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They got this hit soundtrack out of the odd concept, and a bit of insulting fun out of the repurposed Coasters’ tune “Little Egypt” about a guy having his mind blown by an exotic dancer, which is the highlight.
Panty raid rhymes with lemonade in “Poison Ivy League,” one of several unconvincing songs here, sung from the perspective of a striving underdog — which Elvis had stopped being years prior. Girl Happy (1965) Elvis was so embarrassed by most of this soundtrack to his spring-break fantasy flick that he asked for his vocals to be lower in the mix on the exuberant title track.
Or it could have been because he had to perform the rest of this familiar mishmash of pseudo-smooth (“City by Night”), pseudo-rocking (“Long Legged Girl”), and pseudo-polka (“I Love Only One Girl”) and release it on the same day as his supreme acolytes the Beatles released Sgt. The title track tries to explain how to get your best girl excited on the drag strip and, despite the occasional genuine revving sound, never fully turns over.
“There Ain’t Nothing Like a Song” tries to get you stoked about songcraft by getting you to chew on a tired rock groove with awkward interjections by the film’s co-star Nancy Sinatra.
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Despite some recent hiccups in Las Vegas, 39 years after his death, Elvis Presley’s career is still going strong — his estate earned million in 2015. Despite his undeniable talents, Elvis was a wildly uneven recording artist.
This year, to commemorate the 60th anniversary of the release of Presley’s first record, his widow, Priscilla, and RCA have put together a massive box set presenting the King’s original recording career, pretty much unabridged. The string of soundtracks he released in the ’60s (largely at the behest of his exploitative manager Colonel Tom Parker) give the term formulaic as bulletproof a definition as anything in algebra, and consist of his shoddiest material.
Yet even under those constraints, he could inhabit just about anything asked of him within the affable-sexy spectrum, leading to a range of results sentimentally perfect (“Can’t Help Falling in Love”) or perfectly ridiculous (“Song of a Shrimp,” his fond send-off to a family of crustaceans).
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