''Ramblin' Rose'' itself was paired with Jerry Lee Lewis's resurrection of an early Sun hit, the Junior Parker number ''Feelin' Good'', this being the main focus of attention at Lewis's first recording date in 1962, on January 4, back at 639 Madison Avenue. In its new guise ''I've Been Twistin''' set a conundrum which has, in the past, led some to think that there are as many as four alternate takes of Lewis's reading of the song to experience, three having been defined in the 1983 list. The ''slate'' numbers called by Sam Phillips indicate that there were, indeed, at least four recordings but the reality is that only two takes survive, together with the issued master, the latter being an amalgam of parts of the raw performances. The original release display just how adapt Sam was at exploiting the potential of magnetic tape to frame the results he wanted.
The editing action takes place about two minutes and fifteen seconds into each take; fortuitously both maintain much the same pace throughout so this is the point at which to listen closely and compare the two originals and the ''third version'' represented by the finished product on the issued master. (*)
Notice that at the operative moment (2:15) on take 1, at the point that Jerry Lee sings ''I said'' immediately before he launches into the prolonged ''whoa-hooah'' (...choose your own phonetics), a guitar note is heard. That same note can also be detected on the Sun 374 master. Up to tis point, there are numerous references in the spoken/sung words both to distinguish take 1 from take 2 and to align the master squarely with take 1. As take 1 develops beyond 2:15, the guitar is silent throughout Jerry Lee's extended wail. However, on the issued master, during the course of ''whoa-hooah'', you will hear another guitar note struck at 2:18. Staying with the master, we then hear an additional exclamation at the end of the wail, ''well I'' before Jerry Lee sings ''feel so good''. Go back to take 1; he comes out of the wail straight into ''feel so good''; there's no ''well I'' receding the familiar refrain ''feel so good''. Now, check take 2; there's no note audible behind Jerry Lee singing ''I said'' prior to ''whoa-hooah'' but, as the wail develops, there's the guitar again. So, just as soon as Jerry Lee utters ''I said'' we find the evidence of where the tapes have been snipped to move seamlessly from take 1 to take 2. (*)
The twist craze was, of course, at its height, Jerry Lee used the opportunity to -re-record ''Whole Lot Of Shakin' Going On'' in the latest popular idiom. One can't help feeling that this might have had more chance of success than the revival of Junior Parker's shuffling blues number had Sam Phillips had the nerve to release it. Listeners may be wondering why only one take of ''Whole Lotta Twistin' Goin' On'' is to be found, given that previously published discographies have indicated that there were two distinct recordings. The notionally shorter version was the first outing for the song when it materialised on a Charly LP in 1954. The fact is that this so-called ''take 1'', which will not be found in this collection, was simply an edit of the longer, full recording, with a passage of some 27 seconds, commencing at 2:27, having been excised. This piece of engineering lends weight to the idea that consideration may well have been given to issuing the recording back in 1962, although even after the removal of some of the more risqué commentary there was still potentially sufficient innuendo remaining to provoke offence. It's an intriguing ''might have been'' which serves as a further reminder that Sam was very capable of adding a ''twist'' pf his own to the proceedings. (*)
Elmo Lewis, the father of Jerry Lee Lewis, was a carpenter and a member of the Church of God, and lived on his son's ranch on Malone Road in Nesbit, Mississippi, where he raised cattle.
Elmo Lewis, was born in Ferriday, Concordia Parish, Louisiana on January 8, 1902, mortgaged his home when his son was a child to buy him his first piano. He moved to Memphis in the late 1950s after Jerry Lee became an international recording artist with the release in 1956 of his first Sun hit, " A Whole Lot of Shaking Going On".
The elder Lewis was fond of singing and entertaining and frequently attended the annual Country Music Association and Disk Jockey Convention in Nashville with his son.
Elmo Lewis, died at the age of 77 on July 21, 1979 at Doctors Hospital. He had been hospitalized since June 11, suffering from cancer. Elmo is buried in Calhoun Cemetery near Clayton, Louisiana.
Jerry Lee's wrestling with one of the relatively small number of songs recorded during the post 706 Union era to endure in multiple takes, here, at least, there is no cause to bemoan the implications of the high slate numbers uttered by Sam ahead of so many songs that remain only as ''one-offs'', ''Sweet Little Sixteen'', having been the subject of an isolated run-through at a June 1961 session, was revisited with the intention of producing a master for single release. Three of the four takes recorded on this occasion are distinguished by an introduction involving the bass player's rapid fire plucking of a single note which, together with the fact that the piano is at times almost inaudible in a mix dominated by the organ, reduces the force of Lewis's personality. In the end the third of these alternates was chosen for release on Sun 379. (*)
Experimentally, for one take, they upped the tempo and gave Lewis himself greater licence on a more vivacious recording that was destined to remain unheard until Shelby Singleton saw fit to publish it on an LP in 1969. At the time of that unveiling, accidental or otherwise, given that this take was also presented in lieu of the authentic Sun 379 recording on a contemporaneous 45rpm single, many thought that Sam Phillips had missed a trick and that this was Lewis's best reading of the Chuck Berry song. He also had another stab at Fats Domino's ''Hello Josephine'', though with an earlier version dating from a June 1961 session having already been released on the LP ''Jerry Lee's Greatest'' it's difficult to imagine there was any serious intent to do very much with the song. It was no doubt a casual, spur of the moment, decision to record it again. (*)
Jerry Lee trying something of the pop-country number ''Set My Mind At Ease'', of which three takes remain. It need be explained that the quality of the third, hitherto unreleased, has been compromised very slightly by a tape crease at around the 52 seconds mark. Not for the first time the casual insertion of the word ''honey'', here prefacing the fourth line of the song, gives an early pointer to the individual status of the take in question. (*)
Robert Gene "Red" West, born 1936 in Memphis, Tennessee to Lois and Newton Thomas West. West is an American actor, film stuntman and songwriter. He was a close high school friend of rock and roll singer Elvis Presley. He is probably best known to American film audiences for his role as Red in Road House, alongside Patrick Swayze.
An excellent athlete and former U.S. Marine, West played football for his high school and junior college (Jones County Junior College) teams and was a boxer in the Golden Gloves championships. Red West contributed to several songs written for Elvis Presley in 1961 and 1962. He received help from Elvis Presley in writing two songs in the early 1960s, which were collaborations, "You'll Be Gone" and "That's Someone You Never Forget''. "You'll Be Gone" was also co-written with Charlie Hodge, and appeared on the ''Girl Happy'' soundtrack album and as a 45 single in 1965. The single reached number 35 on the Canadian singles chart in 1965. "That's Someone You Never Forget" was the final track on the 1962 album ''Pot Luck'' and was released as a 45 B side single in 1967 and was featured on the Artist of the Century compilation.
Red West also wrote ''Set My Mind At Easy'' for Jerry Lee Lewis and co-wrote "If You Think I Don't Need You" with Joey Cooper for the motion picture ''Viva Las Vegas''. He teamed up with Joey Cooper again on "I'm A Fool", which Ricky Nelson recorded. "I'm A Fool" later became a hit for Dino, Desi and Billy, the partnership of Dean-Paul "Dino" Martin, Desi Arnaz Jr., and William "Billy" Hinsche. Red West also cowrote the song "Separate Ways" for Elvis in 1972. The song was the title of an Elvis album released on RCA's budget album line, Camden, in January 1973. The song "Separate Ways" was the B side release of the single "You Were Always On My Mind" in November 1972. The single reached number 20 on Billboard's Hot 100. It reached number 16 on the Country Music Billboard chart. Again, largely due to the success of "Always On My Mind".
When Presley was making films in the 1960s in Hollywood, Red West appeared in small roles in sixteen of the star's films. During this time, West became good friends with actor Nick Adams and his physical abilities got him hired on as a stuntman on Adams' television series, ''The Rebel''. From there, West went on to do more stunt work in film as well as developing a career as an actor in a number of motion pictures and on television. He was often on screen as a henchman in the television series ''The Wild Wild West''. West played master sergeant Andy Micklin on ''Baa Baa Black Sheep''. He guest starred twice on the CBS hit detective series ''Magnum, P.I.'' as different characters, as four different ones on ''The A-Team'', the Knight Rider pilot episode "Knight Of The Phoenix", on ''The Fall Guy'' and in ''The Once And Future King'' (The Twilight Zone). In 1989 West appeared in the action film ''Road House'' with Patrick Swayze as Red Webster, the auto parts store owner. West continued to work in motion pictures as of early February 2013. His most recent role was in the 2013 film ''Safe Haven''.
In 1976, Red West was involved in a series of heavy-handed incidents in Las Vegas with aggressive fans that got out of hand, drawing criticism by the media. More than that, West was becoming more vocal about Presley's drug problem and how he needed help. As a result, Red West, his cousin Sonny, and a third bodyguard named David Hebler was fired by Elvis Presley and subsequently helped write the book Elvis: What Happened, which was published weeks before Presley's death. The book, according to West in the book, was an attempt to help Presley, but believed by some to be an attempt to retaliate and earn an income after being fired.
On this session, Jerry Lee Lewis turned again to the work of his childhood idol, Jimmie Rodgers. In the early 1970s, three distinct masters of ''Waiting For A Train'' would find their way onto Sun International 45rpm discs, including two variants dating from June 5 (Take 2) and September 11, 1962 on successive pressings of the original single SI 1119, first issued in October 1970, and a third (Take 1) on a ''Golden Treasure'' re-issue, Sun GT 69, a couple of years later. The lattermost was assumed to have been previously unreleased when pressed onto a UK Charly LP in 1979 but the truth is that it had already been playable on jukeboxes in the southern States for some years. (*)
During Presley's late 1960s and 1970s live performances, the song was performed as the show's finale. Most notably, it was also sung in the live segment of his 1968 NBC television special, and as the closer for his 1973 Global telecast, ''Aloha From Hawaii''. A version with a faster arrangement was used as the closing for Presley's final TV special, ''Elvis In Concert''.
© - 706 UNION AVENUE SESSIONS - ©
A third, little heard take of ''How's My Ex Treating You'', the song chosen to partner ''Sweet Little Sixteen'' on Sun 379, is immediately distinguishable from the similar sounding take first released in 1989 by the slower pace and the way in which Jerry Lee repeats the opening phrase ''How's my ex...'' in full rather than truncated simply to ''..my ex...'' in the first verse. Both of these takes were disregarded at the time of recording and left in the shadow of the favoured cut which, uniquely in respect of the song, features a bass guitar introduction. (*)
The Los Engeles County Coroners Office was assisted in their investigation by experts from the Los Angeles Suicide Prevention Team. It was estimated that Monroe had died between 8:30 and 10:30 p.m., and the toxicological analysis concluded that the cause of death was acute barbiturate poisoning, as she had 8 mg of chloral hydrate and 4.5 mg of pentobarbital (Nembutal) in her blood, and a further 13 mg% of pentobarbital in her liver. Empty bottles containing these medicines were found next to her bed. The possibility of Monroe having accidentally overdosed was ruled out as the dosages found in her body were several times over the lethal limit. Her doctors and psychiatrists stated that she had been prone to "severe fears and frequent depressions" with "abrupt and unpredictable" mood changes, and had overdosed several times in the past, possibly intentionally. Due to these facts and the lack of any indication of foul play, her death was classified a probable suicide.
Monroe's unexpected death was front-page news in the United States and Europe. According to Lois Banner, "it's said that the suicide rate in Los Angeles doubled the month after she died; the circulation rate of most newspapers expanded that month", and the Chicago Tribune reported that they had received hundreds of phone calls from members of the public requesting information about her death. French artist Jean Cocteau commented that her death "should serve as a terrible lesson to all those, whose chief occupation consists of spying on and tormenting film stars", her former co-star Laurence Olivier deemed her "the complete victim of ballyhoo and sensation", and Bus Stop director Joshua Logan stated that she was "one of the most unappreciated people in the world". Her funeral, held at the Westwood Village Memorial Park Cemetary on August 8, was private and attended by only her closest associates. It was arranged by Joe DiMaggio and her business manager Inez Melson. Hundreds of spectators crowded the streets around the cemetery. Monroe was later interred at crypt number. 24 at the Corridor of Memories.
Several conspirasy theories about Monroe's death have been proposed in the decades afterwards, including murder and accidental overdose. The murder speculations first gained mainstream attention with the publication of Norman Mailor's ''Marilyn: A Biography'' in 1973, and in the following years became widespread enough for the Los Angeles County District Attorney John Van de Kamp to conduct a "threshold investigation" in 1982 to see whether a criminal investigation should be opened. No evidence of foul play was found. T he actress is remembered in Faith Hill's country hit ''The Secret Of Life'', Hank Williams Jr. ''Born To Boogie'' and Keith Urban's ''John Cougar, John Deere, John 3:16''.
''Sweet Little Sixteen'' still aroused enough interest in the market, particularly in the UK, the encourage a raid on the back catalogue of another of his rock and roll peers. On this September session in Nashville found him recording Little Richard's ''Good Golly Miss Molly'', of which several ''polished'' alternates were recorded. These are heralded by a blistering, previously unpublished, initial run through which is in turn followed by a truncated take that continues as an informal jam. During the course of these preambles those present, including producer Billy Sherrill, saxophonist Boots Randolph, and the chorus featuring Marijohn Wilkin and three members of The Jordanaires, all assess what is required of them. Despite the congruent sound of the subsequent complete takes, Lewis throws a vocal clue into the first verse of each to help tell them apart. In the first it is in stretching the first ''Good Molly'' to the equivalent of four syllables; in the third, the second line id prefaced with the words''I say'', whereas the issued cut, take 2, is bereft of either embellishment. (*)
The flip of the resulting single (Sun 382) was a modern sounding country-pop affair, ''I Can't Trust Me (In Your Arms Anymore)'' which was also destined to feature in Shelby Singleton's 1970s recycling programme in a drastically altered configuration beyond the scope of this work; one obvious downside of multi-tracking is the scope for subsequent misrepresentation and the loss of authenticity. In the song's original guise it persists in the form of three separate recordings, superficially similar but each marked by a variation in the penultimate line where Jerry Lee at first, inappropriately sings the words ''we get lonesome all the time'', then corrects himself in the second take with ''we get closer..''. The lattermost proved to be the take issued with ''Good Golly Miss Molly'' on Sun 382. (*)
It's worth noting that the second take of ''I Can't Trust Me (In Your Arms Anymore)'' was published in 1989 stripped of the vocal chorus, a fate which also befell a number of tapes from Jerry Lee's final Sun session, alongside the misleading suggestion that the issued masters concerned were the products of overdubbing. However, as the original session tapes reveal, all the components heard on these recordings were concomitant as a ''live'' studio exercise, the authentic form in which they are presented here. (*)
On the same occasion Jerry Lee Lewis recalled a few words of the refrain of an old southern song that harked back to the civil war era, ''My Pretty Quadroon'', and managed to stretch it out to a near three minute mid-tempo rock song; perhaps due to its overt ''political incorrectness'' it was destined to remain unheard until the release of a latter-day Sun LP in the Netherlands in January 1974, called ''Jerry Lee Lewis - Collectors Edition''.
Of more potential interest from a commercial point of view was the decision to reprise ''Waiting For A Train'' . Another five, possibly many more takes of the displaced hobo's tale of woe were recorded. None improved markedly upon the results of the earlier Memphis session, although the presence of the saxophone and vocal chorus in lieu of the organ heard formerly gave rise to a very singular ambience. Jerry Lee's familiarity with the song encouraged a casual approach to the lyrics which led to several clues becoming manifest to help tell the alternates apart, markedly in the second verse where, in reflecting on the address to the brakeman, he suggests variously that ''I had to make a line of talk''; or that it was ''just to make a line of talk''; or ''just to make a little line of talk''. At times the illustrious backing vocalists are rather more to the fore though the surest way to confirm distinctions across the piece is to focus on Lewis's concluding yodel on each performance. Jerry Lee's fondness for the song is apparent throughout although none of the recordings he left behind at Sun quite match up to the more mature sounding reading on a Smash album, the release of which predated the Sun International single by some nine months. (*)
U-2 flight discovers further missile bases in Northern Cuba.
U-2 flight reveals Soviet bombers and Migs numbers increasing.
As soundtrack album sales far outstripped his regular album sales (''Blue Hawaii'' outselling ''Pot Luck by Elvis'' by ten to one) Presley found himself firmly entrenched in songs designed for a light-entertainment formula of beautiful scenery and girls galore. With this discrepancy in sales, the formula of the soundtrack music became the focus.
Sixteen songs were recorded at the sessions in March, of which thirteen were used for the soundtrack album. Banished from the kingdom after running afoul of the Colonel, songs from favored writers Jerry Leiber and Mike Stoller could only be those already written for someone else, in this case the title track being a hit for The Coasters in 1961 before being adapted for the Presley film. This song and two others, "Return To Sender'' and "Because Of Love," appear on the 1995 soundtrack compilation Command Performances; The Essential 60s Masters II''.
The tracks "Return to Sender" and "Where Do You Come From" were issued as the both sides of a single in October 1962, one month before the release of the soundtrack LP. "Return to Sender" became a substantial hit for Presley, peaking at number 2 on the Billboard Hot 100, while the b-side "Where Do You Come From" peaked at only number 99 independently of the hit side.
The Presley fan-club label Follow That Dream released an expanded version of the album in 2007, including alternate takes and songs recorded but not used for the soundtrack. The outtake "Plantation Rock" saw a performance by actor Rob Schneider on Late Night with Conan O'Brien in 1996. The songs performed by Stella Stevens in the film, "Never Let Me Go", "The Nearness Of You'' and "Baby, Baby, Baby" — were in fact mimed to the singing voice of Gilda Maiken and have yet to be commercially released.
Although no formal announcement was ever made by the United States following the Soviet dismantling of Missiles in Cuba the United States did Withdraw all nuclear missiles from Turkey by April 24th 1963 and because the Soviet Union and the United States came the closest in history to all out war a direct communications hot line was established between Moscow and Washington, D.C.