Various Artists - The Hitmakers Sing Burt Bacharach (1971)

In 1956 Burt Bacharach and lyricist Hal David were both working in the Brill Building in New York City for Famous Music, which is where they published their first songs as co-writers. The songs published in 1956 included 'I Cry More' (featured in the motion picture 'Don't Knock The Rock'), 'The Morning Mail', and 'Peggy's In The Pantry', but their career breakthrough came when their song 'The Story Of My Life' was recorded by Marty Robbins, becoming a No. 1 hit on the Billboard Country Chart in 1957. Soon afterward, 'Magic Moments' was recorded by Perry Como for RCA Records, and reached No. 4 on the Most Played by Disc Jockeys chart, and these two songs were the beginning of a career in which they composed over 230 songs together for the pop market, motion pictures, television, and Broadway. In 1961 Bacharach discovered singer Dionne Warwick, who was working as a session backup singer at the time, and that year the two, along with Dionne's sister Dee Dee Warwick, released the single 'Move It On The Backbeat' under the name Burt and the Backbeats - the first time a record appeared under his name. Bacharach and David were both excited by Warwick's singing and decided to form a production company, Blue JAC Productions, so they could write for her and produce her recordings, and she signed with the new company, and the team subsequently secured a recording contract with Scepter Records for Warwick's recordings. Warwick made her solo recording debut in 1962 with 'Don't Make Me Over', which also became her first hit, and their partnership with Warwick became one of the most successful teams in popular music history. Bacharach released his first solo album in 1965 on the Kapp Records label, but 'Hit Maker!: Burt Bacharach Plays the Burt Bacharach Hits' was largely ignored in the U.S., although it rose to No. 3 on the UK album charts, where his version of 'Trains And Boats And Planes' had become a top five single. In 1967, he signed with A&M Records both as an artist and a producer, recording several solo albums, consisting of a mix of new material plus rearrangements of his best-known songs. In 1969 Bacharach released his second A&M album, 'Make It Easy On Yourself', which like its predecessor, featured outstanding song-writing. One of the highlights of the record was the great production between Bacharach and Phil Ramone, as well as the instrumental performances, and even songs that weren't immediately pleasing to the ear grew on the listener. 'I'll Never Fall In Love Again', 'Do You Know The Way To San Jose?' and the title track were all reclaimed and reworked for the record, and by the end of the year of it's release nearly all of the rest of the tracks had been picked up and recorded by other artists for their own records. So here are their takes on the songs from Bacharach's 'Make It Easy On Yourself' album, together with a few tracks from his 1971 eponymous release to make up the running time, and I've gone for less well-known versions of the biggest hits to give it a bit of variety.     

Track listing

01 Promises, Promises (Connie Francis 1968)  
02 I'll Never Fall In Love Again (Bobbie Gentry 1969)  
03 Knowing When To Leave (Kathy Kirby 1969)  
04 Any Day Now (Elvis Presley 1969)
05 Wanting Things (Dionne Warwick 1968)
06 Whoever You Are I Love You (Johnny Mathis 1969)
07 Make It Easy On Yourself (Long John Baldry 1966)
08 Do You Know The Way To San Jose (Rita Reys 1971)

09 Pacific Coast Highway (Jim Wilkas 2023)
10 This Guy's In Love With You (Georgie Fame 1969)
11 All Kinds Of People (The 5th Dimension 1971)
12 One Less Bell To Answer (Gladys Knight And The Pips 1971)

Elvis Presley - Memphis Revisited (1969)

In 1968, Elvis Presley's manager Colonel Tom Parker arranged a deal with NBC for a Christmas television special starring Presley in front of a live audience. Parker originally planned to have Presley sing Christmas carols only, but the producer, Steve Binder, convinced him to perform songs from his original repertoire, and the high ratings received by the special, plus the success of its attendant LP, re-established Presley's popularity with his fans. For the previous half-decade, Parker had decided that Presley should only record soundtrack albums, as he viewed films and their soundtracks as complementary, with each helping to promote the other. However, the commercial success of these had steadily diminished throughout the 60's, and following the success of the TV special, he was persuaded to leave the RCA studios and record a new, non-soundtrack album at a different location. During a January 1969 meeting at Graceland, Presley told his producer, Felton Jarvis, that he did not want to record his next album at RCA, and American Sound Studio in Memphis, which was at the peak of a hit-producing streak, was suggested as an alternative. RCA contacted the studio's producer Chips Moman, and he was so keen to work with Presley that he postponed a session with Neil Diamond in order to put aside ten days to record with him. He was to be backed by the studio's house band, the 827 Thomas Street Band (informally known as the Memphis Boys), which consisted of Reggie Young on guitar, Tommy Cogbill and Mike Leech on bass, Gene Chrisman on drums, Bobby Wood on piano, and Bobby Emmons on organ. 

Recording began on 13 January 1969, when Presley arrived at the studio nursing a cold, but he worked through the next two days before his cold worsened, and on 15 and 16 January the house band recorded backing tracks for subsequent sessions without him. Presley returned on 20 January, recording 'In The Ghetto' in 23 takes and finishing the vocal track for 'Gentle On My Mind', and on 22 January he recorded Eddy Arnold's 'I'll Hold You in My Heart (Till I Can Hold You in My Arms)' and the non-album single 'Suspicious Minds'. He then took a break from recording for a vacation trip to Aspen, Colorado to celebrate his daughter Lisa Marie's first birthday, and recording re-commenced on 17 February, completing about a dozen songs before the sessions ended on 22 February. Moman moved away from the usual Presley pop recordings aimed at an established audience, and he incorporated a Memphis sound integrating soul, country, gospel and rural and electric blues. Many arrangements lean heavily on the rhythm section, with lesser contributions from strings, brass and woodwinds, and arrangers Glenn Spreen and Mike Leech changed Presley's image on the tracks with the addition of violas, cellos and French horns. The single 'In the Ghetto' was released on 14 April 1969, with 300,000 copies shipped by RCA, and in its second week of release it entered the US charts, where it remained for thirteen weeks, eventually reaching number three, and it also reached number two on the British Singles chart. 

'From Elvis In Memphis' was released on 2 June 1969, topping the UK Albums Chart, and reaching number thirteen on Billboard's Top Albums. Although it received mixed reviews at the time, with The Los Angeles Times' Pete Johnson criticizing the music arrangements that he considered inconsistent with Presley's original Sun Records style, or the contemporary Memphis Sound produced by Stax Records, 'From Elvis In Memphis' has continued to receive praise in retrospective reviews. Following the release of the album, some of the songs which were left off the track listing were released as singles, with 'Don't Cry Daddy' reaching No. 6 on the Billboard Hot 100, and 'Kentucky Rain' becoming a moderate hit in 1970. That same year ten unused track from the 1969 sessions were issued under the title 'Back In Memphis', and while it pales in comparison to 'From Elvis In Memphis', it's still a fine collection of songs, with his rendition of Mort Shuman's 'You'll Think Of Me' being a soaring, passionate recording. Even after extracting these ten tracks from the studio leftovers, there were still a few completed tracks which were left behind, and so for this mopping up exercise I've taken all the non-albums singles which were recorded in Memphis, added an alternate take of 'Suspicious Minds', plus a couple of outtakes and b-sides, and in a controversial move I've included a version of the aborted vocal take of 'Poor Man's Gold' which has been completed using AI. It might rankle with the purists, but it is exceptionally well-done, and perfectly rounds off this one final Memphis album from The King. 

Track listing

01 Rubberneckin'
02 Mama Liked The Roses

03 I'll Be There

04 Kentucky Rain
05 Suspicious Minds
06 Don't Cry Daddy
07 Poor Man's Gold
08 My Little Friend

09 If I'm A Fool (For Loving You)
10 Medley: It's My Way/This Time/I Can't Stop Loving You
11 Who Am I?
12 Hey Jude

Elvis Presley - Duets (1969)

Someone recently posed an intriguing question, and that is 'Did Elvis Presley ever record a duet on any of his albums'? I can't say that I was surprised that the answer was no, as I certainly couldn't recall one, but it was pointed out that he did record quite a few duets in his films, and some of them then appeared on the subsequent soundtrack albums. I might be a bit cynical here, but could it be that Colonel Tom thought that if Elvis recorded a duet then he'd have to split the royalties? Whatever the reason, you won't find any duets on his official albums, and so I thought that I should gather up the best of them from the films so that we can hear him sharing the spotlight with a variety of male and female artists. Not every duet from a film is worth more than one hearing, so this isn't a comprehensive collection, but all of these songs are good enough that you won't need to skip any when listening to what turned out to be a very enjoyable album. Three of the best tracks are those with Ann-Margret (who also features on the cover) from 1964's 'Viva Las Vegas', and you can just feel the chemistry between them. His duet with Kitty White from 'King Creole' is the earliest track here, from 1958, and we go right through to his penultimate film in 1969, with 'The Trouble With Girls'. Ray Walker features a couple of times from 1966 and 1967, while the duet with Nancy Sinatra from 1968's 'Speedway' is excellent as well, even though she only appears at the end. So enjoy this album of the best of these rarely heard songs from Presley's 60's films. 

Track listing    

 
01 Crawfish (with Kitty White from 'King Creole' 1958)
02 Pocketful Of Rainbows (with Juliet Prowse from 'G.I. Blues' 1960)
03 Aloha Oe (with The Surfers from 'Blue Hawaii' 1961)
04 How Would You Like To Be (with Vicki Tiu from 'It Happened At The World's Fair' 1963)
05 Happy Ending (with Joan O'Brien from 'It Happened At The World’s Fair' 1963)
06 Mexico (with Larry Domasin from 'Fun In Acapulco' 1963)

07 You’re The Boss (with Ann-Margret from 'Viva Las Vegas' 1964)

08 Today Tomorrow And Forever (with Ann-Margret from 'Viva Las Vegas' 1964)
09 The Lady Loves Me (with Ann-Margret from 'Viva Las Vegas' 1964)
10 Spring Fever (with Shelley Fabares from 'Girl Happy' 1965)
11 Frankie And Johnny (with Eileen Wilson & Ray Walker from 'Frankie And Johnny' 1966)
12 Scratch My Back (with Marianne Hill from 'Paradise Hawaiian Style' 1966)
13 Who Needs Money (with Ray Walker from 'Clambake' 1967)
14 There Ain't Nothing Like A Song (with Nancy Sinatra from 'Speedway' 1968)
15 Signs Of The Zodiac (with Marilyn Mason from 'The Trouble With Girls' 1969)

Elvis Presley - I'm Leavin' (1971)

For this year's Record Store Day, a limited edition Elvis Presley album was released called 'I'm Leavin'', consisting of the best of his folk and country recordings from 1966 to 1973. It included masters from Elvis' session at RCA Victor's Studio B in Nashville from May 1971, where during the recording of some gospel and holiday songs, he taped a number of contemporary folk tunes. The session has attained legendary status over the years, and although some of the songs did eventually turn up, randomly scattered onto subsequent releases over the following few years, there are still some that are unheard. So while it's great to hear five of those songs on the Record Store Day release, I feel that they missed an opportunity there, as they could have released an album consisting of just the songs recorded in Nashville in 1971. As they didn't, then I'll have to, and so this it what the RSD album should have been, with all of the tracks taken from the May 1971 session. I've edited a couple of the tracks, but mostly these are just as they were recorded, and even though I'm not that much of an Elvis fan (heresy, I know, but I love the 1956 stuff and not much else) I do really like this album, and that has to be down to the superb selection of songs which were chosen to cover.

Track listing

01 I'm Leavin'
02 Early Morning Rain
03 I'm Still Here
04 Until It's Time For You To Go
05 Help Me Make It Through The Night
06 Don't Think Twice, It's All Right
07 The First Time Ever I Saw Your Face
08 It's Only Love
09 I'll Take You Home Again, Kathleen
10 Amazing Grace
11 (That's What You Get) For Lovin' Me
12 I Will Be True