

You're referring to an 8mm home movie camera, and nothing has ever surfaced from it.

[mrbthebarber]

An interesting post that came up on Facebook today featured this Commercial Appeal cover. Being a collector of pics of Elvis stood next to this 58 Lincoln ( owning the same car ) it's always nice to see something kinda new.








All the pics i have of E next to or in the car are here https://www.facebook.com/media/set/?set=oa.550835168346000&type=1

[drjohncarpenter]

An interesting post that came up on Facebook today featured this Commercial Appeal cover. Being a collector of pics of Elvis stood next to this 58 Lincoln ( owning the same car ) it's always nice to see something kinda new.

Commercial Appeal.jpg

All the pics i have of E next to or in the car are here https://www.facebook.com/media/set/?set=oa.550835168346000&type=1

As much as I'd like to believe the Memphis Commercial Appeal adored their most famous citizen, I'd love to confirm that they actually placed that huge photo on page 1. Frankly, no self-respecting newspaper would ever do that, so I hope it's a mock-up or a later section of the paper.

[mrbthebarber]

An interesting post that came up on Facebook today featured this Commercial Appeal cover. Being a collector of pics of Elvis stood next to this 58 Lincoln ( owning the same car ) it's always nice to see something kinda new.

Commercial Appeal.jpg

All the pics i have of E next to or in the car are here https://www.facebook.com/media/set/?set=oa.550835168346000&type=1

As much as I'd like to believe the Memphis Commercial Appeal adored their most famous citizen, I'd love to confirm that they actually placed that huge photo on page 1. Frankly, no self-respecting newspaper would ever do that, so I hope it's a mock-up or a later section of the paper.

Mmmmm good point, especially as ( I believe anyway ) the photographer for the majority of these pics ( and the Date With Elvis cover ) was the staff photographer for the Memphis Press Scimitar, William Leaptrott ... so it is unlikely his pictures would adorn The Commercial Appeal? ...

[vinelvis]

May 31st 1958 Elvis, Rex and co left Foot Hood at 6.00am for the ten hour drive to Memphis, with a diversion to Dallas airport to drop off Anita Wood and Colonel Parker, then onto Memphis dropping William Norvel in West Memphis. Rex rang his brother Doyle saying they were going to Graceland first. The time would be around midnight when Elvis rushed through the music gates, without meeting the waiting fans, (due to being really tired from the long journey, and anxious to get home to see family and friends)













Memphis Tenn. June 2(7 typo) (UPI)
PVT. Elvis Presley swapped his G.I.'s for a pair of blue suede Sunday and relaxed with his family and a few close friends behind the guarded gates of his plush suburban home.

The rock and roll idol hit town near midnight Saturday from FT. Hood Texas and was immedediately set upon by hundreds of fans. But he refused to leave the sanctuary of his black Cadillac as teenagers and adults swarmed around it at the entrance of his antebellum home in nearby Whitehaven. He would not talk to newsmen.

STAYS IN CAR

"Roll down your windows" the crowd chanted as he aproached the gates of his home but he only smiled from the glass of the car and sounded his horn impatiently for the gatekeeper. Elvis' neighbor Harry Brewer commenting on the crowd said "They would have torn him apart if he had rolled down those windows."The electrically-controlled gates at the $100.000 mansion opened only long enough to allow Presley his unidentified soldier-passenger and another car carrying four Member buddies to pass through.

His car was delayed only long enough to give the fans a brief glimpse of the new soldier,home on a two-week furlough from basic training.

SWITCHES CARS

Fans had anticipated his arrival in his much-publicized white Continental, but he switched to the Cadillac and rode unmolested until he reached home.

Elvis' girl friend starlet Anita Wood,who once commented she was too busy socially for the singer saw Presley off from his Texas post Saturday and then returned here by plane. However newsmen had no luck locating her Sunday,but speculated she and her mother of Jackson Tenn. were house guests of the Presley's. About 100 cars many of them bearing out-of-state licenses parked on both sides of the highway near Presley's home.

Presley will return to Ft Hood at the end of his two-week stay and begin training as a member of a tank outfit before before going to Germany.




When I came back from basic training in Fort Hood, Elvis invited myself & (Nervous) Norvell to ride back with him in his Continental. I was able to call my parents on his car phone – this was 1958 – a car phone!!

So my folks drove down and when we arrived there were 500 screaming fans at the gate. Vester was at the gate at the time. We went on up to the house and in 1958 to me it was like an amazing apparition; it was so beautiful and so perfect. It was a special time for me because I was introduced to everybody including his parents and I could see that there was a lot of love, especially for his Mother. The big thing for me was that I got his undivided attention because Norvell had already got out to meet his wife. So then it was just Elvis & I. Then, instead of telling Lamar or Red or whoever to drive me over to my parents, he personally got into his Cadillac and took his own time to drive me over to where they were staying.
Rex Mansfield










Photographs of Elvis at Rex Mansfield's relative's family's house in Memphis. Rex's mother took the snaps when Elvis drove Rex in his black Cadillac limousine after a brief visit to Graceland.

The date June 1st 1958. Rex states that they went the back way when leaving Graceland to avoid the fans. Elvis departing in his car.

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Elvis Signing autographs outside Graceland June 1st 1958.


Elvis Presley explains the insignia on his uniform to fans at the gates of Graceland Sunday evening June 1, 1958.

Elvis arrived late Saturday night for a two week leave. He was inducted into the army at Memphis March 24, 1958. (By Robert Williams / The Commercial Appeal)





Elvis holding Donna Harrison aged 5 and Ronnie Brown aged 2, June 1st 1958
(Robert Williams)
Wire description



(photo right) From a magazine/background removed. George Klien features.






Jo Ann Mullins (Left) and Tudy Harrison (Right) greet singer Elvis Presley at the gate to his home. Presley made his first public appearance here since he started a two-week furlough on completion of basic training in the Army.
Date Photographed: June 1, 1958






Lamar Fike sat in the front with Elvis and Rex Mansfield on the back seat, outside Graceland.


Some new candids taken at the same time as the shot above,with Lamar Fike sat with Elvis.






Two Candids from the evening of June the 9th 1958,outside Graceland with Red West in his new red Lincoln Continental convertible MKIII,which he picked up from Schilling Motors,Memphis.
It looks as if Elvis is wearing the same white shirt as he is in the shot below outside Graceland. This could be dated in the June break or like other's have mentioned it could be in August 58. The Graceland window shutters on the top floor are in the same postions in both the photo below and the shots of Elvis outside Graceland in army uniform. The leaf's on the grass that can be seen (below) are the same in an image of Rex Mansfield parking his car outside Graceland,12-14 June, and the background of the colour shots of Elvis sitting in his car (i.e. A Date With Elvis LP cover).
These are only observations and still don't prove a timeframe .





Exterior of the RCA Victor recording studio, Studio B, Nashville.
In 1957, Chet Atkins was appointed RCA's Manager of Operations in Nashville. With Atkins help, Nashville became known around the world as Music City, he also convinced RCA Victor to build an office and studio which became the legendary Studio B.

The photographs for the recording session were all taken by George Barker from The Tennessean.


Elvis seen outside Studio B, Nashville. Billy Smith can be seen in the background by the car.

Elvis arrives for the session in full army uniform.Asked why was he wearing his uniform the whole time he was on leave?
"Simple, I'm kinda proud of it"


For the first time Scotty and Bill Black were not in the studio, D.J. Fontana provided a support to Buddy Harman and the new Nashville musicians, assembled by Chet Atkins dubbed the "A-Team."




Producers : Steve Sholes
Engineer : Bob Ferris

Musicians:
Guitar Elvis Presley
Guitar Hank Garland
Guitar Chet Atkins
Bass Bob Moore
Piano Floyd Cramer
Drums D.J. Fontana
Drums and Bongo's Buddy Murrey Harman

Backup Vocals:The Jordanaires : Gordon Stoker; Neal Matthews Jr; Hoyt Hawkins; Ray Walker

In attendance Tom Diskin,Colonel Tom Parker.Red West and others.

June 10th 1958 7.00pm - 10.00pm
Break
10.30pm - 1.30am
Break

I Need Your Love Tonight
A Big Hunk O' Love
Ain't That Loving You Baby
(Now And Then There's A) Fool Such As I

June 11th 1958 2.00am - 5.00am

I Got Stung:
Take 1-8 and Hank Garland's lead guitar is heard alongside Chet Atkins on rhythm guitar.Take 4 breaks down, with Elvis laughing, and Elvis states just before this "I Like this song".
Takes 9-13 just one guitar is audible,(speculating here) maybe Hank Garland has taken over full duties and Chet Atkins has returned to the control room. Take 13 and Elvis use's the S word,and just before take 14 he states,"My brain is getting weaker by the minute".Work is in progress as the take's progress. Take 14 onwards (the lead guitar is no longer heard) and perhaps Hank Garland has moved over to the fender bass which sounds delicious and adds a great sence of rhythm to the track.
Take 17 and a voice from the Jordanaires states "......duet he can watch you see ,in other words we can't hear what you are saying".The end of take 18,Elvis uses the F word and the S word,before shouting some military commands.On Take 23 Floyd Cramer can be heard "Ray (Walker)I had it figured out and as long as I could see what he was doing and now you've hold that paper up!" Take 24 master.



Floyd Cramer on Piano, Buddy Harman Drums, Bob Moore Bass Guitar, Chet Atkins Guitar, Hank Garland Lead Guitar **^^



The control room with Chet Atkins and Bill Porter**

























This is an interesting photograph, due to the fact Elvis is holding and playing a six string fender bass,which looks to be a 1958 Silvertone 1303/U2 Danelectro Bass.

(In the fifties and sixties the Danelectro bass guitar was often used in combination with a string bass and was responsible for the "click" sound that you can be heard on many country songs. For example on Patsy Cline's "Crazy." Usually the Danelectro doubled (playing unison) the string bass or the electric bass)
'A Fool Such As I' has prominent Fender bass,leaking through,which can be heard in the guitar solo on take 3. This Hank Garland solo sounds great especially, the way he ends it.(starts at 1.35)

Bob Moore has been consistent that he only played the upright Bass during the Elvis sessions,with reference to the live shows and why he didn't use his fender bass in 1961,Bob stated "I'd never used one on an Elvis session,so it would have sounded out a place." With Hank Garland playing lead guitar, it would seem either Chet Atkins or Elvis are playing Fender Bass.With regards to the above mentioned track, the first two takes were false starts, and take 3 has a very laid back feel, compared to the master(take 9) and the Jordanaires are back in the mix somewhat,and the bongo's from Buddy Harman feature strongly at this point.Take 4,and Elvis asks Steve Sholes "Could you put me on a little more echo Steve?". Ernst Jorgenson referenced that the track was a favourite of Tom Diskin's and made a pitch to the Aberbachs to make a deal on the song.

Ray Walker Bass singer from the Jordanaires first worked with Elvis on this session," When I first got to the session..Gordon(Stoker) was a little worried about me being the new guy in the group and so forth, but Elvis took to me right off the minute,he heard my bass voice,about the third side ('Now And Then There's) A Fool Such As I ' and he asked me to sing under him an octave or so,which I did. Then he had me to come over on his microphone,so everything after that was fine" (The technique by Elvis to get Ray to use the same microphone was, in part, so that he could control the voices, and prevent Ray's voice from being reduced in the mix by the engineer)

The RCA Victor master was always take 9,although on 'Elvis 30 Number One Hits' take 8 was used.

The Hank Snow original
Live version March 25, 1961 - Benefit Concert. Elvis changes the lyrics at the end to "You taught me how - to milk a cow",and a rehearsed ending instead of the fade in the original studio recording.
A review of the song " A Fool Such As I , of all Presley's ventures into straight C&W, it is probably one of the most successful.The interplay between Elvis' lead vocal and the Jordanaires back-up singing is about as close to perfection as it is possible to get."






Bob Moore can be seen holding his Bass behind Elvis****
A BIG HUNK O' LOVE
Elvis Presley
(words & music by Aaron Schroeder and Sid Wyche)
Hey baby, I ain't askin' much of you
No no no no no no no no baby, I ain't askin' much of you
Just a big-a big-a hunk o' love will do

Don't be a stingy little mama
You're 'bout to starve me half to death
Well you can spare a kiss or two and
Still have plenty left, no no no
Baby, I ain't askin' much of you
Just a big-a big-a hunk o' love will do

You're just a natural born beehive
Filled with honey to the top
Well I ain't greedy baby
All I want is all you got, no no no
Baby, I ain't askin' much of you
Just a big-a big-a hunk o' love will do

I got wishbone in my pocket
I got a rabbit's foot 'round my wrist
You know I'd have all the things these lucky charms could bring
If you'd give me just one sweet kiss, no no no no no no no
Baby, I ain't askin' much of you
Just a big-a big-a hunk o' love will do



Bob Moore recalls "It came from one of the girls at RCA (phone call). They would always tell you who the artist was when they booked you,but when I went to put the date in my book she said,'Well I can't tell you on this one',Of course right then I knew it was Elvis. I'd be at RCA just about everyday doing something or other,so we soon worked out who it would be. They didn't want us broadcasting it around for security reasons but come the day,there were literally hundreds of folks gathered around the back door.Elvis arrived in an old Chevrolet and snuck in the front door!" ^ "He had a beautiful voice. He was very serious about his music. Dedicated. But not a boring stick in the mud. We always laughed and had a good time in the studio. Elvis loved hanging with the guys and being part of the creative process".(*)


Ray Walker : That was a great session with ‘A Big Hunk O’ Love’ as well. We were there a little before he arrived. When he walked up they introduced me to him and I shook his hand. We looked at each other and all of a sudden the fame disappeared. I saw a person there that I really liked.^^^^
A Big hunk O' Love take 1 has a laid back blues feel,with the musicians finding their feet. It starts with a piano strong intro, and Elvis's first refrain of the Big Hunk line is, " A Bigger, Hunk Hunk Hunk O love with you",and he dosen't sing or hum in the instrumental breaks. Ray Walker's deep bass vocal is not present on this take. Elvis trips over his words slightly at 1.53,"Have have"

The second take does feature Elvis singing along in the first instrumental break,and now has the bass vocal. Take 3 was used for the original master and has a very together lead guitar break,and now the drums are up in the mix. Take 4 was used for the original master (piano solo),and the guitar break gets slightly lost at the end. File under 'Superb' or 'Masterpiece'
The 50's master box set first used (by mistake)take 3 instead of the spliced version.



Bob Moore was asked about unusual situation of two drummers on the session "The situation was a bit of a nightmare for the engineers to get a balance,what with the seperation and all that end,and in fact only on the odd occasion did both drummers play their full kit at the same time,even though they'd each be sitting behind their respective drum sets.More often than not ,one of them would be playing a hi-hat whilst the other one would be taking care of the beat, although I remember we did one song where Elvis went into that slowed-down 'stripper' routine on an ending and both sets of drums went alto hell for about two minutes. One of them hit a bass drum and slammed it off when the other one would and Elvis laughed and hollered out that it sounded like two elepants falling down a set of stairs!"





http://www.keithflynn.com/recording-sessions/recordingsessions50s.htm

Hank Garland

"He never got upset about anything. You hear a lot of people talk about him, saying "Elvis did this" and "Elvis did bad" in record sessions, but that's all junk! He never did. He ran in and sang what he was supposed to sing, and afterwards he shook hands with everybody and said thanks"^^









Recent shot of Studio B.

The Steinway Piano in the above photo can be seen below, behind Elvis.

With regards to 'Ain't That Loving You Baby' Clyde Otis remembers," We did the demo in Presley style as a faster blues shouter.We set the tempo in the demo and always felt that it should be done in that way and I was happy with the way Elvis did it when it eventually came out(see note). Ivory Joe (co-writer) did the demo,I signed the song over to Hill & Range.The Lyrics feature rural country with,an old ox cart,and urban city stuff about alley cats.We wrote "Ain't That Lovin' You Baby" in 20 minutes. Elvis did a great job on that song.

Clyde Otis recalls a story about duck shoot near Baton Rouge, Louisiana and the fact that when they returned, they got a call that Elvis had recorded the number. This story was recounted by Ernst Jorgensen in the book 'A Life In Music',but is now disputed due to the fact that Eddie Riff recorded the number in 1956. The full story can be found here.*****and herehttp://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=34429&start=0&hilit=clyde+otis

The number did not get a release until 1964, and the fast tempo version, which was put together using takes 1,8,9 10 and 11 (as no master exists) was first released on the 1985 LP Blues compilation 'Reconsider Baby'.At the start of the fast tempo version Elvis makes reference to Chet Atkins,"Boogie Chet".

The mid tempo version-Elvis shares a joke with Red West just before take 4 (master).
The fast tempo version does not have any vocal contribution from the Jordanaires,but just before the start of take 9,the vocal group can be heard rehearsing their clapping which then feature's in take 9 (LFS) and take 10


Music publisher Freddie Bienstock

Asked how much of a demo would Elvis have to hear to know wether he wanted to record the song or not?
"If Elvis didn't like a song he'd only play about eight bars and then he would take it off. Then there were times he'd want to hear it again and again. Elvis would often adapt the arrangements inherent in the demo's."
Elvis had complete freedom in the studio. He would listen to various takes over and over again and he would make the final decision as to what take to use.Elvis learned the songs on the demo' fairly quickly. He was meticulous in terms of the final result.He would listento takes over and over and over."^^^




Ray Walker : "Elvis tried to throw me every way he could. He'd move his lips and not say anything,and then he'd say his line,he was giving me a rough way to go!"









Tom Diskin expressed his concern that the instruments were coming through too loud and might override Elvis's voice,but Steve Sholes reassured him that it would all be balanced out in the mix.








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From EPE
http://elvisphotos.com/gallery/detail.asp?photo_id=563&cat_id=15&page=1



Elvis with Red West


These three candids are noted as from (Monday) June the 2nd 1958,There were details written on the back of each snap as follows:

"We didn't move from the place this was taken. This shows how close we really were. Red West is with Elvis. June 2, 1958"

"The boy on the right is Bobby Smith Elvis' cousin. He had on a black shirt white collar black pants white belt and white shoes. Red West is with Elvis. June 2, 1958"


"This was taken just before he left to go back to the house. That's his red Lincoln. That's Mr. Byrd at the left, Elvis' gatekeeper. Red West is in the car. June 2, 1958"

From the same day,June 2nd 1958

From the same day,June 2nd 1958. Red West has the same shirt on as the B/W snaps, and these two colour images, have the girl in the red and blue dresses. The lower image does look like it was taken at dusk, so it is a possibilty that they are from the same day, but different times.

New photo's from this time.









Taken at the same time as the shots above with Red West seen on left of the picture and Elvis at the wheel.+




Elvis Presley on Leave with His Parents.

Original caption: 6/2/58-Memphis, Tennessee: Pfc. Elvis Presley, on his first leave from the Army, escorts his parents, Mr. and Mrs. Presley, from their mansion here to town for a sneak preview of the entertainer's latest movie, June 1st. The film is called "King Creole."
Date Photographed:June 2, 1958 (Monday)
Location Information:Memphis, Tennessee, USA

Rex Mansfield mentions on his return to Graceland, after the Nashville recording session, and before returning to base, Elvis had a private 16mm copy of King Creole which was viewed with his buddies at Graceland.

The date of June 2nd for this image supports the fact that the photo's of Elvis outside Graceland,with his father, with his new car etc are all most likely taken on the 2nd.

The B/W candid date, plus the fact that Vernon is wearing the same shirt as he did earlier in the day.Gladys Presley has the same dress as the family portrait taken at Graceland but different ear rings.






These are were taken on the 2nd of June at Graceland, and are more than likely the last photographs of Gladys Presley, before her passing in August.



A cutting from 'The Memphis Press Scimitar' June the 3rd 1958,
Confirmation that these photo's of Elvis at Graceland were taken on June the 2nd 1958.
Photo by staff photographer for the Memphis Press Scimitar William Leaptrott (also known as Bill Leaptrott)













Billy Smith and Elvis






















The image used for this magazine above is reversed.








One Night
I Got Stung
(US) RCA 47-7410
Released: October 1958


I Need Your Love Tonight
Fool Such As I
(US) RCA 47-7506
Released: March 1959


A Big Hunk O' Love
My Wish Came True
(US) RCA 47-7600
Released: June 1959




DATE WITH ELVIS (LP)
(US) RCA LPM 2011
Released: August 1959. I have put up this LP cover,only because the cover used a photograph from the timeframe just before the recording session. The date is apparently June 2nd 1958.

50,000,000 ELVIS FANS CAN'T BE WRONG ELVIS' GOLD RECORDS- VOLUME 2 Follow that dream/RCA 2-disc set contains all the known recordings from the June Nashville 1958.


Studio logs and more detailed Recording information:http://www.keithflynn.com/recording-sessions/recordingsessions50s.htm
* Taken in 1962
** Taken in 1960
***From ETMAHM No.46
****http://www.nashvillesound.net/index.htm
(*)http://www.angelfire.com/tn2/bobloyce/cash2.html
*****From ETMAHM No. 76,page 11,with research by Trevor Simpson.
^^An Interview With Hank Garland,By Toy Caldwell ,Published in the January 1981 Guitar Player.
^^^Adapted From FTD Writing for the King
^^^^http://www.elvisinfonet.com/interview_raywalker.html
More info http://www.scottymoore.net/studio_b.html
**^^photos not from the actual June 1958 recording session
+Thanks to The Fool for these
Thanks to member 1974c for the colour June 2 1958 photos

Amazing post. Thanks!

[mrbthebarber]

A New one

Neat, but isn't it the same image used on the front page of that June 1958 Mt. Vernon newspaper in your previous post?

Yes the same image, but a photo rather than from the clipping.

Davide

Whilst still the same time frame, this is not the 58 Lincoln but most likely the Cadillac that I believe was taken to the Nashville session. The autronic eye & the quarterlight window give it away ... Nice pic.

[bluejays3577]

An interesting post that came up on Facebook today featured this Commercial Appeal cover. Being a collector of pics of Elvis stood next to this 58 Lincoln ( owning the same car ) it's always nice to see something kinda new.







All the pics i have of E next to or in the car are here https://www.facebook.com/media/set/?set=oa.550835168346000&type=1

As much as I'd like to believe the Memphis Commercial Appeal adored their most famous citizen, I'd love to confirm that they actually placed that huge photo on page 1. Frankly, no self-respecting newspaper would ever do that, so I hope it's a mock-up or a later section of the paper.

No it's not the front page of the newspaper.

The_Commercial_Appeal_Tue__Jun_3__1958_ (1).jpg

The_Commercial_Appeal_Tue__Jun_3__1958_.jpg

I also included the Memphis Press-Scimitar coverage of Elvis from June 3, 1958.

The_Memphis_Press_Scimitar_Tue__Jun_3__1958_.jpg

The_Memphis_Press_Scimitar_Tue__Jun_3__1958_ (1).jpg

[Mississippi]

Fantastic, bluejays3577.

Many Thanks.

Mississippi

[drjohncarpenter]

Love the scans, thanks.

Yes, since those 2015 posts on this topic, the Memphis Commercial Appeal archives are online. My suspicions were confirmed, as we indeed discovered that these kind of Elvis page photos and stories usually landed in the second section. The first section covered typical local, national and international news.

As much as I'd like to believe the Memphis Commercial Appeal adored their most famous citizen, I'd love to confirm that they actually placed that huge photo on page 1. Frankly, no self-respecting newspaper would ever do that, so I hope it's a mock-up or a later section of the paper.

No it's not the front page of the newspaper.

I also included the Memphis Press-Scimitar coverage of Elvis from June 3, 1958.

'

[bluejays3577]

I love the question about Jerry Lee Lewis' marriages in the Memphis Press-Scimitar interview with Elvis.