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Details about  ELVIS PRESLEY Golden Records ULTRA RARE Label Cover Up LPM 1707

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ELVIS PRESLEY Golden Records ULTRA RARE Label Cover Up LPM 1707
ELVIS-PRESLEY-Golden-Records-ULTRA-RARE-Label-Cover-Up-LPM-1707
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Used
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14 Jul, 2014 13:43:01 BST
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£70.00
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Llandrindod Wells, United Kingdom

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301215232287
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Used: An item that has been previously used. See the seller’s listing for full details and description of ... Read moreabout the condition
Genre:

Rock

Record Size:

LP (12-Inch)

Sub-Genre:

Doo Wop/50s R 'n R

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33 RPM

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A BREAKDOWN OF THE ARTIST/S :-

Born Elvis Aaron Presley, 8 January 1935, Tupelo, Mississippi, USA, d. 16 August 1977, Memphis, Tennessee, USA. The most celebrated popular music phenomenon of his era and, for many, the purest embodiment of rock 'n' roll, Elvis Presley's life and career have become part of rock legend. The elder of twins, his younger brother, Jesse Garon, was stillborn, a tragedy that partly contributed to the maternal solicitude dominating his childhood and teenage years. Presley's first significant step towards a musical career took place at the age of eight when he won $5 in a local song contest performing the lachrymose Red Foley ballad, "Old Shep". His earliest musical influence came from attending the Pentecostal Church and listening to the psalms and gospel songs. He also had a strong grounding in country and blues and it was the combination of these different styles that was to provide his unique musical identity.

By the age of 13, Presley had moved with his family to Memphis, and during his later school years began cultivating an outsider image, with long hair, spidery sideburns and ostentatious clothes. After leaving school he took a job as a truck driver, a role in keeping with his unconventional appearance. In spite of his rebel posturing, Presley remained studiously polite to his elders and was devoted to his mother. Indeed, it was his filial affection that first prompted him to visit Sun Records, whose studios offered the sophisticated equivalent of a fairground recording booth service. In 1953, as a birthday present to his mother, Gladys, Presley cut a version of the Ink Spots' "My Happiness", backed with the Raskin/Brown/Fisher standard "That's When Your Heartaches Begin". The studio manager, Marion Keisker, noted Presley's unusual but distinctive vocal style and informed Sun's owner/producer Sam Phillips of his potential. Phillips nurtured the boy for almost a year before, in July 1954, putting him together with country guitarist Scotty Moore and bass player Bill Black. Their early sessions showed considerable promise, especially when Presley began alternating his unorthodox low-key delivery with a high-pitched whine. The amplified guitars of Moore and Black contributed strongly to the effect and convinced Phillips that the singer was startlingly original. In Presley, Phillips saw something that he had long dreamed and spoken of discovering; a white boy who sang like a negro.

Presley's debut disc on Sun was the extraordinary "That's All Right (Mama)", a showcase for his rich, multi-textured vocal dexterity, with sharp, solid backing from his compatriots. The b-side, "Blue Moon Of Kentucky", was a country song, but the arrangement showed that Presley was threatening to slip into an entirely different genre, closer to R&Born Local response to these strange-sounding performances was encouraging and Phillips eventually shifted 20,000 copies of the disc. For his second single, Presley recorded Roy Brown's "Good Rockin' Tonight" backed by the zingy "I Don't Care If The Sun Don't Shine". The more roots-influenced "Milk Cow Blues Boogie" followed, while the b-side, "You're A Heartbreaker", had some strong tempo changes that neatly complemented Presley's quirky vocal. "Baby Let's Play House"/"I'm Left, You're Right, She's Gone" continued the momentum and led to Presley performing on The Grand Old Opry and Louisiana Hayride radio programmes. A series of live dates commenced in 1955 with drummer D.J. Fontana added to the ranks. Presley toured clubs in Arkansas, Louisiana and Texas billed as "The King Of Western Bop" and "The Hillbilly Cat". Audience reaction verged on the fanatical, which was hardly surprising given Presley's semi-erotic performances. His hip-swivelling routine, in which he cascaded across the stage and plunged to his knees at dramatic moments in a song, was remarkable for the period and prompted near-riotous fan mania. The final Sun single, a cover version of Junior Parker's "Mystery Train", was later acclaimed by many as the definitive rock 'n' roll single, with its chugging rhythm, soaring vocal and enticing lead guitar breaks.

It established Presley as an artist worthy of national attention and ushered in the next phase of his career, which was dominated by the imposing figure of Colonel Tom Parker. The Colonel was a former fairground huckster who managed several country artists including Hank Snow and Eddy Arnold. After relieving disc jockey Bob Neal of Presley's managership, Parker persuaded Sam Phillips that his financial interests would be better served by releasing the boy to a major label. RCA Records had already noted the commercial potential of the phenomenon under offer and agreed to pay Sun Records a release fee of $35,000, an incredible sum for the period. The sheer diversity of Presley's musical heritage and his remarkable ability as a vocalist and interpreter of material enabled him to escape the cultural parochialism of his R&B-influenced predecessors. The attendant rock 'n' roll explosion, in which Presley was both a creator and participant, ensured that he could reach a mass audience, many of them newly affluent teenagers.

It was on 10 January 1956, a mere two days after his 21st birthday, that Presley entered RCA's studios in Nashville to record his first tracks for a major label. His debut session produced the epochal "Heartbreak Hotel", one of the most striking pop records ever released. Co-composed by Hoyt Axton's mother Mae, the song evoked nothing less than a vision of absolute funereal despair. There was nothing in the pop charts of the period that even hinted at the degree of desolation described in the song. Presley's reading was extraordinarily mature and moving, with a determined avoidance of any histrionics in favour of a pained and resigned acceptance of loneliness as death. The economical yet acutely emphatic piano work of Floyd Cramer enhanced the stark mood of the piece, which was frozen in a suitably minimalist production. The startling originality and intensity of "Heartbreak Hotel" entranced the American public and pushed the single to number 1 for an astonishing eight weeks. Whatever else he achieved, Presley was already assured a place in pop history for one of the greatest major label debut records ever released. During the same month that "Heartbreak Hotel" was recorded, Presley made his national television debut displaying his sexually enticing gyrations before a bewildered adult audience whose alleged outrage subsequently persuaded producers to film the star exclusively from the waist upwards. Having outsold his former Sun colleague Carl Perkins with "Blue Suede Shoes", Presley released a debut album that contained several of the songs he had previously recorded with Sam Phillips, including Little Richard's "Tutti Frutti", the R&B classic "I Got A Woman" and an eerie, wailing version of Richard Rodgers/Lorenz Hart's "Blue Moon", which emphasized his remarkable vocal range.

Since hitting number 2 in the UK lists with "Heartbreak Hotel", Presley had been virtually guaranteed European success and his profile was increased via a regular series of releases as RCA took full advantage of their bulging back catalogue. Although there was a danger of overkill, Presley's talent, reputation and immensely strong fanbase vindicated the intense release schedule and the quality of the material ensured that the public was not disappointed. After hitting number 1 for the second time with the slight ballad "I Want You, I Need You, I Love You", Presley released what was to become the most commercially successful double-sided single in pop history, "Hound Dog"/"Don't Be Cruel". The former was composed by the immortal rock 'n' roll songwriting team of Leiber And Stoller, and presented Presley at his upbeat best with a novel lyric, complete with a striking guitar solo and spirited hand clapping from his backing group the Jordanaires. Otis Blackwell's "Don't Be Cruel" was equally effective with a striking melody line and some clever and amusing vocal gymnastics from the hiccuping King of Western Bop, who also received a co-writing credit. The single remained at number 1 in the USA for a staggering 11 weeks and both sides of the record were massive hits in the UK.

Celluloid fame for Presley next beckoned with Love Me Tender, produced by David Weisbert, who had previously worked on James Dean's Rebel Without A Cause. Presley's movie debut received mixed reviews but was a box-office smash, while the smouldering, perfectly enunciated title track topped the US charts for five weeks. The spate of Presley singles continued in earnest through 1957 and one of the biggest was another Otis Blackwell composition, "All Shook Up", which the singer used as a cheekily oblique comment on his by now legendary dance movements. By late 1956 it was rumoured that Presley would be drafted into the US Army and, as if to compensate for that irksome eventuality, RCA, Twentieth Century Fox and the Colonel stepped up the work-rate and release schedules. Incredibly, three major films were completed in the next two-and-a-half years. Loving You boasted a quasi-autobiographical script with Presley playing a truck driver who becomes a pop star. The title track became the b-side of "(Let Me Be Your) Teddy Bear" which reigned at number 1 for seven weeks. The third movie, Jailhouse Rock, was Presley's most successful to date with an excellent soundtrack and some inspired choreography. The Leiber and Stoller title track was an instant classic that again topped the US charts for seven weeks and made pop history by entering the UK listings at number 1.

The fourth celluloid outing, King Creole (adapted from the Harold Robbins novel, A Stone For Danny Fisher), is regarded by many as Presley's finest film and a firm indicator of his sadly unfulfilled potential as a serious actor. Once more the soundtrack album featured some surprisingly strong material such as the haunting "Crawfish" and the vibrant "Dixieland Rock". By the time King Creole was released in 1958, Elvis had already been inducted into the US Forces. A publicity photograph of the singer having his hair shorn symbolically commented on his approaching musical emasculation. Although rock 'n' roll purists mourned the passing of the old Elvis, it seemed inevitable in the context of the 50s that he would move towards a broader base appeal and tone down his rebellious image. From 1958-60, Presley served in the US Armed Forces, spending much of his time in Germany where he was regarded as a model soldier. It was during this period that he first met 14-year-old Priscilla Beaulieu, whom he later married in 1967. Back in America, the Colonel kept his absent star's reputation intact via a series of films, record releases and extensive merchandising. Hits such as "Wear My Ring Around Your Neck", "Hard Headed Woman", "One Night", "I Got Stung", "A Fool Such As I" and "A Big Hunk O' Love" filled the long, two-year gap and by the time Presley reappeared, he was ready to assume the mantle of all-round entertainer. The change was immediately evident in the series of number 1 hits that he enjoyed in the early 60s. The enormously successful "It's Now Or Never", based on the Italian melody "O Sole Mio", revealed the King as an operatic crooner, far removed from his earlier raucous recordings. "Are You Lonesome Tonight?", originally recorded by Al Jolson as early as 1927, allowed Presley to quote some Shakespeare in the spoken-word middle section as well as showing his ham-acting ability with an overwrought vocal.

The new clean-cut Presley was presented on celluloid in GI Blues. The movie played upon his recent army exploits and saw him serenading a puppet on the charming chart-topper "Wooden Heart", which also allowed Elvis to show off his knowledge of German. The grandiose "Surrender' completed this phase of big ballads in the old-fashioned style. For the next few years Presley concentrated on an undemanding spree of films, including Flaming Star, Wild In The Country, Blue Hawaii, Kid Galahad, Girls! Girls! Girls!, Follow That Dream, Fun In Acapulco, It Happened At The World's Fair, Kissin" Cousins, Viva Las Vegas, Roustabout, Girl Happy, Tickle Me, Harem Scarum, Frankie And Johnny, Paradise - Hawaiian Style and Spinout. Not surprisingly, most of his album recordings were hastily completed soundtracks with unadventurous commissioned songs. For his singles he relied increasingly on the formidable Doc Pomus/Mort Shuman team who composed such hits as "Mess Of Blues", "Little Sister" and "His Latest Flame". More and more, however, the hits were adapted from films and their chart positions suffered accordingly. After the 1963 number 1 "Devil In Disguise", a bleak period followed in which such minor songs as "Bossa Nova Baby", "Kiss Me Quick", "Ain't That Lovin' You Baby" and "Blue Christmas" became the rule rather than the exception. Significantly, his biggest success of the mid-60s, "Crying In The Chapel", had been recorded five years earlier, and part of its appeal came from the realization that it represented something ineffably lost.

In the wake of the Beatles' rise to fame and the beat boom explosion, Presley seemed a figure out of time. Nevertheless, in spite of the dated nature of many of his recordings, he could still invest power and emotion into classic songs. The sassy "Frankie And Johnny" was expertly sung by Presley, as was his moving reading of Ketty Lester's "Love Letters". His other significant 1966 release, "If Everyday Was Like Christmas", was a beautiful festive song unlike anything else in the charts of the period. By 1967, however, it was clear to critics and even a large proportion of his devoted following that Presley had seriously lost his way. He continued to grind out pointless movies such as Double Trouble, Speedway, Clambake and Live A Little, Love A Little, even though the box office returns were increasingly poor. His capacity to register instant hits, irrespective of the material was also wearing thin, as such lowly placed singles as "You Gotta Stop" and "Long Legged Woman" demonstrated all too alarmingly. However, just as Presley's career had reached its all-time nadir he seemed to wake up, take stock, and break free from the artistic malaise in which he found himself. Two songs written by country guitarist Jerry Reed, "Guitar Man" and "US Male', proved a spectacular return to form for Elvis in 1968, such was Presley's conviction that the compositions almost seemed to be written specifically for him. During the same year, Colonel Tom Parker had approached NBC-TV about the possibility of recording a Presley Christmas special in which the singer would perform a selection of religious songs similar in feel to his early 60s album His Hand In Mine. However, the executive producers of the show vetoed that concept in favour of a one-hour spectacular designed to capture Elvis at his rock 'n' rollin" best. It was a remarkable challenge for the singer, seemingly in the autumn of his career, and he responded to the idea with unexpected enthusiasm.

The Elvis TV Special was broadcast in America on 3 December 1968 and has since become legendary as one of the most celebrated moments in pop broadcasting history. The show was not merely good but an absolute revelation, with the King emerging as if he had been frozen in time for 10 years. His determination to recapture past glories oozed from every movement and was discernible in every aside. With his leather jacket and acoustic guitar strung casually round his neck, he resembled nothing less than the consummate pop idol of the 50s who had entranced a generation. To add authenticity to the proceedings he was accompanied by his old sidekicks Scotty Moore and D.J. Fontana. There was no sense of self-parody in the show as Presley joked about his famous surly curled-lip movement and even heaped passing ridicule on his endless stream of bad movies. The music concentrated heavily on his 50s classics but, significantly, there was a startling finale courtesy of the passionate "If I Can Dream" in which he seemed to sum up the frustration of a decade in a few short lines. The critical plaudits heaped upon Elvis in the wake of his television special prompted the singer to undertake his most significant recordings in years. With producer Chips Moman overseeing the sessions in January 1969, Presley recorded enough material to cover two highly praised albums, From Elvis In Memphis and From Memphis To Vegas/From Vegas To Memphis. The former was particularly strong with such distinctive tracks as the eerie "Long Black Limousine" and the engagingly melodic "Any Day Now". On the singles front, Presley was back in top form and finally coming to terms with contemporary issues, most notably on the socially aware "In The Ghetto", which hit number 2 in the UK and number 3 in the USA. The glorious "Suspicious Minds", a wonderful song of marital jealousy, with cascading tempo changes and an exceptional vocal arrangement, gave him his first US chart-topper since "Good Luck Charm" back in 1962. Subsequent hits such as the maudlin "Don't Cry Daddy", which dealt with the death of a marriage, ably demonstrated Presley's ability to read a song. Even his final few films seemed less disastrous than expected.

In 1969's Charro, he grew a beard for the first time in his portrayal of a moody cowboy, while A Change Of Habit dealt with more serious subject matter than usual. More importantly, Presley returned as a live performer at Las Vegas, with a strong backing group including guitarist James Burton and pianist Glen D. Hardin. In common with John Lennon, who also returned to the stage that same year with the Plastic Ono Band, Presley opened his set with Carl Perkins' "Blue Suede Shoes". His comeback was well received and one of the live songs, "The Wonder Of You", stayed at number 1 in Britain for six weeks during the summer of 1970. There was also a revealing documentary film of the tour - That's The Way It Is - and a companion album that included contemporary cover versions, such as Tony Joe White's "Polk Salad Annie", Creedence Clearwater Revival's "Proud Mary" and Neil Diamond's "Sweet Caroline".

During the early 70s Presley continued his live performances, but soon fell victim to the same artistic atrophy that had bedevilled his celluloid career. Rather than re-entering the studio to record fresh material he relied on a slew of patchy live albums that saturated the marketplace. What had been innovative and exciting in 1969 swiftly became a tedious routine and an exercise in misdirected potential. The backdrop to Presley's final years was a sordid slump into drug dependency, reinforced by the pervasive unreality of a pampered lifestyle in his fantasy home, Graceland. The dissolution of his marriage in 1973 coincided with a further decline and an alarming tendency to put on weight. Remarkably, he continued to undertake live appearances, covering up his bloated frame with brightly coloured jump suits and an enormous, ostentatiously jewelled belt. He collapsed onstage on a couple of occasions and finally on 16 August 1977 his tired body expired. The official cause of death was a heart attack, undoubtedly brought on by barbiturate usage over a long period. In the weeks following his demise, his record sales predictably rocketed and "Way Down" proved a fittingly final UK number 1.

The importance of Presley in the history of rock 'n' roll and popular music remains incalculable. In spite of his iconographic status, the Elvis image was never captured in a single moment of time like that of Bill Haley, Buddy Holly or even Chuck Berry. Presley, in spite of his apparent creative inertia, was not a one-dimensional artist clinging to history but a multi-faceted performer whose career spanned several decades and phases. For purists and rockabilly enthusiasts it is the early Presley that remains of greatest importance and there is no doubting that his personal fusion of black and white musical influences, incorporating R&B and country, produced some of the finest and most durable recordings of the century. Beyond Elvis "The Hillbilly Cat", however, there was the face that launched a thousand imitators, that black-haired, smiling or smouldering presence who stared from the front covers of numerous EPs, albums and film posters of the late 50s and early 60s. It was that well-groomed, immaculate pop star who inspired a generation of performers and second-rate imitators in the 60s. There was also Elvis the Las Vegas performer, vibrant and vulgar, yet still distant and increasingly appealing to a later generation brought up on the excesses of 70s rock and glam ephemera. Finally, there was the bloated Presley who bestrode the stage in the last months of his career. For many, he has come to symbolize the decadence and loss of dignity that is all too often heir to pop idolatry. It is no wonder that Presley's remarkable career so sharply divides those who testify to his ultimate greatness and those who bemoan the gifts that he seemingly squandered along the way.

Twenty years after Presley's death, in August 1997, there was no waning of his power and appeal. Television, radio, newspapers and magazines all over the world still found that, whatever was happening elsewhere, little could compare to this anniversary. Almost five years later, a remix of the 1968 single "A Little Less Conversation' by Dutch DJ Junkie XL provided Presley with his eighteenth UK chart-topper. In doing so, he nudged ahead of the Beatles to claim the record number of UK number 1 singles. The attendant compilation set topped the album charts on both sides of the Atlantic. In September 2003, a remix of 1969"s "Rubberneckin'" by UK DJ Paul Oakenfold topped the US singles chart.

Discography:
Elvis Presley (RCA Victor 1956)****, Elvis (RCA Victor 1956)*****, Rock 'N' Roll (UK) (HMV 1956)****, Rock 'N' Roll No. 2 UK release (HMV 1957)****, Loving You film soundtrack (RCA Victor 1957)****, Elvis' Christmas Album (RCA Victor 1957)***, King Creole film soundtrack (RCA Victor 1958)****, For LP Fans Only (RCA Victor 1959)****, A Date With Elvis (RCA Victor 1959)****, Elvis Is Back! (RCA Victor 1960)****, G.I. Blues film soundtrack (RCA Victor 1960)***, His Hand In Mine (RCA Victor 1961)***, Something For Everybody (RCA Victor 1961)***, Blue Hawaii (RCA Victor 1961)***, Pot Luck (RCA Victor 1962)***, Girls! Girls! Girls! film soundtrack (RCA Victor 1963)***, It Happened At The World's Fair film soundtrack (RCA Victor 1963)**, Fun In Acapulco film soundtrack (RCA Victor 1963)**, Kissin' Cousins film soundtrack (RCA Victor 1964)**, Roustabout film soundtrack (RCA Victor 1964)**, Girl Happy film soundtrack (RCA Victor 1965)**, Harem Scarum film soundtrack (RCA Victor 1965)**, Frankie And Johnny film soundtrack (RCA Victor 1966)**, Paradise, Hawaiian Style film soundtrack (RCA Victor 1966)**, Spinout film soundtrack (RCA Victor 1966)**, How Great Thou Art (RCA Victor 1967)***, Double Trouble film soundtrack (RCA Victor 1967)**, Clambake film soundtrack (RCA Victor 1967)**, Speedway film soundtrack (RCA Victor 1968)**, Elvis - TV Special (RCA Victor 1968)***, From Elvis In Memphis (RCA Victor 1969)****, From Memphis To Vegas/From Vegas To Memphis (RCA Victor 1969)***, On Stage February 1970 (RCA Victor 1970)****, Elvis Back In Memphis (RCA Victor 1970)***, That's The Way It Is (RCA 1970)***, Elvis Country (I'm 10,000 Years Old) (RCA 1971)***, Love Letters From Elvis (RCA 1971)***, Elvis Sings The Wonderful World Of Christmas (RCA 1971)***, Elvis Now (RCA 1972)***, He Touched Me (RCA 1972)***, Elvis As Recorded At Madison Square Garden (RCA 1972)***, Aloha From Hawaii Via Satellite (RCA 1973)***, Elvis (RCA 1973)***, Raised On Rock/For Ol' Times Sake (RCA 1973)***, Good Times (RCA 1974)***, Elvis Recorded Live On Stage In Memphis (RCA 1974)****, Having Fun With Elvis On Stage (RCA 1974)*, Promised Land (RCA 1975)***, Elvis Today (RCA 1975)***, From Elvis Presley Boulevard, Memphis, Tennessee (RCA 1976)***, Welcome To My World (RCA 1977)***, Moody Blue (RCA 1977)***, Guitar Man (RCA 1980)***, The Ultimate Performance (RCA 1981)***, The Sound Of Your Cry (RCA 1982)***, The First Year (Sun 1983)***, Jailhouse Rock/Love In Las Vegas (RCA 1983)***, Elvis: The First Live Recordings (Music Works 1984)***, The Elvis Presley Interview Record: An Audio Self-Portrait (RCA 1984)**, with Carl Perkins, Johnny Cash and Jerry Lee Lewis The Million Dollar Session (RCA 1990)****, The Lost Album (RCA 1991)***, If Every Day Was Like Christmas (RCA 1994)***, Elvis Presley '56 (RCA 1996)*****, Essential Elvis, Volume 4: A Hundred Years From Now (RCA 1996)***, Essential Elvis, Volume 5: Rhythm And Country (RCA 1998)***, Tiger Man 1968 recording (RCA 1998)****, Essential Elvis, Volume 6: Such A Night (RCA 2000)***.

Compilations:
The Best Of Elvis UK release (HMV 1957)****, Elvis' Golden Records (RCA Victor 1958)*****, 50,000,000 Elvis Fans Can't Be Wrong: Golden Records, Volume 2 (RCA Victor 1960)*****, Elvis' Golden Records, Volume 3 (RCA Victor 1963)****, Elvis For Everyone! (RCA Victor 1965)***, Elvis' Golden Records, Volume 4 (RCA Victor 1968)****, Elvis Sings "Flaming Star' And Other Hits From His Movies (RCA Camden 1969)**, Let's Be Friends (RCA Camden 1970)****, Almost In Love (RCA Camden 1970)**, Worldwide 50 Gold Award Hits, Volume 1 - A Touch Of Gold 4-LP box set (RCA Victor 1970)*****, You'll Never Walk Alone (RCA Camden 1971)***, C'mon Everybody (RCA Camden 1971)***, The Other Sides - Worldwide 50 Gold Award Hits, Volume 2 4-LP box set (RCA Victor 1971)****, I Got Lucky (RCA Camden 1971)***, Elvis Sings Hits From His Movies, Volume 1 (RCA Camden 1972)***, Burning Love And Hits From His Movies, Volume 2 (RCA Camden 1972)***, Separate Ways (RCA Camden 1973)***, Elvis - A Legendary Performer, Volume 1 (RCA 1974)****, Hits Of The 70s (RCA 1974)***, Pure Gold (RCA 1975)***, Easy Come Easy Go (RCA Camden 1975)***, The U.S. Male (RCA Camden 1975)***, Elvis Presley's Greatest Hits 7-LP box set (Readers Digest 1975)***, Pictures Of Elvis (RCA Starcall 1975)**, Elvis - A Legendary Performer, Volume 2 (RCA 1976)****, Sun Sessions (RCA 1976)*****, Elvis In Demand (RCA 1977)***, The Elvis Tapes interview disc (Redwood 1977)**, He Walks Beside Me (RCA 1978)***, Elvis Sings For Children And Grownups Too! (RCA 1978)***, Elvis - A Canadian Tribute (RCA 1978)***, The '56 Sessions, Volume 1 (RCA 1978)****, Elvis' 40 Greatest (RCA 1978)*****, Elvis - A Legendary Performer, Volume 3 (RCA 1979)****, Our Memories Of Elvis (RCA 1979)***, Our Memories Of Elvis Volume 2 (RCA 1979)***, The '56 Sessions, Volume 2 (RCA 1979)****, Elvis Presley Sings Leiber And Stoller (RCA 1979)****, Elvis - A Legendary Performer, Volume 4 (RCA 1980)****, Elvis Aaron Presley 8-LP box set (RCA 1980)***, This Is Elvis (RCA 1981)***, Elvis - Greatest Hits, Volume 1 (RCA 1981)**, The Elvis Medley (RCA 1982)***, I Was The One (RCA 1983)****, Elvis' Golden Records, Volume 5 (RCA 1984)****, Elvis: A Golden Celebration 6-LP box set (RCA 1984)***, Rocker (RCA 1984)****, Reconsider Baby (RCA 1985)****, A Valentine Gift For You (RCA 1985)***, Always On My Mind (RCA 1985)****, Return Of The Rocker (RCA 1986)***, The Number One Hits (RCA 1987)*****, The Top Ten Hits (RCA 1987)****, The Complete Sun Sessions (RCA 1987)*****, Essential Elvis (RCA 1988)****, Stereo '57 (Essential Elvis Volume 2) (RCA 1988)****, Known Only To Him: Elvis Gospel: 1957-1971 (RCA 1989)****, Hits Like Never Before: Essential Elvis, Volume 3 (RCA 1990)***, Collector's Gold (RCA 1991)****, The King Of Rock 'n' Roll: The Complete '50s Masters 5-CD box set (RCA 1992)*****, From Nashville To Memphis: The Essential '60s Masters 5-CD box set (RCA 1993)*****, Amazing Grace: His Greatest Sacred Songs (RCA 1994)****, Heart And Soul (RCA 1995)**, Walk A Mile In My Shoes: The Essential '70s Masters 5-CD box set (RCA 1995)****, Presley - The All Time Greats (RCA 1996)****, Great Country Songs (RCA 1997)***, Platinum: A Life In Music 4-CD box set (RCA 1997)****, Love Songs (Camden 1999)****, Sunrise (RCA 1999)****, Suspicious Minds: The Memphis 1969 Anthology (RCA 1999)****, The Home Recordings (RCA 1999)**, Artist Of The Century 3-CD set (RCA 1999)*****, Can't Help Falling In Love: The Hollywood Hits (RCA 1999)***, The Legend Begins (Manifest 2000)***, Peace In The Valley 3-CD box set (RCA 2000)****, The 50 Greatest Hits (RCA 2000)*****, The Live Greatest Hits (RCA 2001)****, Elvis: Live In Las Vegas 4-CD box set (RCA 2001)****, Rockin" Tonight! (Charly 2002)**, Today, Tomorrow & Forever 4-CD box set (RCA 2002)****, Roots Revolution: The Louisiana Hayride Recordings (Tomato 2002)*, At The Louisiana Hayride 1954-56 (Stomper Time 2002)*, Elv1s: 30 #1 Hits (RCA 2002)*****, with Carl Perkins, Johnny Cash, Jerry Lee Lewis The Complete Million Dollar Session (Charly 2003)****, Elvis: Close Up 4-CD box set (BMG Heritage 2003)**, 2nd To None (RCA 2003)***, Ultimate Gospel (RCA 2004)****.

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THE RARITY OF THE RECORD :- An ultra rare cover up label and sleeve imported by RCA to the UK. Probably no more than a handfull exist as importing an LP was quite rare in those days and the UK release was either coincidal or shortly after the US release date. The pasting of the label both sides and if you look a conveniently placed RCA sticker on the shrinkwrap seen on the front cover was done to cover the "Nipper The Dog" logo. This was a copyright issue between RCA Victor in the USA and EMI in the UK when RCA severed its ties with EMI who owned the "Nipper" trademark at the time. I believe it was only this Elvis LP that suffered this kind of cover up. All this make the album incredibly rare and incredibly it is still in its original shrinkwrap. I doubt another one would be found anytime soon.

THE HISTORY OF THE RECORD :- Golden Records comprises eight #1 A sides along with five B-sides, "Hound Dog", "Loving You", "That's When Your Heartaches Begin", "Treat Me Nice", "Anyway You Want Me", and one album track, "Love Me", originally issued on the 1956 LP Elvis. Every flip-side also hit the chart separately from its parent hit side, with four making the Top 40, and "Hound Dog" also topping the chart; chart positions noted for those tracks individually. "Love Me" was also included on the Elvis Vol. 1 EP single which made the top ten on the singles chart.

In the 1950s, a gold record awarded for a single referred to sales of one million units, different from the definition in use by the late 1970s for albums, where a gold record came to mean album sales of 500,000 units. Exact figures from the RIAA are difficult to confirm, but in the press conference from September 22, 1958, originally released on the EP Elvis Sails in 1958 and included on disc four of the 1950s box set, the interviewer asks Presley for a tally of his gold records. Presley responds, saying "I have 25 million sellers, and two albums that have sold a million each."

The original 1984 CD issue in reprocessed (fake) stereo sound, was quickly withdrawn and reissued in original monophonic. The July 15, 1997 reissue added six tracks, with "Blue Suede Shoes" an unusual release in that it was issued simultaneously in conjunction with every track from Elvis' debut LP Elvis Presley in singles form, more than five months after the release of the album on March 23. Two more charting RCA B-sides, "I Was the One" and "My Baby Left Me", and three Sun Records tracks rounded out the compact disc. RCA had purchased the rights to reissue Sun material when buying Elvis' contract from Sam Phillips in 1955, using Sun recordings to fill out album tracks throughout the decade.

Although RCA executive Steve Sholes was the in-house A&R man for Presley, and nominally in charge of his recording sessions at RCA, accounts by Presley historian Peter Guralnick and Presley discographer Ernst Mikael Jorgensen indicate that Presley himself acted as the producer for his RCA sessions in the 1950s.

The unified Billboard Hot 100 singles chart was not created until August, 1958, after the release of this compilation, and of course after the release of all of these singles. Chart positions referenced would be taken from the Best Sellers In Stores chart, although early measurement of rock and roll records also came from the Most Played In Jukeboxes chart

THE COVER :- Single laminated sleeve

THE LABEL :- RCA Victor labels

THE VINYL VISUALLY :- On initial inspection of this piece of vinyl I cannot see any areas of immediate concern. The vinyl sits perfectly flat on the turntable so there are no nasty warps to worry about. The vinyl does still have most of its just pressed shine but there are a number of faint hairline scratches which in the most part do not affect play. I would say that for an album of this age it is in just about Excellent condition visually.

THE VINYL PLAY GRADED :- The playgrading of the vinyl reveals hardly any lessening in the sound quality. It lives up to its visual grading and in my view plays much better. There is very minimal surface noise..There is the odd light crackle and tick but quite faint and inbetween tracks mainly. In my opinion the playback is as good as you might hope to find for this record. Every track has been played from start to finish and i would definitely give I would grade the audio playback as Excellent condition.  

THE SLEEVE FRONT CONDITION :- The front of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. It is immaculate and still bares the original shrinwrap as previously mentioned in the rarity section The sleeve reveals no ringwear and no creases. There is also next to no corner and seam wear. The colours are incredibly bright and crisp. I would grade the front of the cover as Near Mint condition. The best I've ever seen through my record collecting years.

THE SLEEVE REAR CONDITION :- The rear of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. There are no creases on the rear of the sleeve and no ringwear. Being a pure white rear it does not quite meat the standard of the front cover, air and other atmospheric conditions have slightly yellowed the white but that said it is still as good as it gets for a white back cover of this age. I would grade the rear as Excellent condition.

THE LABEL SIDE ONE CONDITION :- Original RCA Victor label with red dot label paste. Both the paste and original label are in excellent order free from stickers or writing and no damage at all, light signs of play around the spindle hole. Excellent Plus condition.

THE LABEL SIDE TWO CONDITION :- Original RCA Victor label with red dot label paste. Both the paste and original label are in excellent order free from stickers or writing and no damage at all, light signs of play around the spindle hole. Excellent Plus condition.

THE SPINE CONDITION :- The writing on the spine is crystal clear, no spine splits at all just and barely any signs of shelfwear in the two corners. Near Mint condition

THE INNER SLEEVE CONDITION :- Generic white inner in Excellent condition. I'm not sure if it is the original inner

THE EXTRAS :- No extras were given with this album

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THE CATALOGUE NUMBER :- LPM 1707

THE YEAR OF RELEASE :-  1958

THE COUNTRY OF ORIGIN :-  U.S.A

PLAYING FORMAT :- MONO

THE MATRIX NUMBERS :-  H2WP-8398-27S  &  H2WP-8399-29S

STAMPERS :- C5 & A5

 

TRACK LISTING :-

SIDE ONE :-

  1. HOUND DOG
  2. LOVING YOU
  3. ALL SHOOK UP
  4. HEARTBREAK HOTEL
  5. JAILHOUSE ROCK
  6. LOVE ME
  7. TOO MUCH

SIDE TWO :-

  1. DON'T BE CRUEL
  2. THAT'S WHERE YOUR HEARTACHES BEGIN
  3. (LET ME BE YOUR) TEDDY BEAR
  4. LOVE ME TENDER
  5. TREAT ME NICE
  6. ANY WAY YOU WANT ME
  7. I WANT YOU, I NEED YOU, I LOVE YOU

 

WHAT WE PLAY THE RECORD ON :- 

We use a Project 6 Perspex Turntable to play grade our records which delivers a rich authoritative sound and achieves a rich and weighty vibrancy unrivalled by the majority of decks within its price range

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HOW WE CLEAN YOUR RECORD :- 

We use a V.P.I. HW-16.5 record cleaning machine to clean your vinyl. "A highly recommended machine" as quoted by Stereophile magazine. This removes any excess dirt before playing

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HOW WE PACKAGE YOUR RECORD :- 

Your record will be package very securely to minimise any risk of damage during transit. We remove the record from the outer sleeve unless asked not to do so. This helps to minimise the risk of seam spliting. We use a high quality record mailer which is designed to give superior protection for your vinyl record. We place stiffeners either side of the record for added protection. The album will also be placed in a 450 gram Poly outer sleeve for even extra added protection

 

 

POSTAGE AND PACKAGING CHARGES FOR UK CUSTOMERS :-

We advise that items reaching over £50 in price to be insured and sent by Special Delivery. This protects both of us and ensures better handling of the parcel during transit.We are in no way out to make money from postage. The postage price includes the record mailer, stiffeners and plastic sleeve. We just want your item to reach you in the best possible condition. A breakdown of insured postal services are listed below. Please choose to use the relevant postal service for your own protection as once these rare records are lost they can quite often seldom be replaced

SECOND CLASS RECORDED (INSURED UP TO £50) :- FREE

FIRST CLASS RECORDED (INSURED UP TO £50) :- £0.45

SPECIAL DELIVERY NEXT DAY UPTO 500g :- £3.80

SPECIAL DELIVERY NEXT DAY FROM 500g - 1000g :- £5.00

(SPECIAL DELIVERY INSURES YOUR ITEM UPTO £500)

 

POSTAGE AND PACKAGING FOR THE EUROPEAN UNION :-    

All records reaching under £15 are sent to the European Union by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS  :-  £6.22 (For items under £15)

INTERNATIONAL SIGNED FOR :-  £11.37 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :-  £13.97 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

 

POSTAGE AND PACKAGING FOR THE USA AND CANADA :- 

All records reaching under £15 are sent to the USA & Canada by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS  :-  £8.78 (For items under £15)

INTERNATIONAL SIGNED FOR :- £13.93 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :- £16.53 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

 

POSTAGE AND PACKAGING FOR THE AUSTRALIA AND JAPAN AND ROW :- 

All records reaching under £15 are sent to the Australia & Japan by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS :- £9.06 (For items under £15)

INTERNATIONAL SIGNED FOR :- £14.21 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :- £16.81 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

 

PLEASE NOTE THAT WE DO NOT PROFIT FROM POSTAGE, THE PRICES WE QUOTE ARE QUITE ACCURATE AND INCLUDE THE PACKAGING MATERIALS AT COST PRICE

 

NOTE FOR INTERNATIONAL BUYERS:

PLEASE AWAIT AN INVOICE BEFORE PAYING SO WE CAN WORK OUT THE CORRECT POSTAGE/SHIPPING CHARGES

 

BUYERS OF MULTIPLE ITEMS :- 

Postage prices and courier methods for multiple purchases will be calculated after the auction end. It is impossible for us at the pre auction stage to determine these prices as the final weight is unknown.If you are the winner of multiple items the please await contact from us or alternately contact us yourself for a breakdown of the shipping costs.You will only pay the stamp price + relevant packaging charges so there are big savings to be made with multiple purchases

 

HOW TO PAY FOR YOUR RECORD :-

We can accept the following payment methods

UK BUYERS :- 

  • PayPal
  • Personal cheque (Please allow to clear)
  • Bankers Draft
  • Postal Order

OVERSEAS BUYERS :-

  • Paypal only

 

TERMS AND CONDITIONS :-

We always try to appraise the record for sale as openly and honestly as possible and provide plenty of pictures for you to look at but please be aware that errors however rare do occur and not everyone has the same audio  equipment. There is no problem that cannot be worked out in a civilised manner. We urge you to contact us so that we can discuss any small problems that may occur. We offer a refund of the purchase price for returned items within 7 days of purchase and are happy to help you with any questions or concerns you may have during the auction

SAVE US TO YOUR FAVOURITES LIST AS WE INTEND TO LIST MANY MORE RARE VINYL TREATS OVER THE COMING MONTHS AND YEARS


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