While devoted Elvis Presley fans may find this exploration challenging, delving into less celebrated aspects of his vast discography offers a unique perspective on his artistry. This article presents a personal countdown of Elvis’ ten least favorite recordings, acknowledging that such selections are subjective and may spark debate among enthusiasts. The aim is to encourage a nuanced appreciation of the King’s music, recognizing that even iconic artists have works that resonate less powerfully than others.
A Deeper Dive into Elvis’s Musical Output
Elvis Presley’s career spanned decades and encompassed a wide range of musical styles. His movie soundtrack albums, in particular, often featured songs that, while commercially successful, may not have aged as gracefully as his more iconic studio recordings. This article focuses on these eligible tracks, alongside other recordings, to present a considered critique. It’s important to note that many of Elvis’s most beloved songs, such as “Love Me Tender,” “Teddy Bear,” and “Can’t Help Falling in Love,” also originated from his films, demonstrating the potential for quality within his soundtrack work.
The criteria for this list are primarily based on personal taste, focusing on the overall sound and impact of the recording. Some entries are due to the song’s inherent weaknesses, while others highlight instances where Elvis’s delivery may not have met the potential of the material. This list is presented in descending order, from the tenth least favorite to the most disliked recording.
The Countdown: Elvis’s Least Favorite Tracks
10. “Love Me”
Despite being considered a classic by many, “Love Me” evokes a less enthusiastic response from this critic. While Elvis’s 1956 delivery is competent, the song’s syrupy lyrics and rhythm often prompt an automatic skip. Notably, even its composers, Jerry Leiber and Mike Stoller, have expressed dissatisfaction with the song, deeming it their worst composition.
9. “Fountain of Love”
This track from the “Pot Luck” LP suffers from a combination of weak lyrics and a vocal delivery that deviates from Elvis’s quintessential masculine persona. Lyrics such as, “One thought of you, my heart begins yearning. I feel it turn to a fountain of love,” paired with Elvis’s higher-pitched vocalizations, detract from the song’s impact.
8. “Blue Christmas”
While widely regarded as a Christmas classic, Elvis’s rendition of “Blue Christmas” fails to impress this listener. The irritating “o-o-o-os” provided by backing group The Jordanaires are particularly grating. However, Elvis later delivered a much-lauded version on his ’68 Comeback Special, showcasing his ability to redeem challenging material.
7. “Fairytale”
Recorded in 1975, Elvis’s version of “Fairytale” lacks the vocal prowess evident in the Pointer Sisters’ hit rendition from 1974. The excessive vocal volume, reminiscent of an over-enthusiastic karaoke performance, suggests a decline in vocal control during his later years, a characteristic that unfortunately marked several recordings from that period.
6. “It’s Only Love”
The intrinsic qualities of “It’s Only Love,” co-written by Mark James (who penned hits like “Suspicious Minds”), are overshadowed by Elvis’s strained vocal delivery. The song’s lack of melodic appeal and its evident vocal exertion make it a challenging listen.
5. “Ask Me”
Originally deemed unusable in 1963, Elvis re-recorded “Ask Me” in 1964 for its single release. However, the recording is marred by a high-pitched vocal performance, bordering on falsetto, which clashes with the expected robust delivery of a rock and roll icon.
4. “Startin’ Tonight”
This song, destined for the Girl Happy soundtrack, is attributed to songwriters Lenore Rosenblatt and Victor Millrose. Despite its intended hard-rocking style, the lyrics are considered an embarrassment, exemplified by lines like, “Doncha worry if ya land in jail; I’ll forward your mail if ya can’t make bail tonight.”
3. “She Thinks I Still Care”
Elvis’s 1976 recording of this George Jones country hit deviates significantly from the original’s beauty, adopting a blues interpretation that, in this critic’s view, detracts from the song. Similar reinterpretations of country classics like “He’ll Have to Go” and “I’ll Hold You in My Heart” suggest a misguided approach to genre adaptation during this period.
2. “Hey Little Girl”
From the Harum Scarum soundtrack, “Hey Little Girl” is deemed the weakest soundtrack recording of Elvis’s career. Written by Joy Byers, who penned better-known Elvis songs, this track suffers from inane lyrics and a disjointed rhythm, making it a regrettable inclusion in his discography.
1. “Where Do You Come From”
This 1962 single is singled out as Elvis’s least favorite recording. The vocal performance, characterized by an unnatural pitch variation, sounds like an attempt at operatic singing applied to a pop ballad. The song’s commercial performance further supports its low ranking, peaking at #99 on the Billboard charts. Despite its chart failure, “Where Do You Come From” was paradoxically credited with gold record status due to its flip side, “Return to Sender.”
Conclusion: A Legacy of Musical Exploration
This critical examination of Elvis Presley’s less successful recordings does not diminish his overall musical legacy. Instead, it offers a more complete picture of an artist who consistently experimented and pushed boundaries. Even in his less celebrated works, glimpses of his extraordinary talent and the complexities of his career can be found. Exploring these “lesser” songs allows for a deeper appreciation of his triumphs and the enduring power of his music. We encourage listeners to revisit these tracks with a new perspective, perhaps discovering a different appreciation for their place within the vast tapestry of Elvis’s career.