Magic sing et25k song list pdf

Continue From Jailhouse Rock to Love Me Tender, 's songs have become an integral part of American culture. They are played at parties, weddings and proms and can be heard in the background in grocery stores and shopping malls. The catalogue of songs contains an impressive range: some were composed for funny but forgettable summer films, while others trace their roots back to Italian operas; some tell stories of warm love, while others are simply made to dance. All were interpreted and recorded by one of the most successful performers american pop music ever seen. Elvis Presley Image Gallery Elvis Presley was one of the most successful performers in the history of American pop music. See more Elvis pictures. On the following pages you will find the stories behind some of Elvis' most famous melodies. There are highlights from his early career, such as Baby Let's Play House, where Presley first found his signature rockabilly sound -- the fusion of country and R&B that would make him famous. These early songs were recorded on Sam Phillips' Insons label Sun Records and are considered indispensable by fans of blues, R&B and country music. You'll also learn about the smash hits that made Elvis a well-known name: Heartbreak Hotel, Elvis' first single on the major label RCA, became a number one hit, but was originally inspired by a tragic death in Miami. Hound Dog created opportunities for numerous tongue-in-cheek television appearances (on the Steve Allen Show, Presley sang the song for a Basset dog. With Don't Be Cruel on the B-side, the Hound Dog record became one of the most successful singles the music industry had ever seen. Now or Never, a rock 'n' roll reworking of a classic Italian opera ticino, shows Presley interacting with ancient traditions and making them his own. Many critics believe that Presley's early songs are among his best; but later efforts reveal a fascinating intersection between the music and Elvis's fast-growing fame. If I Can Dream, recorded in 1968, showed Presley at the center of a troubled nation. The song, written by W. Earl Brown, Elvis's musical director, was written as a dark but hopeful response to the recent assassinations of Robert Kennedy and Martin Luther King Jr. At the time, Presley had his own TV Christmas special (simply called Elvis), and after an evening full of holidays, If I Can Dream ended the program with a moving and personal touch. On the later pages of this article you will find some best-of lists that can help any Elvis novice in his intimidating to navigate. You'll learn more about some of Presley's songwriters, many of whom were self-dept artists, and you'll also find information on some of Elvis' most famous covers. The last section of the article a complete list of Elvis Presley's recorded work, arranged in alphabetical order for easy browsing. Go to the next page to read about one of Elvis' most popular song themes -- falling into (and out) of love. To learn more about Elvis Presley, see: Advertising content of Elvis Presley's love songs are some of the most famous melodies of his career. Presley recorded I Want You, I Need You, I Love You by Maurice Mysels and Ira Kosloff on April 11, 1956 in Nashville. The song reached the top ten of the pop, country, rhythm and blues charts. It was the first ballad Elvis recorded for RCA and released as an A-side on a single. Jerry Leiber and Mike Stoller composed the torchlight game Love Me in 1954 as a subpoena for country ballads. On September 1, 1956, Elvis recorded it directly and with emotion and turned it into a serious love song. Elvis recorded Love Me Tender in Hollywood in late summer 1956 as the closing song for his first film Love Me Tender. George Weiss, Hugo Peretti and Luigi Creatore wrote Can't Help Falling in Love for . Elvis recorded it in Hollywood on March 23, 1961. Elvis recorded It Hurts Me in Nashville on January 12, 1964. The song was written by Joy Byers and Charlie Daniels, although Daniels is not always credited. Elvis recorded this song again in 1968 for his TV special Elvis, but was not used. Until It's Time for You to Go was written and recorded by Buffy Sainte-Marie in 1965 and published by several artists before Elvis. Others who recorded it were Michael Nesmith (as Michael Blessing), the Four Pennies and Neil Diamond. Elvis recorded this beautiful love song in Nashville in the early summer of 1971 and sang it in the documentary . On March 1, 1972, Separate Ways was recorded in the red as Elvis and Priscilla had just separated. Fans and biographers have often interpreted the song as a reflection of Elvis' feelings. It was composed for him by Richard Mainegra and Elvis' longtime friend and bodyguard Red West. Mark James, Wayne Carson and Johnny Christopher composed Always on My Mind specifically for Elvis, although other singers were successful. Elvis was the first to record it on March 29, 1972, but Brenda Lee's version was first released. In 1982, Willie Nelson scored a number one country hit, while the Pet Shop Boys recorded a version in 1988. Elvis recorded It's Midnight on the legendary Stax Records in Memphis on December 10, 1973. It was written by Billy Edd Wheeler and Jerry Chestnut. The best-known version of Unchained Melody was released by the Righteous Brothers in 1965, although it was written for the 1955 film Unchained. Several artists recorded it in the 1950s, including Les Baxter, Hamilton, Al Hibbler and June Valli. Elvis sang this serious love song in concert in the 1970s, and he Live performance in Ann Arbor, Michigan, on April 24, 1977. It was published posthumously. Love Me Tender Elvis was honored as the co-author of this love ballad, although it was actually composed by Ken Darby, who acted as the film's vocal overseer. Darby's wife, Vera Matson, also received recognition. The song is based on a Civil War-era ballad called Aura Lee (sometimes written by Aura Lea), written by W.W Fosdick and George R. Poulton. Aura Lee became a darling of the Union Army. Nearly 100 years later, the song became a crowd favorite again, this time as Elvis' Love Me Tender. Elvis' single release of the song reached its first in music history, when it received a pre-sale of more than 1 million copies. The film version of the song had slightly different lyrics and contained an additional verse. Elvis had always admired pop crooners like Dean Martin, and Love Me Tender gave him the opportunity to influence their soft tones. To learn more about Elvis Presley, see Love Me Tender is based on a Civil War-era ballad called Aura Lee. Advertisement Elvis Presley's first recording for Sun Records, That's All Right, seemed to come almost by chance. When Suns owner and operator Sam Phillips needed a singer to record a ballad called Without You, he remembered a young kid named Elvis Presley. Elvis had cut a few acetates at Phillips' Memphis Recording Service, and Phillips' assistant Marion Keisker had glued him for future references. Phillips decided to record Elvis Without You, but the inexperienced singer couldn't master the new song. Elvis sang some other melodies for Phillips, who was so impressed that he put it together with guitarist Scotty Moore for some spice. Moore, Elvis and bassist Bill Black worked together on the evening of July 5, 1954 at Sun, trying to find a sound that clicked. Nothing seemed to work. During a break, Elvis began to romp around with Arthur Big Boy Crudup's country blues tune That's All Right and sang it in a fast-paced, almost casual style. As Moore and Black stepped in, Phillips' voice jumped out of the control booth: What are you doing? That's All Right was Elvis Presley's first recording for Sun Records. Although it didn't reach the charts, it sent Elvis on his way to become a recording legend. Phillips was thrilled with the sound of the trio and recognized his potential. He recorded That's All Right that night and supported it a few days later with the bluegrass classic Blue Moon of Kentucky. Elvis' approach to both songs was different from the originals. He used a more relaxed singing style and a higher tone for That All Right as Crudup. He accelerated the tempo for Blue Moon of Kentucky and renounced the high-pitched bluegrass singing style. Two elements have been added to both songs, which famous -- syncopating and a slapback (electronically delayed) echo effect. Elvis' sun style became the epitome of rockabilly. That's All Right received extended sairplay on Dewey Phillips' Red Hot and Blue radio program on WHBQ, and it was released as a single on July 19, 1954. Sam Phillips, the producer of That's All Right born in 1923 and raised in 1923 at the gates of Florence, Alabama, was heavily influenced by his rural roots in the South. Phillips worked in the cotton fields with African-Americans and was exposed to gospel and blues music and experienced the poverty and hard lives of many depression-era families. As a record producer, he would use these experiences to form a new musical aesthetic -- a purely southern sound that combined black rhythm and blues and white country westerns with a hard philosophy born of bad times. The new music that came out -- a Dixie-fried sound called Rockabilly -- would have been released by Phillips' Sun Records in the mid-1950s and affect all rock 'n' roll. Phillips's genius was to recognize talented singers and musicians -- black and white -- who could convey the aesthetics he enimagined. Of his desire to record music from the South, Phillips mused: I just knew that this was culture, and it was so embedded in these people because of the need... Generation after generation, these [southern] people were overlooked -- black and white! Phillips was one of the first to be inducted into the Rock 'n' Roll Hall of Fame for his contributions to modern music. To learn more about Elvis Presley, see: Advertisement Baby Let's Play House, Elvis Presley's fourth single for Sun Records, recorded on February 5, 1955, was Presley's attempt to play nationally. Supported by I'm Left, You're Right, She's Gone, on the other hand, the song remained on Billboard's country charts for ten weeks and reached number ten. Rhythm and Blues singer Arthur Gunter wrote and recorded the song in 1954, based on country singer Eddy Arnold's 1951 hit I Want to Play House with You. As a rhythm-and-blues reworking of a country-western song, Baby Let's Play House was perfect for Elvis' rockabilly repertoire. Gunter himself had been influenced by rockabilly artists, and he made a good model for Elvis, who had bought a copy of Gunter's version last December at the House of Records in Memphis. Elvis made the song with the inclusion of the syncopated phrasing babe-babe-baby in the verse. He also tinkered with the lyrics and changed You May Have Religion to You May Drive a Pink Cadillac -- a humorous pre- narrative of the car he would be identified with. Sam Phillips added for the song drums, marking the first time that drums on a Presley single. When the song became known nationwide, it was referred to in trade journals as a country song, and few associated it with the relatively unknown rhythm-and-blues artist who had inspired Elvis. Elvis added Baby Let's Play House and I'm Left, You're Right, She's Gone to his act in the spring of 1955. Around this time, his popularity grew rapidly due to his appearances on the Louisiana Hayride radio show and because of the tour through the South with ever-larger country western shows. Elvis sang Baby Let's Play House during his second appearance on the Stage Show on February 4, 1956, when his sensual performance style began to create a national controversy. When his hip-swinging appearance on the stage show raised eyebrows, the lyrics to Baby Let's Play House added to the provocative connotation. Basically a sentence, the song is a plea of the singer to return to his girlfriend because he wants to play house with her, a slang term for an unmarried couple living or sleeping together. Despite the singer's plea, he takes a confrontational stance and says to his girl: I'd rather see you dead than with another man. Sun Records Apart from 3764 Elvis Presley Boulevard, 706 Union Avenue is arguably the most famous address in Memphis. In February 1952, Sam Phillips and the Memphis Recording Service opened the doors to Sun Records. Phillips had recorded blues artists such as Howlin' Wolf, B.B. King, Little Walter, Ike Turner, Little Junior Parker and Bobby Blue Bland since 1950, but he leased these recordings to other labels, including Chess Records and RPM Records. Until the sun was founded, there was no great place in the south for artists to accommodate. After Phillips founded Sun, he was able to publish his artists on his own label. Many know that the legendary producer has recorded blues and R&B performers, but less familiar are the country singers he recorded in 1953. He started with the Ripley Cotton Choppers and then moved to Doug Poindexter, Slim Rhodes and Warren Smith. After Elvis had success on the Sun label, others who became rockabilly legends signed with Phillips, including Jerry Lee Lewis, Carl Perkins, Johnny Cash, Roy Orbison, Charlie Rich, Conway Twitty and Charlie Feathers. Phillips sold Sun in 1969.To learn more about Elvis Presley, see: Presley's 1955 recording of Baby Let's Play House remained in the Billboard Top Ten for ten weeks. I walk a lonely street. So read the suicide note from an anonymous soul who ended his life in a Miami hotel. The Miami Herald published a photo of his on the front page with the headline Do You Know This Man? The story went on to say that the man had been discovered without identification. Police only found the note note one of his bags. In Gainesville, songwriter and musician Tommy Durden thought that the line in the note resonated the blues and made a great lyrics in a song. He sought the opinion of his friend Mae Boren Axton, who was a local songwriter, TV personality and publicist. Axton had once done some work for , and she suggested that they write the song for Elvis Presley. As the story tells, she once told Elvis that she would write his first million-dollar salesman. After Mae decided that you would find a Heartbreak hotel at the end of Lonely Street, the rest of the song was composed by the team within an hour. Glen Reeves, a local singer, recorded a demo recording of the song in a style that Elvis Presley proposed. Axton flew to Nashville in November 1955 to introduce Elvis, who was in Music City to attend a country music disc jockey event. Elvis loved the song and reportedly called Hot Dog, Mae! when he played it about ten times in a row. Heartbreak Hotel became the first record Elvis released on his new label RCA. In December 1955, RCA had reissued Elvis' Mystery Train, originally released on the Sun label, but the reissue did not sell very well. On January 10, 1956, Elvis entered RCA's studios in Nashville to record new material. Heartbreak Hotel was the second song Elvis recorded that day. Axton had asked Reeves to imitate Elvis' style on the demo, and Elvis copied Reeves' vocal intoments for his recording. This story shows that Elvis's style was familiar enough to be recognized as his at the time. It also illustrates Elvis' pattern when recording a demo. He copied the demo singer's interpretation whenever he recorded his version of a song. On Sun Records, Elvis was supported by Sentry Moore on guitar and Bill Black on bass. Later, a drummer was added -- a position that was eventually permanently occupied by D.J. Fontana. At RCA, Elvis' combo was accompanied by Chet Atkins on rhythm guitar and Floyd Cramer on piano, along with a gospel trio consisting of Ben and Brock Speer from the Speer Family and Gordon Stoker from . Heartbreak Hotel borrowed the echo sound associated with Elvis' Sun releases, perhaps even exaggerated. The effect is eerie, downright ghostly, especially during the opening lines of each verse when Elvis sings unaccompanied. His voice permeates, and the sound is desperate, perfectly capturing the alienation of the dissatisfied youth. The song was released as a single on January 27, 1956, supported by I Was the One. On Day Elvis appeared on Tommy and Jimmy Dorsey's TV series Stage Show, but he didn't sing Heartbreak Hotel until February 11. He sang it at two subsequent stage show appearances and his first appearance on the Milton Berle Show on April 3. that the The revelation undoubtedly helped make the song burst to the Billboard bestseller and juke box charts, where it stayed for eight weeks. The song also reached number one on the country charts and number three in the R&B charts. It became Elvis's first millionaire seller, just as Axton had predicted. Mae, Ken and Mrs. Ed Wood Elvis recorded hundreds of songs written by a variety of composers during his career, so it's not surprising that some of these songwriters might fall under the headline. Mae Boren Axton, the co-author of Heartbreak Hotel, was an English teacher who worked on the periphery of show business while living in Florida. She had worked as a publicist for Hank Snow All-Star Jamboree, who also employed Colonel Tom Parker. Axton was the sister of Senator David Boren of Oklahoma and the mother of singer and actor Hoyt Axton. After Elvis' death, she contributed to the liner notes of Ronnie McDowell's The King Is Gone. Oscar-winning composer Ken Darby wrote and arranged Love Me Tender for Elvis' first film. At the beginning of his career, Darby made a unique contribution to American film culture when he performed an unusual task for the film The Wizard of Oz. He was responsible for the unmistakable sound of the Voices of the Munchkins. Dolores Fuller wrote 12 songs for Elvis, including Rock-a-Hula Baby, Do the Clam and Barefoot Ballad. Fuller was the wife of Ed Wood, Jr., a now-famous director of horror and exploitation films who worked on the fringes of the industry in the 1950s and 1960s. In 1954 she starred in his film Jail Bait. To learn more about Elvis Presley, see Heartbreak Hotel was inspired by the suicide note of a man who ended his life in a Miami hotel. Advertising After Elvis Presley rocked the Milton Berle Show with his bump-and-grind rendition of Hound Dog, this sombre R&B melody was indelibly associated with his name. However, he wasn't the first to make a hit version of it, nor did he sing the original lyrics. The song was written in 1952 by Jerry Leiber and Mike Stoller for the blues singer Willie Mae Big Mama Thornton at the request of Johnny Otis, a lively bandleader, producer, composer and R&B deejay. Otis invited the team to watch Thornton rehearse in his garage studio. After watching the mighty singer string out a few numbers, Leiber and Stoller composed Hound Dog -- a song about a gigolo -- in about ten minutes. Thornton snarled the cheeky lyrics into a hard blues beat, and Hound Dog sold more than half a million copies, climbed to number one on the R&B charts and became a one in 1953 on the R&B market. Memphis disc jockey Rufus Thomas recorded a response song called Bear Cat, which was released on Sam Phillips' Sun label. Several performers cover Hound Dog, including country artists Tommy Duncan, Betsy Gay, Jack Turner and Billy Billy and lounge act Freddie Bell and the Bellboys. Bell revived the tempo and manipulated the lyrics in a humorous way, adding: You never caught a rabbit, and you're not a friend of mine. Elvis caught the Bellboys in April 1956 when he was booked at the New Frontier Hotel in Las Vegas. Although Elvis and his combo flopped in Vegas, he brought a small souvenir in the form of Bell's comedic version of Hound Dog. Part of the reason Elvis' version became so famous was undoubtedly due to television. Elvis introduced the song to a national audience on The Milton Berle Show on June 5, 1956, and the attention generated by this controversial performance led to a booking on the Steve Allen Show, where Elvis playfully sang the song to a basset dog. When Elvis Hound Dog sang on The Ed Sullivan Show, the song was associated with controversy. Elvis teased Sullivan's studio audience, who were ready for fireworks by the young singer, starting the song after the first note and then stopping. A male singer who belts out the opening line to Hound Dog seems strange because the song was clearly written for a female voice, and Elvis's decision to include Hound Dog in his repertoire was interpreted differently by rock music historians. Some insist that Elvis must have been familiar with the Thornton version because he was an R&B enthusiast, and they speculate that he recorded Bell's version because he recognized his sense of humour. Critics suspect that he has acquired the blues melody without recognizing its roots. It seems likely, however, that Elvis knew about Thornton's record. Although Elvis' recorded version was a rock 'n' roll interpretation patterned according to Bells, his rendition in the Berle show owes something to the snarling, bump-and-grind vernacular of Thornton's bluesy Hound Dog. Under pressure from producer Steve Sholes to record the melody, Elvis finally admitted Hound Dog to RCA's New York studios after about 30 takes. Supported by Don't Be Cruel, the record became the biggest two-page hit single in history. To learn more about Elvis Presley, see: Although Hound Dog was originally sung by Big Mama Thornton, Elvis Presley's famous television appearances later linked his name to the melody. Advertising Elvis Presley's Hound Dog and Don't Be Cruel became a double-sided hit that climbed to number one and maintained that position for 11 weeks -- longer than any other rock 'n' roll release. It also reached number one in the country western and rhythm-and-blues charts. Don't Be Cruel was written by rhythm-and-blues singer-songwriter Otis Blackwell, although Elvis has a co-writing credit Blackwell had sold the song to music publisher Shalimar Music on Christmas Eve 1955 for 25 US dollars. Elvis' parent publisher Hill and Range had purchased the song, and the demo was one of a stack that was the hot new new during an RCA recording session in July 1956. When Elvis wanted to record the song, Blackwell was told that he had to cut a deal and share the author's credit with him, although Elvis did not contribute to writing the song. Blackwell was uneasy about the deal, but he realized he would make a lot of money with royalties -- even at half-interest -- when Elvis recorded the song. This wouldn't be the last time Elvis received a written credit for a song he didn't originally compose. During the recording session, Elvis rehearsed the song a few times with his regular backup musicians, a piano player hired by RCA and the Jordanaires. Then the group worked on the song and refined it as they went through nearly 30 takes. All the musicians have contributed in their own way. D.J. Fontana used Elvis' leather-covered guitar as a makeshift drum to capture a snare effect by placing it over his lap and hitting it on the back with a racket. Their efforts led to one of Elvis' most popular songs and one of his personal favorites. The total sales for each Presley single are often difficult to calculate, but until March 1992 Don't Be Cruel/Hound Dog was awarded triple platinum status by the RIAA. To learn more about Elvis Presley, see: Elvis' Don't Be Cruel, the B-side of the Hound Dog single, has topped the charts for 11 weeks. Inserent Otis Blackwell, who had written Don't Be Cruel, also wrote Elvis Presley's number one hit . In retrospect, the melody is more overshadowed by Elvis' other great recordings from 1957, but All Shook Up has worked out some interesting statistics in his time. The song remained at the top of the Billboard pop charts for nine weeks and remained in the charts for 30 weeks -- the longest of all Elvis singles. At the end of the year, All Shook Up was named the number one single in 1957. Elvis also had the number one single for 1956, Heartbreak Hotel, which made him the first singer of the rock era to top the charts at the end of the year for two years in a row. Blackwell's inspiration for the title All Shook Up comes from a banal incident straight out of everyday life, although the story has undoubtedly been amplified by repeated narratives. While working as a songwriter for Shalimar Music, Blackwell sat in the office trying to find a new powerhouse tune. Unlike some reports, Blackwell did not compose the melody specifically for Elvis as a result of Don't Be Cruel. Two other singers, David Hill and Vicki Young, recorded All Shook Up in front of him. Elvis recorded the tune in Hollywood on Radio Recorders in January 1957. In his version, Elvis handed himself over as he hit the back of his guitar, making it a pleasant to his Sun Studio sound. Again, Blackwell reluctantly agreed to share a written loan with Elvis or Elvis' management. Share. Colonel Parker and the music publishers Hill and Range) would not have allowed him to record the melody. To learn more about Elvis Presley, see: Legend has it that the inspiration for Elvis' All Shook Up came from a foaming soda bottle. Al Stanton, one of the music publisher's owners, fell in while dropping a bottle of soda. He shook the bottle so that the contents foamed and flashed, and casually remarked, 'Why don't you write a song called 'AII Shook Up?' A few days later, Blackwell surprised Stanton with a draft of the song. Advertising Jailhouse Rock, written by the legendary Jerry Leiber and Mike Stoller, became another number one record for Elvis Presley. It entered the UK charts at number one, making it the first single ever. The rock 'n' roll songwriting duo were commissioned to write most of the songs for the film Jailhouse Rock, although they were nuptled by the task. Before Jailhouse, Rock Elvis had recorded a handful of songs by Leiber and Stoller, including Hound Dog, 'Love Me and a few songs from . The two songwriters were not impressed by Elvis' interpretation of their material. Leiber and Stoller tended to write hard-driving, R&B-spiced runes with satirical or tongue-in-cheek texts that could be understood on more than one level. Elvis, on the other hand, played most of his material just when he recorded the duo Love Me, which they had originally thought of as a lampoon of country western music. Leiber and Stoller also felt that Elvis's trip to the R&B territory was a curse, and they were suspicious of his interest in blues and rhythm and blues. The three met during the recording session for Jailhouse Rock in April 1957, and Leiber and Stoller quickly changed their minds about Elvis when they realized that he knew his music and that he was a workhorse in the studio. The couple took over the recording sessions and served as the unofficial producer of Jailhouse Rock, 'Treat Me Nice, (You're So Square) Baby, I Don't Care and other melodies. Her collaboration with Elvis and his musicians at Jailhouse Rock led to the singer's toughest film song. As D.J. Fontana once remarked about his drumming on the record, I tried to think of someone in a chain gang smashing stones. The short time Leiber and Stoller worked with Elvis proved to be beneficial for both sides. The irony and ambiguity in the lyrics of Jailhouse Rock gave Elvis one of his smartest rockers, while the singer's sincere and energetic delivery prevented the song from becoming too much of a burlesque -- a trend with some of Leiber and Stoller's songs for the Coasters Were. The songwriters hung out with Elvis long enough to contribute to the soundtrack, among other things, but eventually they ran against Elvis' management to introduce him. Introduce. new challenges. To learn more about Elvis Presley, see: Jailhouse Rock, written by leiber and Stoller, became the first single ever to reach number one on the UK charts. Advertising Who could have guessed that It's Now or Never, a reworked version of the 1901 Italian opera classic O Sole Mio with a cha-cha arrangement, would become Elvis Presley's best-selling single? But then, in 1956, when Elvis was insulted by most of the country's newspapers to push his hips to the bluesy beat of Hound Dog, no one would have guessed that he would become a press darling in just four short years. Elvis won the hearts and minds of the mainstream press and the general public by quietly serving his country in the army. This helped to soften his image as a dangerous rock 'n' roller. Elvis continued to distance himself from this image and began to distance himself from rock 'n' roll when he returned to the recording in 1960. It's Now or Never was an important single release for Elvis. It received airplay on conservative radio stations that hadn't touched a Presley record before, leaving Elvis out to a wider, adult audience. But Elvis didn't record the song just to win over a wider audience. O Sole Mio was written by G. Capumo and Eduardo di Capua at the turn of the century, but much later popularized by Mario Lanza. Elvis was a fan of Lanza and no doubt heard the opera singer's recording, but he had also heard the English version of Tony Martin's song There's No Tomorrow. While still in the Army, Elvis asked his music publisher Freddie Bienstock of Hill and Range (part of RCA) to find someone to write new lyrics for the song. The only songwriters to join Hill and Range were Aaron Schroeder and Wally Gold, who had the chance because they knew that the royalties of an Elvis Presley song would be enormous. They composed the lyrics in less than half an hour. A singer named David Hill (aka David Hess) recorded the demo with a cha-cha arrangement, and Elvis loved it. He was challenged by the operatic style, and he was attracted by the drama. It's Now or Never mapped for 20 weeks, holds the number one slot for five weeks. According to The Guiness Book of Recorded Sound, the voices have sold 20 million copies worldwide. To learn more about Elvis Presley, see It's Now or Never, a revised version of the 1901 Italian operatic style O Sole Mio, Elvis introduced to a wider, more grown-up audience. Advertising Can't Help Falling in Love, written especially for Blue Hawaii by George Weiss, Hugo Peretti and Luigi Creatore, is remembered when the ballad Elvis Presley performed his concerts in the years. In the film, Elvis's character sings it to his girlfriend's grandmother for his birthday, but that context has long since been forgotten. Forget. Elvis has sung it so many times in concert, it is more fitting to say that the song belongs to the fans. It speaks to the way the fans felt about Elvis, and it was his love song to them. Just as It's Now or Never is based on O Sole Mio, Can't Help Falling in Love has been adapted from an 18th-century tune by Italian composer Giovanni Martini. A handful of songs from Elvis's career were based on classical compositions or melodies, and he rose to the occasion by offering serious, tender or passionate interpretations of them. The single hit the charts in December 1961. It reached number two in Billboard's The Hot 100 and remained in the charts for 14 weeks. In March 1962, the RIAA awarded a gold record for Can't Help Falling in Love and a platinum record exactly 30 years later. Record collectors should note that the film version of Can't Help Falling in Love was not the one released as a single or on the album. Two takes of the film version were recorded together with a recording of the single version. The film version of Can't Help Falling in Love was released after Elvis' death. To learn more about Elvis Presley, see: Elvis Presley's performance of If I Can Dream was an anomoly in many ways. Colonel Tom Parker had originally planned Elvis' 1968 TV special for NBC-TV as a Christmas program in which his boy sang holiday classics for an hour. The producers, however, had something more demanding in mind. And for once the colonel did not come. But even with the format change for the program, the colonel expected Elvis to end the show by singing Silent Night. Elvis was allegedly filmed singing the Christmas song just to appease Parker, but things still didn't go as the Colonel had planned. The program, simply called Elvis, ended with the moving contemporary spiritual If I Can Dream. The song was written at the last minute at the request of the show's producer, Steve Binder. The musical director of Elvis, W. Earl Brown, wrote the song in response to the assassination slayings of Robert Kennedy and Martin Luther King. It was intended as a declaration of hope for the future of America. Elvis loved If I Can Dream, and he gave everything he had. The instrumental track was recorded on June 20 or 21, 1968. Elvis sang the song in front of the orchestra's string group while the instrumental part was recorded. Although his vocals were not to be used in the final version, he still sang it with all the passion that inspired the song, and even fell to his knee at one point. The effect left the string section open with the mouth. Later, Elvis took the chant in a Studio again, and again he performed the song instead of just recording it. The single was released in November, shortly before the special aired. In In One of RCA's worst marketing decisions, the downside included Edge of Reality, a bad tune from one of Elvis' worst films, Live a Little, Love a Little. Nevertheless, If I Can Dream climbed to number 12 on the charts and earned Elvis another gold record. To learn more about Elvis Presley, see: Elvis Presley's last number-one single Suspicious Minds provides an example of the large-format sound that defined his later style. At four minutes and 22 seconds, it's his longest number one song, and in his Las Vegas shows, he stretched it to a powerhouse, a show-stopping piece that ran for eight minutes. Elvis had presented the song on July 26, 1969 in Vegas, when he made his first live performance in eight years at the International Hotel. It was released as a single the following September. It entered the Billboard Hot 100 chart and reached number one seven weeks later. The song was originally recorded at American Sound Studios on January 23, 1969, but was released until later. Suspicious Minds included backing vocals by Jeannie Green and Ronnie Milsap, a singer-songwriter who later became a prominent country western star. To achieve the big sound, Elvis' Las Vegas band was overdone in a recording studio in Vegas in August. The end of the song was also spliced a second time. This overdubbing and remixing was supervised by Elvis' producer Felton Jarvis. Suspicious Minds, released in 1969, was Elvis Presley's last number one hit. After two recording sessions at American Sound Studios in January and February 1969, Elvis never recorded there again. Part of the reason was undoubtedly due to a dispute over the rights to the songs that producer Chips Moman had proposed for Elvis, including Suspicious Minds. RCA and Hill and Range, which oversaw Elvis's own publishers, wanted a substantial reduction in the songs in which Moman owned the rights. When Moman refused, there was pressure to let these songs slide through the sessions without being recorded. Some seradiematerial materials were not recorded by Elvis because of the haggling over song rights of Hill and Range. Moman didn't want to get involved with Suspicious Minds, and he threatened to cancel the session if Freddie Bienstock of Hill and Range didn't back down. Luckily, Elvis picked up Suspicious Minds, but the tension over song rights took its toll. To learn more about Elvis Presley, see: The highlight of Elvis Presley's studio sessions in Hollywood in March 1972 was the recording of Burning Love. At that time, Elvis and his band were masters of this kind of large-format, fast-rocking numbers, and his interpretation of the features its sound from the 1970s. Dennis Linde composed Burning Love especially for Elvis, and the songwriter played guitar on the recording. It was Linde who, in the Guitar licking on the bridges of the song. In the 1970s, he occasionally appeared as a bass guitarist on Elvis' record band. Burning Love became a world hit for Elvis in 1972, and it quickly became on Billboard's Hot 100. As number two, she narrowly missed out on a number one record. Chuck Berry's My Ding-a-Ling didn't keep Burning Love at the top of the charts. The record was awarded gold by the RIAA in October 1972 and platinum in March 1992. Unfortunately, Elvis didn't follow up the excitement generated by the rocky Burning Love. His next single was a ballad, Separate Ways, supported by Always on My Mind, which reached number 20 on the Hot 100 chart. In addition, RCA buried Burning Love and its downside, It's a Matter of Time, on an album of old movie titles with the creative title Burning Love and Hits from His Movies, Volume 2. In terms of Elvis's career, this hit song seems to have been lost amid poor marketing decisions. To learn more about Elvis Presley, see: Elvis' rough interpretation of Burning Love features his 1970s sound. Hound Dog was written in 1953 by Jerry Leiber and Mike Stoller for the blues singer Big Mama Thornton. The original lyrics contain a sexual connotation, and Thornton laced her version in a dark, slow blues style. Elvis' humorous interpretation was borrowed from Freddie Bell and the Bellboys. Elvis recorded two versions of the Dave Bartholomew-Pearl King blues melody One Night of Sin, which was a hit for Smiley Lewis in 1956. On January 24, 1957, he recorded Lewis's version, and a month later he recorded the song as One Night with tidy lyrics. In Lewis' risqué Original, the singer prays for A Night of Sin while in Elvis' more hopeful rendition on A Night with You... Hopes. Tin Pan Alley songwriters Lou Handman and Roy Turk composed Are You Lonesome Tonight? (To-night on original plate cover) in 1926, and it was originally recorded by Al Jolson the following year. Supposedly the only song Colonel Tom Parker ever got Elvis to record Are You Lonesome Tonight? Published by Elvis in 1960 and nominated for three Grammys. Bridge Over Troubled Water was composed by Paul Simon and Art Garfunkel and recorded by the folk-rock duo in 1970. Elvis recorded his version, which had a bigger sound and a more dramatic vocal rendition, while filming Elvis -- That's the Way It Is. Eddy Arnold, the Tennessee Plowboy, had a hit record in 1954 with the soft-sounding ballad I Really Don't Want to Know, just as Elvis was storming through the South with his rockabilly style. The song was composed in 1970 by Howard Barnes and Don Robertson and was written by Elvis in 1970 another country tune, There Goes My Everything, on the other side. These songs represent Elvis' Elvis' contemporary country music in the 1970s. Originally arranged and recorded by country singer Mickey Newbury, An American Trilogy is a medley of Dixie, The Battle Hymn of the Republic and All My Trials. The integration of two Civil War songs (one a Southern anthem, the other a northern anthem) with a traditional spirituality suggests the strange southern tradition of mixing different cultural elements. Elvis's 1972 version of the play offered an operatic interpretation that matched the song's meaning. Elvis sang James Taylor's composition Steamroller Blues in concerts in the early 1970s, but his sombre rendition during the Aloha from Hawaii TV Special halted the show. The version of the special was released as a single in April 1973. In 1968, country singer Marty Robbins wrote You Gave Me a Mountain, a rousing ballad about the plight of life. Although pop star Frankie Laine was the first to release it, Elvis began singing the song in concert in the early 1970s and released it in 1973. Elvis' interpretation is widely considered autobiographical as it was parallel to his split from . My Way, an anthem of independence and individuality, was written by Paul Anka for Frank Sinatra and originally recorded by him in 1969. Elvis sang My Way on the Aloha from Hawaii TV Special and in concert in the 1970s. A recording of this song by Elvis was released shortly after his death, making it almost a biographical statement. To learn more about Elvis Presley, see: Many of Elvis' biggest hits were creative interpretations of old standards. Elvis Presley's best cover songs showcase Presley's talents as a performer, musician and interpreter of ancient traditions. That's All Right was written and recorded by Arthur Big Boy Crudup in 1947 as a country blues melody and reworked by Elvis in 1955. His faster, rocky interpretation became his first single release. The work of Elvis Presley's songwriters is extraordinarily famous; many of the composers themselves, however, are less well known. Below are biographies of some of Elvis' best-known songwriters. Otis Blackwell The respected singer-songwriter Otis Blackwell composed many rock 'n' roll standards in the 1950s and 1960s. Born in Brooklyn in 1932, Blackwell grew up with country western singer and actor Tex Ritter. Otis became an employee of Shalimar Music in early 1956, after selling six songs to the company for USD 25 each, including Don't Be Cruel. Blackwell was standing in front of the Brill Building (home of Rock 'n' Roll Music Publishing) in New York City on Christmas Eve when an arranger asked him if he had songs to sell. He took otis then to meet Shalimar's owners, who bought the songs and hired him after the holidays. Elvis recorded ten Blackwell compositions, including Fever (written with Eddie Eddie All Shook Up, Paralyzed and Return to Sender (rewritten with Winfield Scott). Blackwell's other rock 'n' roll classics include Jerry Lee Lewis' Great Balls of Fire and Breathless. Blackwell sang for Elvis and Jerry Lee on the demos of his songs and imitated their styles, but Blackwell and Elvis never met. Mac Davis, dubbed the Song Painter by Glen Campbell, is known for composing songs that paint a picture or tell a story with concrete images. In the 1970s, Davis teamed up with Billy Strange, and Elvis recorded several Davis Strange compositions. The pair provided Elvis with the title song for Charro!, the tune Nothingville from the FERNSEHspecial Elvis, a thoughtful ballad called Memories and some light pieces called Clean Up Your Own Back Yard and A Little Less Conversation. Alone, Davis wrote two of Elvis' greatest hits of the 1970s, the socially conscious In the Ghetto and the sentimental ballad Don't Cry Daddy. In the late 1960s and 1970s, Davis's compositions were recorded by great artists including Lou Rawls, Bobby Goldsboro, Glen Campbell, Kenny Rogers, Andy Williams, Sammy Davis, Jr., and Dolly Parton. Davis ventured into acting in the 1970s and starred in a handful of major Hollywood films, including North Dallas Forty and Cheaper to Keep Her. Leiber And Stoller Jerry Leiber and Mike Stoller adapted aspects of blues and R&B while writing for rock 'n' roll performers. Their integration of these musical genres in the 1950s expanded the commercial possibilities of rock 'n' roll. The couple met in Los Angeles in 1950, when they were just 17 years old. Stoller of the musicians and bodies of songwriters they found a common interest in blues and R&B, so they spent the summer writing songs in these styles. Sill, Sales Manager at Modem Records, took them under his leadership and introduced them to the performers and industry representatives. Despite their youth, the couple did well, as the celebrity Tin Pan Alley songwriterof the day thought rock 'n' roll was among them. Leiber and Stoller are known for structuring their songs like Playlets. That is, they tell a story -- usually with wit or satire -- within the three-minute length of a popular song. Elvis recorded about two dozen Leiber and Stoller melodies, including Hound Dog and Jailhouse Rock. Doc Pomus and Mort Shuman, Brooklyn-born Doc Pomus, and New York-born Mort Shuman wrote 15 songs for Elvis, including some used for his film soundtracks. The unforgettable title song for Viva Las Vegas was composed by Pomus and Shuman especially for the film. Other film songs included earlier Pomus Shuman compositions, which for which soundtracks have been recycled. Pomus wrote a few other soundtrack songs with other songwriters, including , I Feel That I've Known You Forever and She's Not You. The best work of the team team for Elvis' non-soundtrack recordings, including the million-selling Little Sister. Other important Pomus Shuman compositions are Surrender, based on the Italian ballad Come Back to Sorrento and Suspicion. Pomus and Shuman also wrote some rock classics for other artists, including This Magic Moment and Save the Last Dance for Me by the Drifters and A Teenager in Love by Dion and the Belmonts. Jerry Reed Born in Atlanta, Georgia, on March 20, 1937, country singer and songwriter Jerry Reed Hubbard composed four songs recorded by Elvis. Although this is only a handful compared to other songwriters who wrote for Elvis, two of the songs were Guitar Man and U.S. Male. These songs were recorded just before the wave of creativity generated by the FERNSEHspecial Elvis. The songs were a departure from the soundtrack recordings towards higher-quality material with contemporary flair. Reed also played guitar for Elvis in Guitar Man. Reed was one of several musicians from the South who had been influenced by Elvis and later collaborated with him. In 1967, Reed Tupelo recorded Mississippi Flash, an Elvis novelty record that was a comic alto tribute to his idol. Reed's career as a performer accelerated in the 1970s. He benefited from his rowing good-old-boy image as a fashion for things that hit Southern Hollywood. He starred with Burt Reynolds in four films, including the popular Smokey and the Bandit. Ben Weisman, born in Providence, Rhode Island, in 1921, wrote or wrote more than 50 songs for Elvis -- more than any other songwriter. Weisman began his productive collaboration with Elvis with First in Line, which began in 1956. He was often with Fred Wise, but also composed with Aaron Schroeder and Randy Starr. Many of Weisman's compositions were written for Elvis's film soundtracks, so they fit into the plot or advance the plot. Most were in the smooth, pop-flavored style that defines Elvis soundtrack recordings. Within these limits, Weisman sometimes came up with some memorable runes. His best are Crawfish by King Creole, the theme tune of Follow That Dream, Rock-a-Hula Baby from Blue Hawaii, I Slipped, I Stumbled, I Fell by Wild in the Country and Got a Lot o' Livin' to Do by Loving You. In his later career, Weisman had a recurring role in the CBS soap opera The Young and the Restless as a pianist at the club Allegro.To learn more about Elvis Presley, see: Elvis' songwriters worked behind the scenes to create unforgettable performances. Elvis Presley recorded well over a thousand songs over the course of his career. The titles range from bubbly summer film themes to heartfelt love ballads to old ones The following pages show the complete recordings of Elvis in alphabetical order. The following are titles A to F. (Alla (Alla El Rancho Grande(Es ist A) Lang, Lonely Highway (Let Me Be Your) Teddy Bear (Marie es the Name Of) His Latest Flame (Now and Then There es) A Fool Such as I(Such An) Easy Question (That es What You Get) For Lovin' Me (There'll Be) (For Me) (There es) No Room to Rhumba in a Sports Car (You're So Square) Baby I Don't Care (You're the) Devil in Disguise A Big Hunk O' LoveA Boy Like Me , A Girl Like You A Cane and a High Starched Collar A Dog es Life A Fan A Fool Such as I A House That Has Everything A Hundred Years From Now A Little Less Conversation A Little Bit of Green A Matter of Time A Mess of Blues A Thing Called Love A Woman es Love (Thrill of Your Love)A World of Our Own Adam and Evil Adeste Fideles After Loving YouAin't That Lovin' You Baby Alles, was ich brauchte, war der Regen in Ordnung, Okay, Sie gewinnen alle Shook Up All That I AmAlmost Always True Almost Always True Aloha Oe Auch Sprach Zarathustra Always on My Mind Am I Ready Amazing Grace America the Beautiful America American Trilogy An Evening Party An Evening Prayer An Old Christmas Card And I Love You So And the Grass Won't Pay No Mind Angel Animal Instinct Any Day Now Any Way Want Me ( That es How I Will Be) Jeder (Könnte sich in dich verlieben)Anyplace is Paradise Anything That es a Part of You Are You Lonesome Tonight? Are You Sincere As Long As I Have You As We Travel Along the Jericho RoadAsk Me At the End of the Road Aura Lee (Love Me Tender) Away in a Manger Baby Face Baby I Don't Care Baby Let es Play House Baby, If You'll Give Me All of Your Love Baby, What You Want Me to Do Bama Lama Bama Loo Barefoot Ballad Beach Boy Blues Beach Shack Big BootsBig Boss Man Big Love , Big Heartache Bitter They Are, Harder They Fall Black Bottom StompBlack Star Blessed Jesus (Hold My Hand) Blind Date Blowin' in the Wind Blue Christmas Blue Eyes Cryin' in the Rain Blue Hawaii Blue Moon of Kentucky Blue Moon Blue River Blue Suede Shoes Blueberry Hill Blues Boogie Bo Diddley Born to Rock Bosom of Abraham Bossa Nova Baby Bridge Over Troubled Water By By the Light of the Silvery Moon C'mon Everybody C.C. Rider Can't Believe You want to Leave Can't Help Fallin' in Love Care if the Sun Don't Shine Carny Town Catchin' on Fast Cattle Call Change of Habit Charro! ChesayCindy, Cindy City by Night Clean Up Your Own Backyard Come Along Was kann Konzert FeverConfidence Cotton Candy Land Cotton Fields Could I Fall in Love Crawfish Crazy Arms Cross My Heart and Hope to Die Crying in the Chapel Dainty Little Moonbeams Danny Boy Danny Dark Moon Darling Wait for Me Datin' Deck the Halls Devil in Disguise Didja' Ever Dirty , Dirty Feeling Dixieland Rock Do Not Disturb Do the Clam Do the Vega Do You Enjoy Your Work Do You Have Any Time to ReadDo You Wer bin ich? Do You Like to Work Do You Like Yourself Do You Think You've Changed Much Doin' the Best I Can Dominic Don't Ask Me Why Don't Be Cruel Don't Cry Daddy Don't Forbid Me Don't Leave Me Now Don't Think Twice, It es All Right Don't Don't Doncha' Think It es Time Double Trouble Down by the Down Riverside in the Alley Drums of the Islands Early Mornin' , Easy Go Easy Question Echoes of LoveEdge of Reality El Paso El Toro End of the RoadEnd Theme Everybody Come Onboard Everyday Faded LoveFairytale Faithful and True Fame and Fortune Farther Along Fever Fin in Acapulco Find Out What es Happening Finders Keepers, Losers Weepers Fire Down Below First in line Five Sleepyheads Flaming Star Flip Flop and Fly Follow That Dream Fool , Fool, Fool Fools Fall in Love Fools Rush In For Ol' Times Sake For the Good Times For the HeartFor the Millionth and Last TimeForget Me NeverFort Lauderdale Chamber of CommerceFountain of LoveFrankfort SpecialFrankie and JohnnyFree the LadyFroggie Went A-Courtin'From a Jack to a KingFrom to the Promised LandFun in AcapulcoFunny How Time Slips Away : Die folgende Tabelle zeigt die Titel G - I von Elvis Presleys aufgenommenen Songs. G.I. BluesG.I. Rock 'N' Roll Sanft auf meinem Geist sanft Mädchen glücklich Mädchen von mir Mädchen! Mädchen! Mädchen! Give Me the Right Go East Young Man God Rest Ye Merry Gentlemen Goin' Home Going Home to the USA Golden Coins going to Get Back Back To Home Somehow Good Golly Miss Molly Good King Wenceslas Good Luck Charm Good Rockin' Tonight Good Time Charlie es Got the Blues Got a Lot O' Livin' to Do! Got My Mojo Working Green, Green Grass of Home Guadalajara Guitar Man Hands Off Happy Ending Harbor Lights Hard Headed Woman Hard Knocks Hard Luck Harem Holiday Have a Happy Have I Told You Lately That I Love You Hawaiian Sunset Hawaiian Wedding Song He Is My Everything He Knows Just What I Need He Touched Me He'll Have to Go He es Your Onkel , Not Your Dad Heart of Rome Heartbeat Heartbreak Hotel Hearts of Stone Help Me Make It Through the Night Help Me He Here Comes Santa Claus Hey Jude Hey Little Girl Hey, Hey, Hey Hi-Heel Sneakers Hide Hou Me His Hand in MineHis Latest Flame Holly Leaves and Christmas Trees Home Is Where the Heart Is Honey, Honey, Honey, Treat Me Nice Hot Dog Hound Dog House of Sand How Can You Lose What You Never Had Relax How Do You Think I Feel How Great Thou ArtHow Long Can You Give Love How the Web Was Woven How Would You Like to Be Big Boss Man How Would You Like to Be? How es the World Treating You I Asked the Lord I Beg of You I Believe in the Man in the Sky I Believe I Believe I Can Help I Can't Help It (If I'm Still in Love With You) I Can't Stop Loving You I Didn't Make It on Playing Guitar I Don't Care if the Sun Don't Shine I Don't Want To Be Tied I Don't Want To I Feel So Bad I Feel That I Feel That I'Ve An to Forget I Got a Feelin' in My Body I Got a Sweetie I Got a Woman I Got Stung I Gotta Know I Hear a Sweet Voice Calling I Just Can't Help Believin' I Just Can't Make It by Myself I Love Only One Girl I Love You Because I Met Her Today I Miss You I Need Somebody to Lean On I Need You So I Need Your Love Tonight I Really Don't Want to Wissen, dass ich freigelassen werden Werde ich slipped, I Stumbled, I Fell I Think I'm Like It Here I Tried I Understand (Just How You Feel) I Want to Be Free I Want You With Me I Want You, I Need You, I Love You I Want You With Me I Was Born About 10,000 Years Ago I Was the One I Washed My Hands in Muddy Water I Will Be Home Again I Will Be True I'll Be I'll Be Home Again I'll Be Home for Christmas I'll Be Home on Christmas Day I'll Be There I'll Hold You in My Heart (Till I Can Hold You in My Arms) I'll Never Fall in Love Again I'll Never Know I'll Never Let You Go I'll Never Stand in Your Way I'll Remember You I'll Take Love I'll Take You Home Again , KathleenI'm a I'm Beginning to Forget You I'm Comin' Home I'm Counting on You I'm Falling in Love Tonight I'm going to Bid My Blues Goodbye I'm going to Sit Right Down and Cry I'm going to Walk Dem Golden Stairs I'm Leavin' I'm Left, You're Right, She es Gone I'm Movin' On I'm Not the Marrying Kind I'm So Lonesome I Could Cry I'm With a Crowd But So Alone I'm Yours I've Been Blue I've Got a Thing About You Baby I've Got a Woman I've Got Confidence I've Got to Find My Baby I've Lost You I, John If Every Day was Like Christmas Day If I Can Dream If I Get Home On Christmas Day If I Loved You If I'm You If I'm a Fool If That Isn't Love If the Lord Wasn't Walking by My Side If We Never Meet Again If You Don't Come Back If You Had a Child If You Me Know) If You Talk in Your Sleep If You Think I Don't Need You In My Father es House In My Way In the Garden In the Ghetto In The ArmsIndescribably BlueInherit the Wind Is It So Strange Island of Love It A in't No Big Thing (But It es Growing) It Came Upon a Midnight Clear It Feels So RightIt Hurts Me It Is No Secret It Is So Strange It Keeps Right on A-Hurtin' It Won't Be Long It Won't Seem Like Christmas (Without You)It es Impossible It es Just a Matter of Time It es a Matter of Time It es a Sin It es a Wonderful World It es Carnival Time It es Diff'rent Now It es Easy for You It es Impossible It es Just a Matter of TimeIt es Midnight It es No Fun Being Lonely It es Now or Never (O Sole Mio) It es Only Love It es Only Love It es , You Rock It Ito EatsUm mehr über Elvis Presley zu erfahren, siehe: Die Charts unten zeigen die Titel J - P von Elvis Presleys aufgenommenen Songs. Jack und JillJailhouse Rock Jamabalaya Jam Jaycee es Speech Jenny Jenny Jerry es Boogie Jesus Walked That Lonesome Valley Jingle Bells Johnny B. Goode Joshua Fit the Battle Joy to the World Judy Just a Little Bit Just a Little Talk Jesus Just Because Because Call Me Lonesome Just for Old Times Sake Just Pretend Just Tell Her Jim Said Hello Keep a Knockin' Keeper of the Key Kentucky Rain King Creole King of the Whole Wide World Kismet Kiss Me Once Kiss Me Quick Kissin' Cousins Known Only to Him Ku-U-I-Po (Hawaiian Sweetheart)Lady Madonna Lawdy Miss Clawdy Lead Me, Guide Me Learning the Game Let It Be Me (Je T'Appartiens) Let It Snow! Lass es schneien! Lass es schneien! Let Me Be There Let Me Let Us Pray Let Let Let es Be Friends Let es Forget About the Stars Life Like a Baby Listen to Me Little Cabin on the Hill Little Darlin' Little Egypt Little Sister Lonely Man Lonely Soldier BoyLonesome Cowboy Long Black Limousine Long Legged Girl Long Lonely Highway Long Lonely Highway Long Tall Sally Look Out Broadway Louisiana Hayride Theme Love Coming Down Love Letters Love Me Tender Love Me , Love the Life I Lead Love Me Love Song of the Year Love es Made a Fool of You Lover Doll Lovin' Arms Loving You Lucille Make Me Know Me Know The World Go Away Mama Liked the Roses Mama Mansion Over the Hilltop Marguerita Mary in the Morning Mary Lou Brown Maybe Baby Maybelline Mean Woman Blues Meanest Girl in Town Memories Memphis Tennessee Men With Broken Hearts , Baby Mess oder Blues Nachricht von Elvis Mexiko Marguerita Mexiko Mitternacht Schicht Milch Milch Blues Milchmann Milchmann Milchmann Milchwittmeln Mein Wunder des Rosenkranzes Mirage Miss Ann Mona Lisa Geld Honig Moondreams Moonlight Swim Mr. Songman My Babe My Baby Left Me My Baby es Gone My Boy My Desert Serenade My HappinessMy Heart Cries for You My Last Blues My Little Friend My Never Say Yes New Orleans New York is Closed Tonight Nick Adams Night Life Night Rider No More Nothingville O Come All Ye Faithful O Holy Night O Little Town of Bethelehem Oh Boy Oh Happy Day Oh, How I Love Jesus Old MacDonald Old Shep On a Snowy Christmas Night On the Jericho Road On the Road to Safety On Top of Old Smokey Once is Enough One Boy , Two Little Girls One Broken Heart for Sale One is Enough One Night of Sin One Night One Track One Track One-Sided Love Affair Only Believe Only the Strong Survive Ooh My Soul Out of Sight, Out of Mind PadreParadise, Hawaiian Style Paradise Paralyzed Parker Party Patch It Up Peace in the Valley Peggy Sue Peter Gunn Theme Petunia, the Gardener es Daughter Pieces of My Life Plantation Rock Playing for Keeps Me Pledging My Love Pocketful of Rainbows Poison Ivy LeaguePoor Boy Poor Man es Gold Pork Salad Annie Power of My Love Private Elvis Promised Land Proud Mary Puppet on a String Put the Blame on Me Put Your Hand in the Hand Um mehr über Elvis Presley zu erfahren, siehe: Die Charts unten zeigen die Titel Q - T von Elvis Presleys aufgenommenen Songs. Königin der NachtQueenie Wahine Papaya Rags zu Reichen Regen in meinem Herzen aufgezogen Reach Out to Jesus Ready Teddy Recollections Reconsider Baby Relax Release Me Reminiscing Return to Sender Riding the RainbowRip It Up Rock-A-Bye Rock Rock-A-Hula Baby Roustabout Rubberneckin' Run On Runaway San Antonio Rose Sand Castles Santa Bring My Baby Back Santa es Party Saved Scratch My Back See Rider Seeing is Believing Send Me Some Lovin' Sentimental Me Separate Ways Shake a Hand Shake Rattle & Roll Shake That Tambourine She Thinks I Still Care She Wears My Ring She es a Machine She es Got It She es Not You Shoppin' Around Shout It Out Show Me Thy Ways, O Lord Sick, Nüchterne & sorry Zeichen der Sternzeichen Stille Nacht Silber Glocken singen Sie Kinder singen Baum Slicin' Sand Slippin' und Slidin' langsam aber sicher Smokey Mountain Boy Smokey Mountain Way Smorgasbord Snowbird So close , Yet So Far So Glad You're Mine So High Softly and Tenderly Softly, As I Leave You Soldier Boy Solitaire Somebody Bigger Than You and I Something Blue Something Sometimes I Feel Like a Motherless Child Song of the Shrimp Sound Advice Sowbird Spanish Eyes Spring Fever Stand by Me Start by Me Start Today Stay Away Loyal and True Steamroller Blues Steppin' Out of Line Stop Where You Are Stop, Look and Listen Stranger in My Own Home Town Stranger in the Crowd Stuck on You Such a Night Suicide Summer Kisses, Winter Tears Summertime Has Passed and Gone Suppose Surrender Susan When She Tried Suspicion Suspicious Minds Sweet America Sweet Angeline Sweet Caroline Sweetheart You Done Me Wrong Swing Down Sweet Chariot Sylvia Take Good Care of Her Take Me , Precious Lord Talk About the Good Times Teaser Teddy Bear Tell Me Why Tell Us About Gladys Tender Feeling Tennessee Waltz Thanks to the Rolling Sea That es All Right Mama That es Alright That es My Desire That es Someone You Never Forget That es What They Say That es When Your Heartaches Begin The Bullfighter Was a Lady The Christmas Song The Climb The Eyes of Texas The Fair is Moving On The First Noel I Saw Her The First Time I Ever Saw Your Face The Fool The Girl Can't Help It The Girl I Adore The Girl I Never Loved The Girl Next Door Went A'Walking The Girl of My Best Friend The Impossible Dream The Lady Loves Me The Last Farewell The Lord es Prayer The Love Machine The Next Step is Love The Sound of Your Cry The Thrill of Your Love The Truth The The Whiffenpoof Song The Wonderful World of Christmas The Wonder of You The Yellow Rose of Texas/The Eyes of Texas There Ain't Nothing Like a Song There Goes My Everything There Is No God But God There Is So Much World to See There es a Brand New Day on the Horizon There es a Honky Tonk Angel There es Always Me There es Gold in the Mountains There es Good Rockin' Tonight'T Me Too Much of You Thinking About You This Is Living This Is My Heaven This Is Our Dance This Is the Story This Time/I Can't Stop Loving Your Three Corn Patches Thrill of Your Love Tiger Man Today, Tomorrow and Forever Tomorrow is a Long Time Tomorrow Never Comes Tomorrow Night Tonight Is So Right For Love Tonight es All Right for Love Too Much Monkey Business Too Much Treat Me Nice Trouble True Fine Mama True Love Travels on a Gravel Road True Love Ways True Love Tryin' to Get to You Tumblin' Tumbleweeds Turn Your Eyes Upon Jesus Tutti Frutti Tweedle Dee Tweedle Dum siehe: Die Folgende Tabelle zeigt die Titel U - Z von Elvis Presleys aufgenommenen Songs.U.S. MaleUnchained Melody Until It es Time for You to Go Up Above My Head/I Found That Light Vino , Dinero y Amor Violet Viva Las Vegas Walk That Lonesome Valley Was It by Accident Was the One Way Down We Call on Him We Can Make the Morning We Wish You a Merry Christmas We'll Be Together We're Coming Together We're Coming in Loaded We're Move Wear My Ring Around Your Neck Wearin' That Loved on Look Welcome to My World Western Union What a Wonderful Life What Do You Think What Every Woman Lives For What What to Do What'd I Say What es She Really Like Wheels on My Heels When God Dips His Love in My Heart When I'm Over You When It Rains , It Really Pours When It es My Time When My Blue Moon Turns to Gold Again When the Saints Go Marchin' In When the Snow Is on the Roses Where Can I Go But to the Lord Where Did They Go, Lord Where Do I Go From Here? Woher kommst du, wo niemand allein steht, wo würde ich Pfeifen Tune White Christmas Who Am I? Wer sind Sie, die Geld brauchen? Whole Lotta Shakin' Going On Why Can't They Leave Him Alone Why Me Lord? Frau Nummer 99 Wild im Land Winter Wunderland Weisheit des Alters Hexerei ohne ein Lied ohne ihn ohne Liebe Wolf rufen Frau ohne Liebe Wunderbare Welt Holz Herz Worte der Liebe Worte arbeiten auf dem Gebäude würden Sie tun, was anders schreiben, um mich von Neapel Gelbe Rose von Texas Gestern Yoga ist wie Yoga Hat Sie mich gefragt, zu meinem Herzen Sie besser laufen Sie können nicht sagen Nein in Acapulco Sie haben nicht, um zu sagen, Sie t Know Me You Gave Me a Mountain You Gotta Stop You'll Be Gone You'll Never Walk Alone You'll Think of Me You're a Heartbreaker You're in the Army Now You're the Boss You're the Only Star (In My Blue Heaven) You're the Reason I'm Living You've Lost That Lovin' Feelin' Young and Beautiful Young Dreams Your Cheatin' Heart , siehe:

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