Elvis – 1977

One of the better shows from Elvis’ final year is undoubtedly the April 24th performance in Ann Arbor Michigan. Elvis’ producer Felton Jarvis was recording selected performances on the RCA multi-tracks during this tour, with a view to completing the Moody Blue album, and an incomplete soundboard recording also exists, along with an audience recorded tape.

FECC forum member Elvis-Ali-Sellers came up with the idea of creating a matrix recording of this show, using all the available sources, with the audience tape adding a layer of ambiance and excitement to the inline soundboard source, and indeed, Felton’s own multi-track recordings.      

I’m no expert on editing audio, but it goes without saying that this was no easy task, and many hours of work were undertaken before the final matrix mix could be shared with the fan’s over on the FECC forum.

I was recently asked about some jewel case artwork previews, which I had posted on the forum when the audio was uploaded, although I never got around to posting the full size designs.

The recording has since been bootlegged, which isn’t really in the spirit of what was originally intended, so I decided to upload my designs for those that were able to download the audio via the FECC forum or share between fellow fans.

Photographs used are from the actual show, and the May 1, 1977 Chicago show, in which Elvis wore the same suit.
As the recordings of Little Darlin’ & Unchained Melody from the Ann Arbor show were included on Elvis’ final album, Moody Blue, I have also incorporated some of RCA’s 1977 promotional material, and record releases from various countries into the design:

Another great Elvis-Ali-Sellers project which was originally shared on the FECC forum were the pseudo remixes for Elvis’ final album Moody Blue. Again, I posted artwork previews when the audio was originally shared, but never made the jewel case designs available at the time.

Whilst the Moody Blue album artwork was one of the better 1970’s cover designs, the idea behind this one was to create a cover that didn’t use live performance shots, which was generally the case with Elvis’ 1970’s albums. The photographs I have used for front and back cover designs were taken at Graceland during the February 1976 recording sessions that produced the Moody Blue / She Thinks I Still Care single coupling, and shows what could have been possible if RCA and the colonel had been a bit more creative at the time.

I’d like to dedicate these designs to my friend James. All the best and I hope you are feeling better soon.


Beauty In The Sunrise

The best thing about the For Elvis CD Collectors Only message board is that it can inspire you to re-evaluate and re-discover key moments in Elvis’ career. This fits in with the overall concept of this blog, and the cover art that has been posted here in the past, whether designed for albums that might have been, should have been, or just for fun, was created with the same intentions.

Recently, fellow forum member ElvisAliSellers has gone beyond the concept of compiling ‘lost’ albums, and actually created brand new masters for these albums, using additional elements from out takes & overdub sessions. It goes without saying that the results have been excellent, and again, this has given a showcase to an often overlooked moment in Elvis’ career; the secular masters recorded in 1966, when the main focus was the gospel album, How Great Thou Art.

Given the hours of work it must have taken to achieve these excellent results, I decided to create my own thank you in the shape of cover art for the album (as usual there are multiple options for the front cover), along with a pdf booklet which includes ElvisAlisSellers’ notes on creating the tracks, and some background information or trivia from yours truly.

So here we have the ‘lost’ 1966 studio album, Elvis – Beauty In The Sunrise.

Beauty In The Sunrise – PDF booklet download: BIS pdf

Front Covers:

Back Cover:

Inner Sleeve:

Bonus insert – Elvis ’66:

Bonus Photos:

Disc Label:

From Elvis In Nashville – A 40th Anniversary Tribute

As Bob Dylan once sang, ‘time is a jet plane…it moves too fast’. It hard to believe that it’s now forty years since Elvis passed away, and it’s fair to say that everything changed on that fateful day of August 16th 1977.

For lifelong fans that had grown up with Elvis, and followed him through the rock ‘n’ roll years back in the ‘50’s, the Hollywood movie years, the glorious comeback at the end of the ’60’s, and the all conquering 1970’s concert years, it must have been impossible to believe that he was gone at just 42 years of age.

But as the impact of Elvis’ death began to sink in around the world, a new fan base was also emerging. Neil Young said it best, ’the king is gone…but he’s not forgotten’.

I was one of those new fans. At just 10 years old back in  1977, I could remember seeing G.I. Blues on T.V. one Saturday evening and being quite impressed by the young G.I. by the name of Specialist Tulsa McClean.

I had also heard Elvis’ music on the radio many times, and was very much aware of who he was, but I was yet to have that moment when you become a real fan. That happened in August 1977.

Watching Elvis’ life flash before me on the news reports around his passing that seemed to go on for weeks, I began to get hooked on all of the different eras of Elvis. I wanted to hear all the songs and see all the movies, which was a much more difficult task in those pre-internet days than it would be for any new fan today, but second hand record shops soon became the ideal place to spend my Saturday afternoons, with any spare money I had going towards seeking out another piece of the jigsaw puzzle.

For the next few years Birthday and Christmas presents were almost always Elvis records or books, as my parents expressed surprise that I was still going through my ‘Elvis phase’ and I
hadn’t moved on to something else.

As the years went by, I did start to listen to many other artists and musical genres, some of which were almost certainly influenced by the songs Elvis chose to cover, and some that I would call unrelated, although I think it is fair to say that all performers are influenced by Elvis in some way, be it directly or indirectly.

But I’m pleased to report that my ’Elvis phase’ is still going strong. Lifelong friendships have been formed because of it, and only last week I tracked down a near mint original U.K. pressing  of the G.I. Blues album, and the thrill of taking the record out of the sleeve, carefully placing the needle on it, and analysing the cover artwork whilst listening to the music is still as strong as ever.

Which is why at 50 years old, 40 years after Elvis passed away and I became a fan, I would like to present my own little tribute; From Elvis In Nashville .

Please download the PDF file below to view the new designs and read the full story:



It Feels So Right

A fun little compilation showcasing Elvis’ rock ‘n’ blues sides from 1960 – 1961, with inner sleeve and a card mount for the disc featuring “Reconsider Baby” single cover artwork:

Exodus – Full Size Designs


The earlier post referenced above took the form of a PDF that told the story of Elvis’ ‘lost’ ’71 album.
To accompany the article I designed 12″ vinyl album sleeves, along with CD artwork, and period style RCA flyers. The vinyl covers were designed full size, so I thought it would be cool to share the full size artwork:

Exodus -Elvis ’71: The Vinyl:

Exodus -Elvis ’71: The CD’s:




Mono Masters – G.I. Blues

The mono masters series continues with G.I. Blues:



Down In The Alley

For me the seeds of Elvis’ comeback were sown during the May 1966 Nashville sessions that produced the “How Great Thou Art” album. This was Elvis’ first batch of recordings that were not scheduled for the purposes of producing movie soundtracks since a short January 1964 session which only produced 3 masters. The soundtrack albums that followed showed a real decline in quality, and as Ernst Jorgensen had written in the excellent “A Life In Music” the king really was ‘lost in Hollywood’, with even the most ardent of Presley fans surely hoping that things would soon get back on track. The only secular album that was issued during this period was 1965’s “Elvis For Everyone”, which whilst billed as a celebration of Elvis’ first 10 years with RCA records, was actually the result of a vault search that compiled songs that had been left in the can over the past 10 years. Desperate measures really , and whilst the album certainly had its moments, it was never going to be strong enough to turn things around during the summer of 1965.

in some respects the same could be said of the gospel album which appeared in February of 1967, but whilst this title may not have had the broader appeal of a new rock or blues based collection, for those that were still listening, it showcased Elvis in great form performing the music that was always his first love, and showed beyond any doubt that he still had it. It was now just a case of getting the right projects and the right material again, and as we all now know, major changes lay just around the corner in the summer of 1968.

The gospel sessions also gave fans an insight into how things could progress, with a number of first rate secular masters which were cut at the same time. These included the June 1966 single coupling “Love Letters” & “Come What May”, the bluesy “Down In The Alley”, a tremendous cover of Bob Dylan’s “Tomorrow Is A Long Time” and the lightweight rocker “Fools Fall In Love”. Another ballad featuring Elvis on piano, “Beyond The Reef”, was also recorded at theses sessions, but this was not commercially released until 1980 on the silver box set, “Elvis Aron Presley”. An additional short session in June 1966 saw Elvis cut the Hawaiian tinged “I’ll Remember You”, and a new ballad called “Indescribably Blue” and a great new secular album was certainly possible had recording sessions, and perhaps more importantly, RCA’s release policy been different.

However, “Indescribably Blue” was coupled with “Fools Fall In Love for a January 1967 single release, whilst “Down In The Alley”, “Tomorrow is A Long Time” and “I’ll Remember you” were literally thrown away as ‘bonus songs’ on the “Spinout” soundtrack album released in October 1966. This really was a missed opportunity on behalf of RCA, as whilst Elvis still had movie contracts to fulfill in the months leading up to, and indeed following, the June 1968 taping of the NBC TV Special, when he was cutting secular material the standard of these recordings improved significantly with the likes of “Guitar Man”, “Big Boss Man”, “Hi Heel Sneakers”, “Too Much Monkey Business” and “U.S. Male” being cut between September 1967 and January 1968.

Was the king denied a great lost album that could have been issued in early 1968 then? Well, looking at the sort of schedules Elvis worked to at the time. and indeed throughout his career, it’s easy to see how this material was originally issued haphazardly, as sessions were booked in to produce albums and singles specifically, and (most) masters were issued shortly after they had been cut, so there’s no way Elvis would have been recording songs over a two year period with one specific album in mind. These days however, such things are commonplace in the music industry, so it really isn’t surprising that RCA have made two attempts to compile Elvis’ ‘lost’ album during the CD age.

The first of these “Tomorrow Is A Long Time” was issued back in 1999, and featured the 18 secular masters that Elvis recorded during May 1966 and January 1968. It was a great release at the time, which provided the casual buyer with a nice overview of some excellent, but lesser known Presley tracks, and was fine addition to mainstream CD catalogue. This was followed back in 2011 with the FTD title “Elvis Sings Guitar Man”. Here the approach was a little different as the January 1968 recordings were held over for the “Stay Away Joe” project, so we got 14 masters. along with “Beyond The Reef” as a bonus song, and a number of first takes being added to disc one and disc two being a compilation of further out takes from these sessions.

Personally, I preferred the 14 track approach, as this is more in keeping with the sequencing of an original vinyl album, although had this title been issued during 1968 it would have probably been a 12 track album at best. Of course it is the role of the collector’s label to focus on specific sessions and release these in a coherent fashion, so I can see why the January 1968 recordings were not included on “Elvis Sings Guitar Man”. However, for my own personal compilation, I felt the addition of these masters made for a much stronger album, and I also decided to limit the compilation to 14 tracks, so that we have something approaching an original album sequence.

Enjoy Elvis “Down In The Alley” – the lost album: This was designed to look like one of the Japanese paper sleeve CD albums, so the sleeve is a little larger than the replica album covers that feature in the 60 original album collection box set, and I’ve also added inner sleeves (to list CD bonus tracks) and a bonus card for a retro sixties look.

2-back 3-inside 4-inside 5-bonus-card 6-bonus-card cd-disc

Rebel Designs Presents Elvis ’71 – Exodus

COVER copy

Those that read and post on the For Elvis CD Collectors Forum http://www.elvis-collectors.com will no doubt already be familiar with a wonderful article by George Smith titled “Elvis ’71 – Exodus”.

The article discusses Elvis’ secular 1971 recordings and the lost, folk tinged, album that RCA could (and should) have issued at the time as the follow up to “I’m 10,000 Years Old – Elvis Country”.

After compiling the tracks for personal use I enjoyed the album so much that I decided to create some cover art for it. Whilst working on designs for both CD and vinyl versions of the album, I asked George for his permission to use the article to accompany the designs when I published them on the blog.

George very kindly agreed, and the project began to evolve from there into the publication that you can now download below. This showcases both George’s original article and the new designs, along with some background information on the design process.

As Elvis’ producer Felton Jarvis was heard to say as Elvis accompanied himself on the piano during these sessions; “someone will dig that, man”. I hope you dig it too.

With kind credits and courtesy to George Smith.

Download link below:

Exodus ’71 Read more…

Tomorrow Is A Long Time – 7″ E.P.

Anyone that followed my work on the two 1969 Memphis albums over the past year will know that original vinyl has been a huge influence on my recent designs.

Here is my design for a 7” E.P. that RCA could have issued back in the mid sixties. Three of the four tracks were first issued as ‘bonus tracks’ on the “Spinout” (a.k.a. “California Holiday” in Europe) soundtrack album back in 1966, whilst “Come What May” was issued as the flip side to the “Love Letters” single during the same year.

“Spinout” is by no means the worst of the mid sixties Presley soundtracks, but RCA’s decision to use these great recordings as filler on a soundtrack album meant that they were lost to the general public at a time when a strong, secular release from Elvis would have given his career a much needed boost.

In more recent times, these mistakes have been rectified. Firstly with the 1999 CD album “Tomorrow Is A Long Time”, and more recently in 2011 with the 7” FTD CD “Elvis Sings Guitar Man”. This was an expanded version of the 1999 concept of collecting performances from 1966 – 68 which had originally been issued in a haphazard fashion.

You can really have fun with these 7” vinyl style designs, as they are big enough for inner sleeves and bonus cards, and really capture the retro feel. Keep your eye on the blog for further updates in this style.

66 EP backbw copy

66 EPV2 copy

Back In Memphis – Inserts & Inlays

1 BIM Memphis Vegas

2 BIM LP Collage

3 BIM SMinds

4 BIM Dont Cry

5 BIM Kentucky

6 BIM Fair is Movin

7a BIM inside

7 BIM Orig