Elvis: The King's Realm Discussion Forum

Edwin66 wrote: January 16th, 2026, 10:04 am

KingElvis wrote: January 16th, 2026, 9:40 am I do think many of these errors are possible to fix with software like Audacity.
I have also fixed some masters and outtakes with faults in them over the years.
The very first one I did was the Mary In The Morning glitch on Nashville Marathon in 2002.
The one I wish I could fix properly is the error made by Elvis early in the Young And Beautiful 1972 rehearsal.

That was no error...just typical Elvis humor

Maybe…or maybe not,could be that Elvis for a split moment forgot the lyrics ….whatever reason I wish it was
possible to fix/edit it with a good result.

Always keen to hear about slight imperfections which, as everyone generally agrees, don't detract from the overall listening pleasure. I'm not much interested in where production glitches occur on anything that has been released since the original master was produced but it's the individual vocal and musical imperfections that fascinate me.
I came to this forum to see if anyone knew what that really noticeable squeak on So Glad You're Mine was. As this track was recorded at the time Elvis was recording his first album but not included on it, I wondered if that squeak was the reason the track was held back - and maybe only included on his second album to make the numbers up?

Also interesting are the vocal errors during the first post-army sessions. These are:

Stuck On You - Elvis forgets the lyrics in the first occurrence of the last verse and sings another couple of 'ah-ha-ha's' and 'oh yeah' instead of the 'yes siree' (which he corrects in the repeated verse)

A Mess Of Blues - Elvis extends the word 'gone' in the last verse ('Since you're go-oh-oh-oh-one') to the extent that he doesn't have time to sing the 'I' in 'I got a mess of blues'.

I Gotta Know - I'm pretty sure bass vocalist, Ray Walker, sings the wrong line at the end of the song when Elvis sings 'Will you kiss away my cares and woe' (it sounds like he starts to sing 'Tell me if you love me yes or no' instead).

It Feels So Right - in the first occurrence of the last verse before Elvis repeats it, he sings 'We're gonna love our whole life through' instead of 'whole life long', so that stands out as it doesn't rhyme with 'how can it be wrong'.

At 2:03- 2:04 Ronnie Tutt hits a drum that sounds like, I don't know, a kids drum, on the master of "Always On My Mind". That has bothered me since for a long time. On the Sunset Boulevard, this was fixed!

"Ruins" the tender feeling of the song.

In the song Never Ending, one word definitely comes out wrong. Rather than sing "just as heaven has no boundaries," Elvis delivers "bounders."

Then I think of Whole Lotta Shakin' Goin' On because of the instance in which the first "shake" comes out as "chake."

Another minor vocal flub is heard at the very end of Until It's Time For You To Go. When he sings "yes, I'll stay until it's time for you to go" something about the "I'll stay" is a little choppy, sounding more like "I'd stay."

In the case of some songs, the mistakes might not jump out at you until you hear alternate takes in which he doesn't make them.

In Thinking About You, he sings "life is fine and I'm feeling fine" which seems like a pretty mundane, unimaginative lyric -- because it is. In take 3 however, we hear "life is mine and I'm doing fine."

To me, this is way better not only because it doesn't have that repetition but also because there's a little more meaning there, conveyed with a smart word choice. The word 'agency' comes to mind. It's a small change but also not.

In take 2 of Way Down, he sings of a "whirling carousel" rather than "swirling" as heard in the master. Admittedly it isn't a drastic difference, but "whirling" is slightly more appropriate. (Even "twirling" would probably have been better.)

I think sometimes they just went with the feeling. Whole Lotta Shakin' was a one take jam for example. Would it have been any better if Elvis and the band had done another ten takes? Probably not.

Of course later on, with things like Way Down it was a case of Felton getting what he could and trying to fix things up at the overdub session...

And I'm glad that they went with the feeling. It's what mattered the most to Elvis and what usually translated to musical brilliance.

When you think about what made Elvis so special as a singer, near the top of the list has to be his ability to emote, to project feeling into a song and connect with the listener in that way. It is partly why as fans, the way we think of him and his music is so personal to many of us. It is the reason people are often surprised to learn that he did not write his own songs...the way he came across so convincingly made you feel that what he conveyed had to have come from his own heart and mind.

I think he was keenly aware of all of this. And in addition to knowing it was the secret sauce in a successful recording or live performance, he also lived for that high -- both in terms of connecting with his bandmates and also to be operating in that higher, perhaps spiritual plane that he could inhabit with his amazing voice and inspired delivery.