‘The Pot Luck Sessions' FTD Box-set REVIEW
Released back in December 2021, this was the eighth in FTD’s “Complete Sessions” series.
The Pot Luck Sessions
Whereas Elvis’ three previous sixties studio albums had been completed with some quick and productive recording sessions (His Hand In Mine and Something For Everyone both completed in just one night) the “Pot Luck” sessions were a much more sprawling affair.
Since returning from the army Col Parker was pushing Elvis’ focus towards his film commitments and soundtrack albums. Between August 1960 and August 1961 Elvis filmed four movies, Flaming Star, Wild In The Country, Blue Hawaii and Follow That Dream. The Blue Hawaii soundtrack album, recorded in March 1961, would go on to be Elvis’ biggest selling album and only confirmed Parker’s money-making priorities
So while one can consider that the ‘Pot Luck’ sessions started with ‘Kiss Me Quick’ recorded in June 1961, that was in fact a planned RCA 45rpm session that in the end supplied three ‘left-overs’ for the future 1962 album.
The October 1961 ‘45rpm’ session similarly provided RCA with a #1 single - Good Luck Charm - and three further leftovers and so it was really the March 1962 session, nine months since ‘Kiss Me Quick’, that supplied the core content of the Pot Luck album.
With FTD including ‘His Latest Flame’ and ‘Little Sister’ as part of the complete Pot Luck sessions (unlike their earlier Pot Luck ‘Classic Album’ release) this five CD set not only contains some of Elvis’ best sixties material but also an incredibly interesting musical journey over these key nine months.
There would be no similarly creative session until Elvis started re-focussing with Felton Jarvis at the How Great Thou Art sessions, Steve Binder at the ’68 Comeback and finally the Chips Moman resurrection at the Memphis Sessions.
Any recording sessions set that starts with His Latest Flame / Little Sister, Good Luck Charm / Anything That’s Part Of You has to be impressive. Even the leftovers that were deemed not worthy of release at the time ‘You’ll Be Gone’, ‘For The Millionth And The Last’, ‘I Met Her Today’ were far superior than the movie soundtrack material Elvis would soon be recording.
While FTD rightly describe this as “one of the most commercially successful recording sessions of Elvis’ career” these twenty tracks, recorded over ten months, can hardly be compared in importance with the 1960 “Elvis Is Back!” session and its outstanding 7 million-seller singles all recorded in just two nights’ work.
Continuing FTD’s “Complete sessions” concept there is plenty to explore for Elvis collectors.
The 5 CDs are in a four panel fold-out with the joy of fans being able to pore over various RCA paperwork and tape boxes. Bill Porter was the supervising engineer at Nashville’s Studio B.
The large 8-inch 28-page booklet is a neat upgrade from the previous Classic Album booklet with surprisingly few images being repeated and plenty of new candid images included here.
Ernst Jorgensen supplies a fascinating 5-page summary about all the sessions explaining who was playing what and how the songs developed in-studio. This includes stories such as the fact that they called composer Mort Shuman mid recording ‘His Latest Flame’ to ask about his arrangement.
This essay has basically been copied from his essential ‘A Life In Music’ book. Unfortunately this means that Ernst’s comment ‘The “real strong songs” that Freddy had referred to in his note’ doesn’t make clear sense within this article as it refers back to a paragraph in the book (about Follow That Dream) that has not been included here.
With the recordings supplying so many key single releases over the years there are plenty of pages dedicated to all the individual releases - from the Pot Luck album in May 1962 to the US ‘Kiss Me Quick / Suspicion’ 45rm release in April 1964 including contemporary reviews. The later 1965 releases are also noted.
The weird anomaly of Blue Hawaii’s ‘Steppin’ Out Of Line’ being part of the original album track-list hardly gets a mention. While I understand that this recording should not be included in this session it’s a true oddity that Parker selected it for the album instead of perhaps ‘You’ll Be Gone’ or ‘For The Millionth And The Last’. I always thought that ‘Steppin’ Out Of Line’ would have made a better single B-side or EP track.
With pages of memorabilia, international record covers and plenty of candid photos with Elvis in his natural hair colour, the booklet is a delight.
Seeing comments on the tape boxes such “No Tone, It’s 4am” - signed Bill Porter (see image below) all add to our understanding of Elvis working in the studio.
Unfortunately seeing Col Parker topless on the ‘Follow That Dream’ movie-set can’t be unseen!
One of the strengths of this Pot Luck set is the way the CDs are compiled. Some of the weaker tracks, that Elvis perhaps worked a little too long on, ie Kiss Me Quick and I Met Her Today happen to be spread across two cds while key singles have all the session takes on one CD.
And it is listening to the hard studio work and creativity of Elvis and his A-Team musicians that makes this set so enjoyable.
Previously spread across various FTD “Classic Album” releases (including ‘Gold Records Vol 3 & Vol 4’, ‘Elvis For Everyone’ etc) it is a real joy to have the whole session assembled here. The previously unreleased outtakes - more than expected – all help to demonstrate Elvis dedication to getting this perfect.
The following are officially previously unreleased – most of them false starts
Kiss Me Quick Takes 7, 10, 11 (these are all complete takes)
That's Someone You Never Forget - Take 2, 3, 4, 6
I'm Yours Take 3 and ‘work part 1’ ending Takes 2 & 3
I’m Yours (Harmony Vocal Overdub) Take 1, 2, 3, 4, 5, 6
For The Millionth And The Last Time Take 9.
I Met Her Today Takes 2, 5, 10, 11, 15,17,19,20.
Such An Easy Question Take 4
Fountain Of Love Take 3, 5, 6, 7, 8
Night Rider (Remake) Take 1, 4
Just Tell Her Jim Said Hello, post Take 4 Rehearsal
She's Not You (work part) Take 3
There are also plenty of examples of where the previously released "Classic Album" outtakes were edited with these complete versions offering an even better look at the sessions.
Some interesting examples I discovered were..
1. 'That’s Someone You Never Forget' – before Take 1 with Elvis now saying, “Here we go already. How do like that arrangement, Red?” – an important question to his friend Red West who had composed the song on an idea suggested by Elvis.
2. ‘Little Sister’ Take 6 with someone joking, “meaning you slept all night?” and then a Scotty Moore sounding reply, “I wish I had!”
3. ‘Little Sister’ Take 8 also has another short false start not previously released
4. ‘Gotta Get Back Home Somehow’ similarly includes two extra false starts, one from Take 3 and one from the Master Take 7 missing on previous releases.
5. 'His Latest Flame' Takes 5, 6 includes 20 seconds more studio banter than on the FTD Classic Album version
6. 'Anything That’s Part of You' having the discussion, “What about the intro?” before Take 2.
Another neat bonus is getting all the Masters in full. This, for instance, means that we now get to hear the full studio discussion “We weren’t right… Gordon? Stoker?” before ‘His Latest Flame’ master, the extra false start before ‘I Met Her Today’ master, some joyous laughter before ‘Night Rider’ master, as well as plenty of studio discussion before ‘Something Blue’. ‘Gotta Get Back Home Somehow’ master also includes a new false start and we get the full ‘Suspicion’ master take 5 which had the end spliced for release.
In 1982 RCA in the UK officially released the first outtakes of ‘His Latest Flame’ and ‘Little Sister’ so it has taken an incredible forty years for these complete sessions to be finally released! Oh, what joy!
While the previous FTD ‘Something For Everybody Sessions’ was somewhat diluted by the addition of ‘Wild In the Country’ this set has to impress any Elvis collector.
Mastered by the usual Sebastian Jeansson / Vic Anesini team the audio is sensational, especially considering the original tapes are sixty years old. There seems to be a little top-end presence than on previous outings (less tape-hiss removal?) and I have never noticed the Hank Garland tic-tac bass so clearly before.
It’s a joy to listen to both on headphones and cranked up on good quality loud-speakers.
Any Elvis compilation that starts with ‘(Marie’s The Name) His Latest Flame / Little Sister’ is going to be impressive and following with ‘Good Luck Charm / Anything That’s Part Of You’ only increases the delight.
CD1: The Single and Albums Master - 71 minutes.
All twenty Masters shine – sounding even better than there earlier Classic Album outings – and Elvis’ mix of genres (Pop, Ballad, Latino, Rockers) works so well in this selection. Sixty minutes of 1960’s magic. It was such a strong album compilation that it was no surprise that by the time Elvis had hit the lesser movie soundtracks such as World’s Fair / Kissin’ Cousins that these tracks then became singles.
Of course Parker should have kept his boy down to one movie soundtrack album and one creative Studio album per year but that’s a discussion for another time
The first cd also includes the first nine attempts of ‘Kiss Me Quick’, which is convenient if you feel like skipping the last few similar outtakes.
CD2: The June 25, 1961 sessions – (continued) - 79 minutes
This deluxe set is of course about listening to the complete sessions and it’s fascinating hearing Elvis and the band struggle through twelve takes of the lightweight ‘Kiss Me Quick’ and spending so long over ‘I’m Yours’ when you know that the classics ‘His Latest Flame’ and ‘Little Sister’ are going to be recorded at the end of this “singles” session.
The first take of ‘Kiss Me Quick’ Take 1 is so amazingly close to the final release that it’s a surprise that it took so long for Elvis to get to his chosen version. The first four attempts are unusually complete takes, so close yet so far. Take 5 fails with some notable humour after Scotty slips up.... “Much better up to there” notes Bill Porter- “I liked it too” says Elvis.
Take 6 was certainly good enough for album release while previously unreleased takes 7 sounds a little unsure but 10 is so near perfect that you wonder what extra Elvis was searching for. Perhaps Elvis was just happy not having to record movie soundtrack material, the Blue Hawaii sessions being only three months previously.
By Take 9 Elvis’ vocal tricks are starting to sound somewhat mannered. On Take 11 Elvis slips up on the lyrics but by Take 12 Ray Walker’s neat bass-slides “on our kiss will open heaven’s door” are finally in place and Elvis has the master in the can.
It was a lot of work for a track not released at the time.
'That’s Someone You Never Forget' - the second track from the session was a Red West composition and it is important to hear Elvis asking, “How do like that arrangement, Red?” before they start.
A beautiful recording with delicious double-bass from Bob Moore along with gentle brush work from drummer Buddy Harman. Heart-breaking Take 1 is a delightful rehearsal where unreleased false starts 2, 3, 4 and 6 – two false starts - all help demonstrate Elvis working hard on his vocal phrasing. Elvis is sincere in asking, “Is that where I’m goofing up?”
Take 7 is exquisite for still having the light feeling of Elvis working with the melody, while Take 8 would be the master. With every attempt you can hear Elvis perfecting the arrangement.
‘I’m Yours’ that follows is another track with several previously unreleased outtakes. It was apparently prioritised by Elvis after composer Don Robertson’s excellent contributions to Something For Everybody.
The “corny-60s-ice-ring-organ”does the song no favour in 2022 but the idea of adding the soliloquy and later vocal overdub does make this an unusual recording.
Unreleased Take 3 has RCA engineer Bill Porter commenting “Cut. That’s a little ragged”
The work-part features Elvis trying to hit the perfect – spliced - final note, while the many “Harmony Vocal” takes are fascinating for showing just how hard it is to harmonise successfully with your own voice.
‘His Latest Flame’ ends the cd and it is absolute collectors’ GOLD to hear the session in full for the first time. It’s extraordinary to hear the progress from the very basic Bo Diddley rhythm version to the final single. Take 2 and Take 3 are all rhythm with just Elvis’ vocal providing the melody and the piano only creeping in at points.
It appears that it was at this stage that they phoned composer Mort Shuman to ask for his advice as the arrangement then changes to the funkier single-sound. As Elvis’ says, "It’s a good song, I like it. If it takes 32 hours..."
On Take 4 the Hank Garland tic-tac bass drives the chorus along with Floyd Cramer’s piano. Take 5 ramps up the acoustic guitar - "Just don’t get it too fast" Elvis explains to D.J. Fontana who is not sure of the drum pattern.
Take 8 would be the sublime Master single version - but then Elvis still wanted something extra.
Takes 9-12 three similar false starts, with the band drifting off tune, followed by a final complete take that just doesn’t have the power of the earlier take was enough to know they already had the single cut.
Two candids from the booklet of Elvis in July 1961
CD3: The June 25, 1961 sessions – (continued) - 78 minutes.
The complete ‘Little Sister’ session is the sensational start to the third disc. Nothing can beat the, "We’ve got a classic in here" early takes as they progress towards the Master. The earlier takes "I can hardly hear you" are rough and ready with timings messed up and some sloppy lead guitar but it is so damn funky for the last recording of the evening and by now it was 5am with the sun soon coming up. As DJ jokes to Scotty Moore, “You slept all night?” with the Scotty Moore sounding reply, “I wish I had!”
With Takes 10 and 11 “It might have been a little bit slow there fellows” previously relegated to the FTD ‘Golden Records Vol. 3’ at last they are now all in their rightful place. Take 12 with Elvis putting his soul into the lyrics, “But you’ve been growing, and baby it’s been showin’ from your head down to your toes” along with the immaculate Ray Walker bass-line was what Elvis was searching for. Seventeen minutes of musical magic.
The rest of the CD features the ‘The October 15 1961 sessions (Part1)’
It’s impossible to detail every marvellous moment of these sessions in a simple review but it is worth pointing some other highlights - as well as the previously unreleased new material included in this set.
‘For The Millionth And The Last Time’ – Interesting that Elvis worked so hard to perfect this song that would then not be selected for the album. The arrangement changes as Elvis tried to get the right feeling. Take 2 is a gem with the wonderful moment towards the end when Elvis forgets the lyrics and hums the words instead, while the group still continues to the finale. There is a notable chuckle in his vocal and happy sigh at the end. This early take also does not feature the accordion arrangement of the master.
By Take 6 the accordion has been added, as well as the arrangement having the more obvious tango-rhythm rather than the smoothness of the earlier takes. Gordon Stoker had to play the accordion and just before Take 10 as Stoker expands his squeezebox Elvis jokes, “Damn Gordon, stop breathing so heavy!” Elvis then cuts the attempt with the classic, “Say, would you be so kind as to hold it!”
‘Good Luck Charm’ – a classic number 1 wrapped up in only two complete takes. With Elvis stating, "If we goof up, just keep going" the first attempt is 3 minutes of studio magic. Halfway through the lead guitar slips off melody and mid-song Elvis notes, "Somebody goofed!" - but they do keep going. Take 3 is interesting for being a little fast and missing that effortless cool-swing of the Master. It breaks down after 1 ½ minutes with a lovely "You’ll be sorry" from bass singer Ray Walker.
‘Anything That’s Part Of You’ was another Don Roberston composition and one of Elvis’ saddest ballads. The first attempt features a strummed acoustic guitar arrangement that is very different and was dropped by the second take. For once the arrangement got less complicated as they headed for the Master, with the final blueprint basically set on Take 2. Bob Moore’s double-bass work sounds sensational here along with Floyd Cramer’s piano. Further takes are only messed up by chair squeaks or slightly missed timing by the band, but this certainly proves, once again, how Elvis strived for perfection
‘I Met Her Today’ yet another by Don Roberston was more of a vocal challenge with Elvis having to slide octaves, “when the last bit of pride..” Take 1 has a cool-swing compared to the final release with Elvis clicking his fingers to keep the beat.
Previously unreleased Take 2 shows how the arrangement has already changed while unreleased false starts Takes 5 - “Here we go, here we go!” - 10, 11, 15 and 17 only help demonstrate the difficulty Elvis was having.
CD4: The October 15 1961 Part 2 / March 18 1962 sessions - 78 minutes
The final ten attempts at ‘I Met Her Today’ brilliantly start with Take 8 and Bill Porter asking, “Let’s clear our throats and try again!”
For some reason on previously unreleased Take 15 they decided to change to lower key.. “We don’t seem to get into this key too well, any of us” notes Bill Porter.
With its nice brush-stokes, great double-bass-line and finger clicks Take 18 was the chosen Master but Elvis still wanted to continue.
The two later false-starts both with a simpler piano / bass intro, “I like that note” jokes Elvis, show that he still wasn’t satisfied even after twenty attempts, but it was time to up the tempo.
‘Night Rider’ Once again it was 4am and everyone was tired running down a quick three attempts working on a Phil Spector produced demo. Rocking along with a Boots Randolph sax line this sounded more like a “SFE” contribution. All over in three takes - and 7 minutes - Elvis would try for something better six months later at the Album session.
The March 18 1962 Session.
This really was the “Pot Luck” album session, with the still needed seven album tracks completed plus a new single. Extra guitarists Harold Bradley and Grady Martin were added to take the place of the great Hank Garland.
‘Something Blue’ is a delight with Take 1 including the “Here comes the bride” intro. Really a rehearsal the Jordanaires and band go marvellously off key mid-song but Elvis still continues. Harold Bradley places neat lead guitar. By Take 2 the final arrangement was in place. “The time is cut” jokes Elvis when Take 5 doesn’t get past the intro. The final arrangement was absolutely exquisite with delicious Floyd Cramer piano and, for a change, a very subdued Boots Randolph saxophone. Here we get a short previously unreleased practice including Millie Kirkham saying, “Right there I got a little flat. I couldn’t get up there” before the Master.
‘Gonna Get Back Home Somehow’ is a great Pomus/ Shuman rocker. Take 1 is fabulously rough and driven by Bob Moore’s bass. Take 4 is an “Alternate Master” as shown on the tape box (above) with Take 7 crossed out. On penultimate Take 6 Elvis says “Hot Diggity! Watch me Bob!” Elvis as they all roar into a brilliant outtake that features more unbelievable tight drumming from Buddy Harman.
‘(Such An) Easy Question’ starting with Elvis joking, “At an altitude of 42 hundred feet. Now if I can just get this big son-of-a-beach off the ground we gonna’ take off” this song shows the delightfully relaxed atmosphere of the session. Changing tempos “It needs to be a little faster, it’s too slow” the song, with tic-tac bass and duelling guitars plus Elvis finger clicks, has a great swing. Previously unreleased false start Take 4 stops at the intro.
The latino sounding ‘Fountain Of Love’ with it’s cool spanish-guitar playing from Grady Martin includes previously unreleased Takes 3, 5, 6, 7, 8. Take 3 is two false starts with Elvis explaining the timing to the Jordanaires, “Hold it. It’s got the guitar break fellows”. Take 5 has Elvis saying, “I like that intro” as well as Bill Porter telling Boots Randolph that he can play the Claves harder. Again these new insights all help explain how these studio sessions were produced and it wasn't all plain-sailing.
By the final four takes and the released Master (all on CD5) the earlier solo Spanish guitar picking is mixed in with the dual acoustic guitar strumming mix of the final arrangement plus sweet Jordanaires vocals.
CD5: The March 18 1962 Session (continues) – 78 minutes.
‘Just For Ol’ Times Sake’ Even this simple ballad changes arrangement over the five takes. Take 1 has a sweet acoustic guitar feel whereas the Master drops it for the rather bland piano lead. Here we get an extra false start on Take 2 plus some studio discussion before Take 4.
‘Night Rider’ (remake) The rocking blues jam before and after Take 1 is a revelation and makes you want to hear more of the A-Team having fun rather than laying down routine album tracks. Elvis wanted to try for a better version but unusually the band still don’t gell together. “Somebody blew a cork” notes Elvis and it still sounds more like a soundtrack-faux-rocker. Previously unreleased Take 4 False start, “sorry, I didn’t know you were going!” says Elvis, is fun. Take 5 was the never used ‘Alternate Master’
‘You’ll Be Gone’ It is fascinating to hear the complete session of the one song that Elvis truly helped to compose. The EPE release ‘Elvis By The Presleys’ explained.. "When Priscilla came to visit Elvis in the U.S. in the spring of 1962, Elvis proudly played her the new recordings he had just made in Nashville. One of these was ‘You'll Be Gone’, a song that he had written himself with his good friends Red West and Charlie Hodge. To his deep frustration, Priscilla remarked that she liked his rock 'n' roll recordings better. Elvis had a fit, Priscilla was devastated, and Elvis never tried to write a song again."
With the fabulous Spanish atmosphere, similar “Surender” latino-passion, and excellent guitar picking from Harold Bradley, how could Priscilla not appreciate this track? At the end of Take 2 there is a nice snort from Elvis as if he knows it wasn’t quite right. The double-bass sounds fabulous here and the most interesting version is actually the one post the Master. Beforehand Elvis notes, “Hold it just one second” as if to prepare himself. After the false start Elvis sings, “Down Mexico way, that’s where I fell in love” and then follows the tremendous final Take 4 where everyone sounds in full-flight. This surely should have been on Pot Luck - or at least a 1962 single B-Side.
‘I Feel That I’ve Known You Forever’ kicked off the final day of the session with Floyd Cramer playing the cools slip-note piano lead. The challenge is matching The Jordanaires harmonies and Elvis explains before the final Take, “You guys, at the ending you know, you gotta’ to push me”
‘Just Tell Her Jim Said Hello’ with its cool, smooth swing this sure had “Single” potential written all over it. Take 1 is a dream being in a slower tempo and without that damn annoying triangle that dominates the final release. By Take 3 the triangle had started to overshadow the arrangement but, with Elvis still having such a cool time sliding up and down the octaves with ease, it is still a joy. At the end of Take 4 in the fade out Elvis sings “Just tell her Red says hello!” The previously unreleased post Take 4 Rehearsal with added vamping organ is a revelation. Did Elvis really think this was a good idea? Elvis however kills the idea noting a dismissive “Ok” as the experiment ends. On the following take the annoying triangle is back and the Master is cut.
Two brilliant tracks end the session.
‘Suspicion’ Another potential single smash. (A 1964 Billboard #3 by Elvis sound-a-like Terry Stafford!). The arrangements again change as the recording progresses from electric guitar driven Take 1 to the final acoustic guitar version. Here we get the full version of Take 4, the end of which was used for the spliced Master.
‘She’s Not You’ another classic single, Number 1 in the UK. Take 1 already has that dreamy cool feel although misses a repeated chorus and only runs a little over 90 seconds. Hearing Elvis saying, "If Lamar can get his big ass and sit down, then we can make it" before Take 2 is worth the price of admission alone with everyone bursting into laughter as Lamar adds, “I didn’t know you was trying to cut right now, wait a second!”. In good humour, and not angry with his buddy Elvis notes, “Lamar, just cool it.”
With total ease Take 3 was the Master.
For some reason Elvis thought the final line wasn’t strong enough – thinking a delayed Ray walker bass-slide might help - and the end of this set includes the full “work part” section where Elvis tries to improve on the ending. Elvis even instructs, “Hey Ray, a little more Oooh, ya’ know”. It was never used, sometimes less is more!
By the time I got to the end of this glorious Pot Luck set I realised that it was six and a half hours since I first played the Masters on CD1, so felt it was time to play them all over again. It’s that good!
Overall Verdict: What a brilliant “complete sessions” set. Elvis’ last great blast of musical creativity before the fluffy movie soundtracks took over. Unlike the recent FTD ‘His Hand In Mine Sessions’ this set features plenty of previously unreleased material and all the little bits of new studio discussion also help collectors understand even more of how Elvis worked in the studio. Including the full ‘His Latest Flame / Little Sister’ session of course elevates this release way above the previous Pot Luck FTD Classic Album release. With a crack team of musicians, Elvis showing off his glorious vocal range, a brilliant set of songs plus a delightful 28-page booklet, this is one of the best sets that FTD have ever released. Essential for any Elvis sessions collector.
Review by Piers Beagley.
-Copyright EIN March 2022
EIN Website content © Copyright the Elvis Information Network.
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Note the review images are low-res personal scans and are far worse quality than the stunning images in the FTD release.
|'The Pot Luck Sessions' - Special 5-CD Deluxe release.
FTD December 2021 release #506020-975160
Album produced and art directed by Ernst Mikael Jørgensen & Roger Semon.
Mastered and Mixed by Sebastian Jeansson and Vic Anesini.
AUGUST 1961 SINGLE
1 (Marie’s The Name) His Latest Flame
2 Little Sister
FEBRUARY 1962 SINGLE
3 Good Luck Charm
4 Anything That’s Part Of You
June 1962 Album Masters
5 Kiss Me Quick
6 Just For Old Time Sake
7 Gonna Get Back Home Somehow
8 (Such An) Easy Question
9 I’m Yours
10 Something Blue
12 I Feel That I’ve Known You Forever
13 Night Rider
14 Fountain Of Love
15 That’s Someone You Never Forget
JULY 1962 SINGLE
16 She’s Not You
17 Just Tell Her Jim Said Hello
BONUS TRACKS RELEASED 1965
18 You’ll Be Gone
19 For The Millionth And The Last Time
20 I Met Her Today
THE JUNE 25th 1961 SESSIONS
21 Kiss Me Quick (take 1)
22 Kiss Me Quick (take 2)
23 Kiss Me Quick (take 3)
24 Kiss Me Quick (take 4)
25 Kiss Me Quick (takes 5-6)
26 Kiss Me Quick (take 7)
27 Kiss Me Quick (takes 8-9)
THE JUNE 25,1961 SESSIONS (Continued)
1 Kiss Me Quick (take 10)
2 Kiss Me Quick (take 11)
3 Kiss Me Quick (take 12/M)
4 That’s Someone You Never Forget (take 1)
5 That’s Someone You Never Forget (takes 2-5)
6 That’s Someone You Never Forget (takes 6-7)
7 That’s Someone You Never Forget (take 8/M)
8 I’m Yours (take 1)
9 I’m Yours (take 2)
10 I’m Yours (takes 3-4)
11 I’m Yours (take 5)
12 I’m Yours (take 6)
13 I’m Yours (workpart takes 1-2)
14 I’m Yours (splice of take 6 & workpart take 2 [undubbed master])
15 I’m Yours (harmony vocal overdub take 1)
16 I’m Yours (harmony vocal overdub takes 2-3)
17 I’m Yours (harmony vocal overdub take 4)
18 I’m Yours (harmony vocal overdub take 5)
19 I’m Yours (harmony vocal overdub take 6)
20 (Marie’s The Name) His Latest Flame (take 1 + try out)
21 (Marie’s The Name) His Latest Flame (take 2)
22 (Marie’s The Name) His Latest Flame (take 3)
23 (Marie’s The Name) His Latest Flame (take 4)
24 (Marie’s The Name) His Latest Flame (takes 5-6)
25 (Marie’s The Name) His Latest Flame (takes 7-8/M)
26 (Marie’s The Name) His Latest Flame (takes 9-12)
THE JUNE 25th 1961 SESSIONS (Continued)
1 Little Sister (takes 1-3)
2 Little Sister (takes 4-6)
3 Little Sister (takes 7-9)
4 Little Sister (take 10)
5 Little Sister (take 11)
6 Little Sister (take 12/M)
THE OCTOBER 15th 1961 SESSIONS
7 For The Millionth And The Last Time (take 1)
8 For The Millionth And The Last Time (take 2)
9 For The Millionth And The Last Time (takes 3-4)
10 For The Millionth And The Last Time (take 5)
11 For The Millionth And The Last Time (take 6)
12 For The Millionth And The Last Time (take 7)
|13 For The Millionth And The Last Time (take 8 )
14 For The Millionth And The Last Time (takes 9-11)
15 For The Millionth And The Last Time (take 12/M)
16 Good Luck Charm (take 1)
17 Good Luck Charm (takes 2-3)
18 Good Luck Charm (take 4/M)
19 Anything That’s Part Of You (take 1)
20 Anything That’s Part Of You (take 2)
21 Anything That’s Part Of You (take 3)
22 Anything That’s Part Of You (takes 4-5)
23 Anything That’s Part Of You (takes 6-8)
24 Anything That’s Part Of You (take 9)
25 Anything That’s Part Of You (take 10/M)
26 I Met Her Today (take 1)
27 I Met Her Today (takes 2-4)
28 I Met Her Today (takes 5-6) 29 I Met Her Today (take 7)
THE OCTOBER 15th1961 SESSIONS (Continued)
1 I Met Her Today (takes 8-9)
2 I Met Her Today (takes 10-13)
3 I Met Her Today (take 14)
4 I Met Her Today (takes 15-16)
5 I Met Her Today (takes 17-18/M)
6 I Met Her Today (takes 19-20)
7 Night Rider (take 1)
8 Night Rider (take 2)
9 Night Rider (take 3/M)
THE MARCH 18th1962 SESSIONS
10 Something Blue (take 1)
11 Something Blue (take 2)
12 Something Blue (takes 3-4)
13 Something Blue (takes 5-6)
14 Something Blue (take 7/M)
15 Gonna Get Back Home Somehow (take 1)
16 Gonna Get Back Home Somehow (take 2)
17 Gonna Get Back Home Somehow (takes 3-4/alternate master)
18 Gonna Get Back Home Somehow (take 5)
19 Gonna Get Back Home Somehow (take 6)
20 Gonna Get Back Home Somehow (take 7/M)
21 (Such An) Easy Question (takes 1-2)
22 (Such An) Easy Question (take 3)
23 (Such An) Easy Question (takes 4-5/M)
24 Fountain Of Love (takes 1-2)
25 Fountain Of Love (takes 3-6)
THE MARCH 18th 1962 SESSIONS (Continued)
1 Fountain Of Love (takes 7-9)
2 Fountain Of Love (take 10/M)
3 Just For Old Time Sake (take 1)
4 Just For Old Time Sake (takes 2-4)
5 Just For Old Time Sake (take 5/M)
6 Night Rider (takes 1-3)
7 Night Rider (takes 4-5)
8 You’ll Be Gone (take 1)
9 You’ll Be Gone (take 2)
10 You’ll Be Gone (take 3/M)
11 You’ll Be Gone (take 4/alternate master)
THE MARCH 19th 1962 SESSIONS
12 I Feel That I’ve Known You Forever (take 1)
13 I Feel That I’ve Known You Forever (take 2)
14 I Feel That I’ve Known You Forever (take 3)
15 I Feel That I’ve Known You Forever (takes 4-5/M)
16 Just Tell Her Jim Said Hello (take 1)
17 Just Tell Her Jim Said Hello (take 2)
18 Just Tell Her Jim Said Hello (take 3)
19 Just Tell Her Jim Said Hello (take 4)
20 Just Tell Her Jim Said Hello (rehearsal & take 5)
21 Just Tell Her Jim Said Hello (take 6/M)
22 Suspicion (take 1)
23 Suspicion (take 2)
24 Suspicion (takes 3-4)
25 Suspicion (take 5/M)
26 She’s Not You (take 1)
27 She’s Not You (take 2)
28 She’s Not You (take 3/M)
29 She’s Not You (work parts takes 1-4)
'The Something For Everybody Sessions' Deluxe FTD Review: Released Released back in November 202, 'The Something For Everybody Sessions' (ft 'The Wild In The Country Sessions') was another in FTD’s “complete sessions” releases. An 8 inch deluxe 4-CD package featuring a 28-page booklet with an insightful essay, record and movie data, memorabilia and rare photos. It includes remixed and remastered unreleased studio outtakes - all the RCA session takes from Elvis' RCA November 7 / 8, 1960 and March 12 / 13, 1961 recording sessions.
On close investigation we discover various Elvis comments that had been previously edited out such as, “I’m gonna’ get this son-of-a-bitch” on ‘Give Me The Right’ - while the frustration of the repetitive 'Wild In The Country Sessions' also becomes obvious.
But it there really enough previously unreleased material to makes this session worth purchasing all over again?
Go here as EIN's Piers Beagley checks out this new Deluxe set and discovers some hidden delights for session collectors....
(FTD Reviews, Source;ElvisInformationNetwork)