Title:
Fame and Fortune
Label:
FTD [FTD 016] [74321 92856 2]
Format:
CD
Number of tracks:
27
Running time:
73:00
Type of album:
Recording session
Linked to:
FTD discography
Year:
2002
Recording date:
March 20, 1960 - March 13, 1961
Release date:
April 4, 2002
Singles:
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Fame and Fortune is the sixteenth release by FTD. It continues the label's compilation festival, this time featuring recordings made at RCA Studio B in Nashville, Tennessee, between 1960 and 1961.
With Elvis needing to prove that two years in the army hadn't weakened him musically, the albums from the period, "Elvis is Back!" and "His Hand in Mine", most prominently, managed to get the message across.
As with "Silver Screen Stereo", the audio on the CD is the real must-have of the product, in addition, of course, to the very well-chosen tracks. But exactly as with the CD mentioned above, FTD's only flaw is not including a booklet, which makes sense given the other specific releases from the period that had large quantities of photos made available.
Below is a review of the material on the CD.
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- 1. Make Me Know it (Take 11) [March 20, 1960]: The first song from Elvis' first post-army release, 1960's "Elvis is Back!", kicks off the CD, and the false start lets us know that, once again, we're going to get a close-up look at the band at work.
- 2. Soldier Boy (Take 7) [March 20, 1960]: A charming and relaxed version. Starting with Floyd Cramer doing a run on the piano and Elvis, with obvious humor, saying: "Hey, I like that!". Elvis parece muito relaxado com a música nesta joia.
- 3. Stuck On You (Take 1) [March 21, 1960]: Another fun false start with a dynamic audio mix brings the A-side to the most successful single of 1960. Elvis' vocals are fabulously front and center, which makes this version really brilliant. This is in fact something Elvis complained about at the time, preferring to blend in with the band.
- 4. Fame and Fortune (Take 5) [March 21, 1960]: The B-side of the aforementioned single is an absolute highlight. Scotty hadn't yet thought of the familiar riffs with his guitar, but this version has a lighter feel than the final Master, even becoming sublime.
- 5. Like a Baby (Take 4) [April 3, 1960]: Back to "Elvis is Back!", a great blues with a fabulous audio mix. It's also a good reminder of how much Elvis outdid himself as time went on, as the next take would be the Master.
- 6. It's Now or Never (Takes 2 & 3) [April 3, 1960]: Another hit single in 1960 is a surprise that starts with a messy take 2, but with Elvis putting more emotion than in take 1 (present on the label's "Long Lonely Highway" CD). The percussion is mixed a little louder and gets very close to the Master's feel, but, just before the end, the band loses the tempo. A real treat!
- 7. Girl of My Best Friend (Take 3) [April 4, 1960]: Another gem of a find from the "Elvis is Back!" sessions, as it sounds so different from the Master we all know. Taken at a much slower tempo (the words don't fit), it really demonstrates how Elvis and the band created masterpieces from the original demos they started with.
- 8. Dirty, Dirty Feeling (Take 1) [April 4, 1960]: One of Leiber and Stoller's lesser classics, with the added bonus of some breakdowns and the band interacting, it's a great listen. Take 1 doesn't have the Master's instrumental break, but it does have the acoustic guitar louder in the mix. This is another song that has been released in terrible quality before, but here it sounds great.
- 9. Thrill of My Love (Take 1) [April 4, 1960]: A change of mood as Elvis goes into a Gospel groove is another treat. An excellent start with Elvis' voice beautifully clear in a version that could be considered better than the Master.
- 10. Such a Night (Take 1) [April 4, 1960]: This one is a surprise, as it feels so different from the malicious version that was always considered oddly weak. The band still seems unsure of where they're going with this, but here the mix is dynamic with the crystal-clear drums driving the song. It wasn't the Master, but it's a fabulous treat for everyone and demonstrates how much careful audio mixing can completely change the feel of a song.
- 11. Girl Next Door Went A-Walkin' (Takes 1, 2 & 3) [April 4, 1960]: A little song that Elvis recorded as a favor to Scotty. However, this is more of a highlight, as with the 3 attempts shown here, we get to see the band at work and they are having a blast! The sound of Elvis saying "hold it!" as the song falls apart is brilliant stuff.
- 12. Milky White Way (Takes 4 & 5) [October 30, 1960]: The session for "His Hand in Mine" begins with Millie Kirkham discussing how they should have the backing vocals take out 4 bars, but Elvis likes the rhythm."This is a good tempo", he says. If you listen to take 3, you can see how Elvis decided to speed up the tempo, adding a much better Gospel groove to the final melody.
- 13. His Hand in Mine (Takes 4 & 5) [October 30, 1960]: The Master was assembled from the same 2 takes, but the mix here is very different, shifting The Jordanaires to the right channel and creating a much more satisfying harmony of their voices with Elvis.
- 14. He Knows Just What I Need (Takes 6 & 7) [October 30, 1960]: The work of Elvis and his band is remarkable and very dynamic in these takes that show a pleasant progression.
- 15. Surrender (Take 2) [October 30, 1960]: This was the #1 single recorded at this session, but Elvis was having trouble getting the vocals right. Here you can hear the original ending where Elvis slips into the dynamic finale. Frustrated with his failure, The Jordanaires singer Ray Walker explained a new breathing technique to Elvis, who then proceeded to record the classic we all know.
- 16. In My Father's House (Take 7) [October 31, 1960]: A version of pure religious feeling.
- 17. Joshua Fit the Battle (Take 2) [October 31, 1960]: This song demonstrates how clear these mixes are, but because of that, they lost that fabulous spontaneity that made take 1 (present on the label's "Easter Special" CD) such a brilliant version.
- 18. I'm Gonna Walk Dem Golden Stairs (Take 5) [October 31, 1960]: The harmony between Elvis, the band and backing vocals is quite audible here. This is one of the takes that certainly explains how and why the album "His Hand in Mine" was a success.
- 19. Working On the Building (Take 1) [October 31, 1960]: 7 in the morning, after working all night, and we're listening to the group again on the creative edge. "Hey Bill, I've got the intro", announces Hank Garland before the take immediately disintegrates. "Hey, it sounded pretty good, we should have kept it up", jokes Elvis. This first take has this great spontaneous feel, Elvis claps throughout the song and lets The Jordanaires lead the choruses. Elvis coughs at the end, but that's another treat.
- 20. I'm Comin' Home (Take 4) [March 12, 1961]: The final tracks on this CD are from March 12 and 13, 1961, where Elvis recorded 12 songs in just one night, which generated the 1961 LP "Something For Everybody". The take is quite interesting, with the drums and guitar much more forward than on the Master.
- 21. Gently (Takes 1 & 2) [March 12, 1961]: These early versions are simply beautiful. Dennis Ferrante produced a very different mix of The Jordanaires, giving them greater separation which, along with the excellent audio quality, helps to showcase the wonderful blend of his vocals with Elvis'.
- 22. In Your Arms (Take 1) [March 12, 1961]: A delightful ballad, it brings the perfect mix between Elvis' voice and The Jordanaires' responses. The saxophone solo sounds clearer than ever.
- 23. It's a Sin (Take 2) [March 12, 1961]: With Floyd Cramer's more pronounced piano and Scotty Moore's melodious guitar, this is one of the most delicious takes of this song, which certainly should have earned at least Alternate Master status.
- 24. Starting Today (Take 2) [March 13, 1961]: A version not unlike the Master, it features Elvis gliding smoothly through the lyrics.
- 25. Sentimental Me (Take 1) [March 13, 1961]: Another great first time. The feel is much lighter than on the Master and the ending is achieved in a delightful way. This was almost a "one take" masterpiece.
- 26. Judy (Take 1) [March 13, 1961]: Finally, this gem gets a proper version. Hank Garland's acoustic guitar would dominate the final mix, but here Elvis wants to play. In a similar feel to the "Shoppin' Around" session, Elvis is playing his acoustic guitar masterfully. His technique is very rough and loud in the mix - giving it a nice unplugged feel.
- 27. Put the Blame On Me (Takes 1 & 2) [March 13, 1961]: The song that would play a major role in the 1965 film "Tickle Me" is heard here in its early attempts. Elvis is uncomfortable with the lyrics and can't quite hit some of the higher notes, but he has fun with what he can do. Take 2 finally comes out in an acceptable way, although Elvis would have said something quite different.
- 1. Make Me Know it (Take 11) [March 20, 1960]: The first song from Elvis' first post-army release, 1960's "Elvis is Back!", kicks off the CD, and the false start lets us know that, once again, we're going to get a close-up look at the band at work.
- 2. Soldier Boy (Take 7) [March 20, 1960]: A charming and relaxed version. Starting with Floyd Cramer doing a run on the piano and Elvis, with obvious humor, saying: "Hey, I like that!". Elvis parece muito relaxado com a música nesta joia.
- 3. Stuck On You (Take 1) [March 21, 1960]: Another fun false start with a dynamic audio mix brings the A-side to the most successful single of 1960. Elvis' vocals are fabulously front and center, which makes this version really brilliant. This is in fact something Elvis complained about at the time, preferring to blend in with the band.
- 4. Fame and Fortune (Take 5) [March 21, 1960]: The B-side of the aforementioned single is an absolute highlight. Scotty hadn't yet thought of the familiar riffs with his guitar, but this version has a lighter feel than the final Master, even becoming sublime.
- 5. Like a Baby (Take 4) [April 3, 1960]: Back to "Elvis is Back!", a great blues with a fabulous audio mix. It's also a good reminder of how much Elvis outdid himself as time went on, as the next take would be the Master.
- 6. It's Now or Never (Takes 2 & 3) [April 3, 1960]: Another hit single in 1960 is a surprise that starts with a messy take 2, but with Elvis putting more emotion than in take 1 (present on the label's "Long Lonely Highway" CD). The percussion is mixed a little louder and gets very close to the Master's feel, but, just before the end, the band loses the tempo. A real treat!
- 7. Girl of My Best Friend (Take 3) [April 4, 1960]: Another gem of a find from the "Elvis is Back!" sessions, as it sounds so different from the Master we all know. Taken at a much slower tempo (the words don't fit), it really demonstrates how Elvis and the band created masterpieces from the original demos they started with.
- 8. Dirty, Dirty Feeling (Take 1) [April 4, 1960]: One of Leiber and Stoller's lesser classics, with the added bonus of some breakdowns and the band interacting, it's a great listen. Take 1 doesn't have the Master's instrumental break, but it does have the acoustic guitar louder in the mix. This is another song that has been released in terrible quality before, but here it sounds great.
- 9. Thrill of My Love (Take 1) [April 4, 1960]: A change of mood as Elvis goes into a Gospel groove is another treat. An excellent start with Elvis' voice beautifully clear in a version that could be considered better than the Master.
- 10. Such a Night (Take 1) [April 4, 1960]: This one is a surprise, as it feels so different from the malicious version that was always considered oddly weak. The band still seems unsure of where they're going with this, but here the mix is dynamic with the crystal-clear drums driving the song. It wasn't the Master, but it's a fabulous treat for everyone and demonstrates how much careful audio mixing can completely change the feel of a song.
- 11. Girl Next Door Went A-Walkin' (Takes 1, 2 & 3) [April 4, 1960]: A little song that Elvis recorded as a favor to Scotty. However, this is more of a highlight, as with the 3 attempts shown here, we get to see the band at work and they are having a blast! The sound of Elvis saying "hold it!" as the song falls apart is brilliant stuff.
- 12. Milky White Way (Takes 4 & 5) [October 30, 1960]: The session for "His Hand in Mine" begins with Millie Kirkham discussing how they should have the backing vocals take out 4 bars, but Elvis likes the rhythm."This is a good tempo", he says. If you listen to take 3, you can see how Elvis decided to speed up the tempo, adding a much better Gospel groove to the final melody.
- 13. His Hand in Mine (Takes 4 & 5) [October 30, 1960]: The Master was assembled from the same 2 takes, but the mix here is very different, shifting The Jordanaires to the right channel and creating a much more satisfying harmony of their voices with Elvis.
- 14. He Knows Just What I Need (Takes 6 & 7) [October 30, 1960]: The work of Elvis and his band is remarkable and very dynamic in these takes that show a pleasant progression.
- 15. Surrender (Take 2) [October 30, 1960]: This was the #1 single recorded at this session, but Elvis was having trouble getting the vocals right. Here you can hear the original ending where Elvis slips into the dynamic finale. Frustrated with his failure, The Jordanaires singer Ray Walker explained a new breathing technique to Elvis, who then proceeded to record the classic we all know.
- 16. In My Father's House (Take 7) [October 31, 1960]: A version of pure religious feeling.
- 17. Joshua Fit the Battle (Take 2) [October 31, 1960]: This song demonstrates how clear these mixes are, but because of that, they lost that fabulous spontaneity that made take 1 (present on the label's "Easter Special" CD) such a brilliant version.
- 18. I'm Gonna Walk Dem Golden Stairs (Take 5) [October 31, 1960]: The harmony between Elvis, the band and backing vocals is quite audible here. This is one of the takes that certainly explains how and why the album "His Hand in Mine" was a success.
- 19. Working On the Building (Take 1) [October 31, 1960]: 7 in the morning, after working all night, and we're listening to the group again on the creative edge. "Hey Bill, I've got the intro", announces Hank Garland before the take immediately disintegrates. "Hey, it sounded pretty good, we should have kept it up", jokes Elvis. This first take has this great spontaneous feel, Elvis claps throughout the song and lets The Jordanaires lead the choruses. Elvis coughs at the end, but that's another treat.
- 20. I'm Comin' Home (Take 4) [March 12, 1961]: The final tracks on this CD are from March 12 and 13, 1961, where Elvis recorded 12 songs in just one night, which generated the 1961 LP "Something For Everybody". The take is quite interesting, with the drums and guitar much more forward than on the Master.
- 21. Gently (Takes 1 & 2) [March 12, 1961]: These early versions are simply beautiful. Dennis Ferrante produced a very different mix of The Jordanaires, giving them greater separation which, along with the excellent audio quality, helps to showcase the wonderful blend of his vocals with Elvis'.
- 22. In Your Arms (Take 1) [March 12, 1961]: A delightful ballad, it brings the perfect mix between Elvis' voice and The Jordanaires' responses. The saxophone solo sounds clearer than ever.
- 23. It's a Sin (Take 2) [March 12, 1961]: With Floyd Cramer's more pronounced piano and Scotty Moore's melodious guitar, this is one of the most delicious takes of this song, which certainly should have earned at least Alternate Master status.
- 24. Starting Today (Take 2) [March 13, 1961]: A version not unlike the Master, it features Elvis gliding smoothly through the lyrics.
- 25. Sentimental Me (Take 1) [March 13, 1961]: Another great first time. The feel is much lighter than on the Master and the ending is achieved in a delightful way. This was almost a "one take" masterpiece.
- 26. Judy (Take 1) [March 13, 1961]: Finally, this gem gets a proper version. Hank Garland's acoustic guitar would dominate the final mix, but here Elvis wants to play. In a similar feel to the "Shoppin' Around" session, Elvis is playing his acoustic guitar masterfully. His technique is very rough and loud in the mix - giving it a nice unplugged feel.
- 27. Put the Blame On Me (Takes 1 & 2) [March 13, 1961]: The song that would play a major role in the 1965 film "Tickle Me" is heard here in its early attempts. Elvis is uncomfortable with the lyrics and can't quite hit some of the higher notes, but he has fun with what he can do. Take 2 finally comes out in an acceptable way, although Elvis would have said something quite different.
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