Review by Keith Flynn
This CD contains alternate takes from eight different recording sessions throughout the 1960s. Starting with March and April 1960, going on to June and October 1961, March 1962, May 1963, May 1966, September 1967, and finishing off with January 1968. So this CD gives a good scope of alternate takes. I personally like alternate takes because it’s amazing how different a song can sound compared to the released version or master take. Sometimes they can sound like a completely different song, as is the case here with 'Stay Away'. So if you like alternate takes, then you won’t be disappointed with this CD.
The CD starts off with 'It’s Now Or Never' (Take 1) and this is Elvis’ first attempt at this classic song, and it is quite different from the released version (spliced from Takes 4 and 2), as it is sung a lot slower. It really is a treat to hear another version of this song, and I wonder if Elvis realised that this song was going to sell 22 million copies worldwide when it was released as a single. Elvis also sings 'A Mess Of Blues' (Take 1) much slower than the master (Take 5). After a couple of false starts, we get a complete take, almost, as Elvis starts laughing at the end. This song was B-side to 'It’s Now Or Never' in the USA ('Make Me Know It' was B-side in the UK). 'It Feels So Right' (Take 2) is next, and apart from the countdown at the beginning, doesn’t sound very different from the master (Take 5).
'I’m Yours' (Take 2) is very different to the released version, as there’s no spoken part in the middle of the song. Also the master was spliced from two separate takes and contained an overdub, so it sounded like a duet. We also get a false start at the beginning of the take. A beautiful song next, 'Anything That’s Part Of You' (Take 2), sung slower, and with not as much feeling as the well known Take 10.
The next five songs come from the sessions in March 1962. 'Just For Old Time Sake' (Take 4) is first and, apart from the count-in and the guitar at the beginning, is not much different from the released version (Take 5). 'You’ll Be Gone' (Take 4) is next, and this is different from the master (Take 3), as the guitar playing gives the song a more Latin feeling. Very nice. 'I Feel Like I’ve Known You Forever' (Take 3) doesn’t sound a lot different from the master (Take 5) apart from the backing vocals, which seem to be a bit flat, especially at the end of the song. 'Just Tell Her Jim Said Hello' (Take 5) is again, not much different from the released version (Take 6), except Elvis’ voice doesn’t sound as perfect as Take 6. 'She’s Not You' is next, and what we get here is Take 1, although it is listed as being Take 2, and sung at a much slower pace than the regular released version, and work-part Take 4. We don’t get a complete version of 'She’s Not You'.
The next five songs come from the sessions held in May 1963. '(You’re The) Devil In Disguise' is first and we here get Take 2 - in which Elvis sings the wrong words half way through - then a false start, and finally Take 3, which is complete. Elvis laughs at the end of Take 3, and I don’t think the Jordanaires are really at ease with this song yet. After a false start, we get Take 1 of 'Never Ending' sung faster than the released version (Take 3) but this time with no echo. I actually prefer the released master in this case. 'Finders Keepers, Losers Weepers' (Take 1 with count-in) is sung slightly slower than the master (Take 3). '(It’s A) Long Lonely Highway' (Take 1) is almost identical to the album version (Take 2), apart from the line “Well,... my drinking water’s muddy” on Take 1, whereas he sings just “My drinking water’s muddy” on Take 2. The same goes for 'Slowly But Surely' (Take 1), this is very similar to the released version (Take 5).
Now we come to three songs recorded in May 1966. First we have 'By And By' (Take 4) with count-in and chat at the beginning of the take, which is sung slower, and a lot more laid-back than the master take (10). I think Elvis really enjoyed singing these gospel tunes, and it showed. Next we have 'Fools Fall In Love' (Take 4), and this is quite different from the master (Take 5), as the band doesn’t start playing the trumpet until the second verse. It sounds really strange. 'Come What May' is the first release of the stereo master.
Next we come to September 1967 and 'Guitar Man' (Take 10) is very similar to the master version (Take 12), only here we get a countdown and some chat at the beginning and the ''What’d I Say'' ending. 'Singing Tree' (Take 13 of the first version) is very different from the master, because the master was actually recorded the day after this was cut and the master that day was Take 5, with overdubbed harmony vocal to make it sound like a duet. I actually prefer the master to this, but it is nice to hear the solo version.
Now we come to two gems from January 1968. This is what I love about alternate takes: how songs can sound totally different from the released versions. First is 'Too Much Monkey Business' (Take 9), sung slower than the master, and in my opinion, much better. Then we get 'Stay Away' (Take 2) with count-in and studio chat at the beginning, and sung much slower than the master (Take 15). I have always thought of 'Stay Away' as just an ordinary song, nothing special, but Elvis really brings this song to life in Take 2. Far, far better than the released master!
So there you have it, Long Lonely Highway is a must buy if you like alternate takes, and even if you don’t! It’s like having brand new songs in your collection with 'Too Much Monkey Business' and 'Stay Away'. The Follow That Dream label continues to give the fans what they want to hear, and long may it continue.
