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Oxymoron
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This article is about the contradiction in terms. For the punk band, see Oxymoron (band). For the album by rapper Schoolboy Q, see Oxymoron (album).
An oxymoron (usual plural oxymorons, more rarely oxymora) is a rhetorical device that uses an ostensible self-contradiction to illustrate a rhetorical point or to reveal a paradox.[1][2] A more general meaning of "contradiction in terms" (not necessarily for rhetoric effect) is recorded by the OED for 1902.[3]
The term is first recorded as latinized Greek oxymōrum, in Maurus Servius Honoratus (c. AD 400);[4] it is derived from the Greek ὀξύς oksús "sharp, keen, pointed"[5] and μωρός mōros "dull, stupid, foolish";[6] as it were, "sharp-dull", "keenly stupid", or "pointedly foolish".[7] The word oxymoron is autological, i.e. it is itself an example of an oxymoron. The Greek compound word ὀξύμωρον oksýmōron, which would correspond to the Latin formation, does not seem to appear in any known Ancient Greek works prior to the formation of the Latin term.[8]
Contents
[hide]
1 Types and examples
2 "Comical oxymoron"
3 Antonym pairs
4 See also
5 References
6 External links
Types and examples[edit]
Oxymorons in the narrow sense are a rhetorical device used deliberately by the speaker, and intended to be understood as such by the listener. In a more extended sense, the term "oxymoron" has also been applied to inadvertent or incidental contradictions, as in the case of "dead metaphors" ("barely clothed" or "terribly good"). Lederer (1990), in the spirit of "recreational linguistics", goes as far as to construct "logological oxymorons" such as reading the word nook as composed of "no" and "ok" or the surname Noyes as composed of "no" plus "yes", or far-fetched punning such as "divorce court" or "press release".[9] There are a number of single-word oxymorons built from "dependent morphemes"[9] (i.e. no longer a productive compound in English, but loaned as a compound from a different language), as with pre-posterous (lit. "with the hinder part before", compare husteron proteron, "upside-down", "head over heels", ass-backwards" etc.)[10] or sopho-more (an artificial Greek compound, lit. "wise-foolish").
The most common form of oxymoron involves an adjective–noun combination of two words, but they can also be devised in the meaning of sentences or phrases. One classic example of the use of oxymorons in English literature can be found in this example from Shakespeare's Romeo and Juliet, where Romeo strings together thirteen in a row:
O brawling love! O loving hate!
O anything of nothing first create!
O heavy lightness, serious vanity!
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.[11]
Shakespeare heaps up many more oxymorons in Romeo and Juliet in particular ("Beautiful tyrant! fiend angelical! Dove-feather'd raven! wolvish-ravening lamb! Despised substance of divinest show!" etc.) and has numerous others in his other plays, e.g. "I must be cruel only to be kind" (Hamlet), "fearful bravery" (Julius Caesar), "good mischief" (The Tempest), and in his sonnets, e.g. "tender churl", "gentle thief". Other examples from English-language literature include: "hateful good" (Chaucer, translating odibile bonum)[12] "proud humility" (Spenser),[13] "darkness visible" (Milton), "beggarly riches" (John Donne),[14] "damn with faint praise" (Pope),[15] "expressive silence" (Thomson, echoing Cicero's Latin: cum tacent clamant, lit. 'when they are silent, they cry out'), "melancholy merriment" (Byron), "faith unfaithful", "falsely true" (Tennyson),[16] "conventionally unconventional", "tortuous spontaneity" (Henry James)[17] "delighted sorrow", "loyal treachery", "scalding coolness" (Hemingway).[18]
In literary contexts, the author does not usually signal the use of an oxymoron, but in rhetorical usage, it has become common practice to advertise the use of an oxymoron explicitly to clarify the argument, as in:
"Voltaire [...] we might call, by an oxymoron which has plenty of truth in it, an 'Epicurean pessimist.'" (Quarterly Review vol. 170 (1890), p. 289)
In this example, "Epicurean pessimist" would be recognized as an oxymoron in any case, as the core tenet of Epicureanism is equanimity (which would preclude any sort of pessimist outlook). However, the explicit advertisement of the use of oxymorons opened up a sliding scale of less than obvious construction, ending in the "opinion oxymorons" such as "business ethics".
J. R. R. Tolkien interpreted his own surname as derived from the Low German equivalent of dull-keen (High German toll-kühn) which would be a literal equivalent of Greek oxy-moron.[19]
"Comical oxymoron"[edit]
"Comical oxymoron" is a term for the claim, for comical effect, that a certain phrase or expression is an oxymoron (called "opinion oxymorons" by Lederer (1990)[9]). The humour derives from implying that an assumption (which might otherwise be expected to be controversial or at least non-evident) is so obvious as to be part of the lexicon. An example of such a "comical oxymoron" is "educational television": the humour derives entirely from the claim that it is an oxymoron by the implication that "television" is so trivial as to be inherently incompatible with "education".[20] In a 2009 article called "Daredevil," Garry Wills accused William F. Buckley of popularising this trend, based on the success of the latter's claim that "an intelligent liberal is an oxymoron."[21]
Examples popularized by comedian George Carlin in 1975 include "military intelligence" (a play on the lexical meanings of the term "intelligence", implying that "military" inherently excludes the presence of "intelligence") and "business ethics" (similarly implying that the mutual exclusion of the two terms is evident or commonly understood rather than the partisan anti-corporate position).[22]
Similarly, the term "civil war" is sometimes jokingly as an "oxymoron" (punning on the lexical meanings of the word "civil").[23]
Other examples include "healthful Mexican food" (1989),[24] "affordable caviar" (1993),[25] "Microsoft Works" (2000).[26]
Antonym pairs[edit]
Further information: Antonym
Listing of antonyms, as in "good and evil", "male and female", "great and small", etc. are not oxymorons, as it is not implied that any given object has the two opposing properties simultaneously. In some languages, it is not necessary to place a conjunction like and between the two antonyms; such compounds (not necessarily of antonyms) are known as dvandvas (a term taken from Sanskrit grammar). For example, in Chinese, compounds like 男女 (man and woman, male and female, gender), 陰陽 (yin and yang), 善悪 (good and evil, morality) are used to indicate couples, ranges, or the trait that these are extremes of. The Italian pianoforte or fortepiano is an example from a Western language; the term is short for gravicembalo col piano e forte, as it were "harpiscord with a range of different volumes", implying that it is possible to play both soft and loud (as well as intermediate) notes, not that the sound produced is somehow simultaneously "soft and loud".
See also[edit]
Linguistics portal
Wikimedia Commons has media related to Oxymoron.
Auto-antonym
Paradox
Performative contradiction
Tautology (rhetoric)
Self refuting idea
Meinong's jungle
Principle of contradiction
References[edit]
Jump up ^ Lewis, Charlton T.; Short, Charles (1879). "A Latin Dictionary". Oxford: Clarendon Press. Retrieved 27 October 2015. acutely silly: oxymora verba, expressions which at first sight appear absurd, but which contain a concealed point; so especially of such apparently contradictory assertions as: cum tacent clamant, etc.
Jump up ^ Jebb, Sir Richard C. (1900). "Sophocles, Oedipus at Colonus". Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English prose. Part III: The Antigone. Cambridge: Cambridge University Press. p. 567. The phrase is an 'ὀξύμωρον' (a paradox with a point).
Jump up ^ "A figure of speech in which a pair of opposed or markedly contradictory terms are placed in conjunction for emphasis" OED
Jump up ^ Honoratus on Aeneid 7.295, num capti potuere capi (in the voice of Juno) "Could captured slaves not be enslaved again?" (William 1910): capti potuere capi, cum felle dictum est: nam si hoc removeas, erit oxymorum. "the captured can be captured: said with bitterness, for if you were to remove that, it would be oxymorum." see H. Klingenberg in Birkmann et al. (ed.), FS Werner, de Gruyter (1997), p. 143.
Jump up ^ ὀξύς in Liddell, Henry George; Scott, Robert (1940) A Greek–English Lexicon, revised and augmented throughout by Jones, Sir Henry Stuart, with the assistance of McKenzie, Roderick. Oxford: Clarendon Press. In the Perseus Digital Library, Tufts University.. Retrieved 2013-02-26.
Jump up ^ μωρός in Liddell and Scott. Retrieved 2013-02-26.
Jump up ^ ὀξύμωρος in Liddell and Scott. Retrieved 2013-02-26. "Pointedly foolish: a witty saying, the more pointed from being paradoxical or seemingly absurd."
Jump up ^ "oxymoron |accessdate 26 February 2013". Oxford English Dictionary.
^ Jump up to: a b c Richard Lederer, "Oxymoronology" in Word Ways: The Journal of Recreational Linguistics (1990), online version: fun-with-words.com.
Jump up ^ "closely related to hysteron proteron, it shouldn't be ass backward, which is the proper arrangement of one's anatomy, to describe things all turned around. For that state of disarray the expression should be ass frontward." Richard Lederer, Amazing Words (2012), p. 107.
Jump up ^ Shakespeare, William. "Act 1, Scene 1". Romeo and Juliet.
Jump up ^ "Poverte is hate[fu]l good", glossed Secundus philosophus: paupertas odibile bonum; the saying is recorded by Vincent of Beauvais as attributed to Secundus the Silent (also referenced in Piers Plowman). Walter William Skeat (ed.), Notes on the Canterbury Tales (Complete Works of Geoffrey Chaucer vol. 5, 1894), p. 321.
Jump up ^ Epithalamion (1595), of feminine virtue, echoed by Milton as "modest pride". Joshua Scodel, Excess and the Mean in Early Modern English Literature (2009), p. 267.
Jump up ^ Devotions Upon Emergent Occasions, (1624)
Jump up ^ Epistle to Dr Arbuthnot (1734)
Jump up ^ Idylls of the King: "And faith unfaithful kept him falsely true."
Jump up ^ The Lesson of the Master (1888)
Jump up ^ Geneviève Hily-Mane , Le style de Ernest Hemingway: la plume et le masque (1983), p. 169.
Jump up ^ see e.g. Adam Roberts, ^The Riddles of The Hobbit (2013), p. 164f; J.R. Holmes in J.R.R. Tolkien Encyclopedia (2007), p. 53. It has been suggested that the actual etymology of the Tolkien surname is more likely from the village of Tolkynen in Rastenburg, East Prussia. M. Mechow, Deutsche Familiennamen preussischer Herkunft (1994), p. 99.
Jump up ^ "Hosted for 33 years by the conservative intellectual William F. Buckley Jr., the show [Firing Line taped its final installment [... in 1999.] The show was spawned in the earnest mid-'60s, before popular culture swallowed up the middlebrow and 'educational TV' became a comical oxymoron." Time Volume 154, Issues 18-27 (1999), p. 126.
Jump up ^ According to Wills, Buckley has "poisoned the general currency" of the word oxymoron by using it as just a "fancier word for 'contradiction'", when he said that "an intelligent liberal is an oxymoron". Wills argues that use of the term "oxymoron" should remain reserved for the conscious use of contradiction to express something that is "surprisingly true". "Wills watching by Michael McDonald". The New Criterion. Retrieved 2012-03-27. ""Daredevil" - Garry Wills". The Atlantic. 2009-07-01. Retrieved 2012-03-27. However, the usage of "oxymoron" for "contradiction" is recorded by the OED from the year 1902 onward.
Jump up ^ "Saturday Night Live transcripts." Season 1, Episode 1. 11 October 1975. http://snltranscripts.jt.org/75/75acarlin2.phtml.
Jump up ^ discussed by L. Coltheart in Moira Gatens, Alison Mackinnon (eds.), Gender and Institutions: Welfare, Work and Citizenship (1998), p. 131, but already alluded to in 1939 by John Dover Wilson in his edition of William Shakespeare's King Richard II (p. 193), in reference to the line The King of Heaven forbid our lord the king / Should so with civil and uncivil arms Be rushed upon! :"A quibbling oxymoron: 'civil' refers to civil war; 'uncivil' = barbarous".
Jump up ^ referenced in the negative: "'Healthful' and 'Mexican food' need not be an oxymoron" (Texas Monthly, 1989)
Jump up ^ "This opened up an oxymoron too dreadful to contemplate: affordable caviar" (The Guardian, 1993).
Jump up ^ Lisa Marie Meier, A Treasury of Email Humor, Volume 1 (2000), p. 45.
Shen, Yeshayahu (1987). "On the structure and understanding of poetic oxymoron". Poetics Today. 8 (1): 105–122. JSTOR 1773004. doi:10.2307/1773004.
External links[edit]
Look up oxymoron in Wiktionary, the free dictionary.
oxymoronlist.com
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text:
The Man with the Golden Arm
From Wikipedia, the free encyclopedia
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For the novel, see The Man with the Golden Arm (novel). For the blood donor, see James Harrison (blood donor).
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The Man with the Golden Arm
Theatrical release poster by Saul Bass
Directed by
Otto Preminger
Produced by
Otto Preminger
Screenplay by
Walter Newman
Lewis Meltzer
Ben Hecht (uncredited)
Based on
The Man with the Golden Arm
1949 novel
by Nelson Algren
Starring
Frank Sinatra
Eleanor Parker
Kim Novak
Arnold Stang
Darren McGavin
Music by
Elmer Bernstein
Cinematography
Sam Leavitt
Edited by
Louis R. Loeffler
Distributed by
United Artists
Release date
December 15, 1955 (1955-12-15)
Running time
119 minutes
Country
United States
Language
English
Budget
$1 million[1]
Box office
$4,350,000 (US)[2]
The Man with the Golden Arm is a 1955 American drama film with elements of film noir, based on the novel of the same name by Nelson Algren, which tells the story of a drug addict who gets clean while in prison, but struggles to stay that way in the outside world. Although the addictive drug is never identified in the film, according to the American Film Institute "most contemporary and modern sources assume that it is heroin", in contrast to Algren's book which named the drug as morphine.[3] The film stars Frank Sinatra, Eleanor Parker, Kim Novak, Arnold Stang and Darren McGavin. It was adapted for the screen by Walter Newman, Lewis Meltzer and Ben Hecht (uncredited), and directed by Otto Preminger.[4] The film's initial release sparked controversy due to its serious, in-depth treatment of the then-taboo subject of drug addiction.[3][5]
It was nominated for three Academy Awards: Sinatra for Best Actor in a Leading Role, Joseph C. Wright and Darrell Silvera for Best Art Direction-Set Decoration, Black-and-White and Elmer Bernstein for Best Music, Scoring of a Dramatic or Comedy Picture. Sinatra was also nominated for best actor awards by the BAFTAs and The New York Film Critics.[6] The film is in the public domain.[7]
Contents
1 Plot
2 Cast
3 Production
4 Controversy over release
5 Reception
6 Differences from the novel
7 Preservation
8 Musical score and soundtrack
8.1 Track listing
8.2 Personnel
9 See also
10 Notes
11 External links
Plot[edit]
Frankie Machine (Frank Sinatra)
Frankie Machine (Frank Sinatra) is released from the Lexington Federal Medical Center with a set of drums and a new outlook on life, and returns to his run-down neighborhood on the North Side of Chicago. A drug addict (the drug is never named, but heroin is strongly implied), Frankie became clean in prison. On the outside, he greets friends and acquaintances. Sparrow (Arnold Stang), who runs a con selling homeless dogs, clings to him like a young brother, but Schwiefka (Robert Strauss), whom Frankie used to deal for in his illegal card game, has more sinister reasons for welcoming him back, as does Louie (Darren McGavin), Machine's former drug dealer.
Frankie returns home to his wife Zosh (Eleanor Parker), who is supposedly wheelchair-bound after a car crash some years earlier that was caused by Frankie driving drunk. Zosh is secretly fully recovered, but pretends to be unable to walk in order to keep making Frankie feel guilty so he will stay with her. Frankie comments on the whistle she wears around her neck, a device she used in Frankie's absence to summon a neighbor, Vi (Doro Merande), when needed. With Frankie home, Zosh smothers her husband in their small tenement apartment and hinders his attempt to make something of himself. He thinks he has what it takes to play drums for a big band. While calling to make an appointment, he bumps into an old flame, Molly (Kim Novak) who works in a local strip joint as a hostess and lives in the apartment below Frankie's. Unlike Zosh, Molly encourages his dream of becoming a drummer.
Frankie soon gets himself a tryout and asks Sparrow to get him a new suit, but the suit is a stolen one and he ends up back in a cell at a local Chicago Police Precinct. Schwiefka offers to pay the bail. Frankie refuses, but soon changes his mind when the sight of a drug addict on the edge becomes too much for him. Now, to repay the debt, he must deal cards for Schwiefka again. Louie is trying to hook him on drugs again, and with no job and Zosh to please, pressure is building from all directions.
Soon Frankie succumbs and is back on drugs and dealing marathon all-night card games for Schwiefka. Molly sees he is using drugs again and runs away from him. He gets a tryout as a drummer, but spends 24 hours straight dealing a poker game. Desperately needing a fix, Frankie follows Louie home, attacks him, and ransacks his house, but can't find his drug stash. At the audition, with withdrawal coming on, Frankie can't keep the beat and ruins his chance of landing the drumming job. When Louie goes to see Zosh to try to find Frankie, Louie discovers that Zosh has been faking her paralysis and can walk. Zosh, scared of being found out, pushes Louie over the railing of the stairwell to his death, but things backfire when Frankie is sought for Louie's murder.
Initially not realizing he is a suspect in Louie's death, Frankie goes to Molly hoping to get money for a fix. After learning that Captain Bednar and the police are looking for him, Molly convinces Frankie that he must go cold turkey if he is to stand a chance with the police. Frankie agrees and is locked in Molly's apartment where he goes through a grueling withdrawal to clear the drugs from his body. Finally clean again, he tells Zosh he is going to leave her, start anew and stand trial. In her desperation to keep Frankie from leaving her, Zosh once again gives herself away, standing up in front of Frankie and the police. She runs, but can get no farther than the outside balcony. Trapped, she blows the whistle and throws herself off the balcony to her death. A police ambulance then arrives to remove Zosh's lifeless body and drives away, while Frankie watches in dismay. He then walks away, with Molly following.
Cast[edit]
Frank Sinatra as Frankie "Dealer" Machine
Eleanor Parker as Sophia "Zosh" Machine
Kim Novak as Molly Novotny
Arnold Stang as Sparrow
Darren McGavin as "Nifty Louie" Fomorowski
Robert Strauss as Zero Schwiefka
John Conte as Drunkie John
Doro Merande as Vi
George E. Stone as Sam Markette
George Mathews as Williams
Leonid Kinskey as Dominowski
Emile Meyer as Captain Bednar
Shorty Rogers as himself (bandleader at audition)
Ralph Peña as himself (bassist at audition)
Shelly Manne as himself (drummer at audition)[3]
Production[edit]
Screen rights to Algren's novel were first acquired in 1949 on behalf of John Garfield, who planned to star in the film version. However, production was delayed because the Production Code Authority (PCA) refused to approve the script, with Joseph Breen stating that the basic story was "unacceptable" because of the Code's prohibition on showing illegal drug trafficking and drug addiction. The ability to obtain PCA approval was critical because at that time, many movie theaters would not show films that had not received approval. The PCA further predicted that the subject would also be unacceptable to the National Legion of Decency (a Catholic film censor board), Federal authorities, and state and local censor boards in the United States and abroad. Garfield died in 1952 and director Otto Preminger acquired the rights from his estate.[3]
Preminger had previously released The Moon Is Blue (1953), which succeeded at the box office despite being denied the Production Code seal of approval due to its sexual subject matter.[5] He told Peter Bogdanovich why he was attracted to Algren's novel: "I think there's a great tragedy in any human being who gets hooked on something, whether it's heroin or love or a woman or whatever."[8] Although United Artists (UA) had a distribution contract with Preminger, a clause in the contract allowed them to withdraw if a film failed to get Code approval. Preminger stated that in that event, he would set up his own company to handle distribution of The Man With The Golden Arm. Preminger continued to have problems with the PCA during the making of the film.[3]
Although the novel's author, Nelson Algren, was initially brought to Hollywood to work on the screenplay, he and Preminger did not get along, and he was quickly replaced by Walter Newman.[9][10] Preminger and Newman went on to make significant changes to Algren's original story,[11] and the film was eventually released as "A Film By Otto Preminger".[12] In 1956, Algren sued Preminger and others seeking an injunction to keep Preminger from claiming authorship of the film, but had to drop the suit because he could not afford the legal fees.[12]
Frank Sinatra jumped at a chance to star in the film before reading the entire script. The script was given to Marlon Brando around the same time as Sinatra, who still harbored some anger at Brando for beating out Sinatra for the lead role in On the Waterfront.[13] To prepare for his role, Sinatra spent time at drug rehabilitation clinics observing addicts going cold turkey.[14] He also learned to play drums from drummer Shelly Manne.[3] The picture was shot in six weeks at RKO Studios in Hollywood from September 26 through November 4, 1955.[15]
Saul Bass designed the crooked arm symbol used in the film's advertising campaign, which Preminger liked so much that he threatened to pull the picture if an exhibitor changed the advertisements. Bass also created the animated title sequence for the film, the first of many such sequences that he created for films by Preminger, Alfred Hitchcock, and others.[16]
Controversy over release[edit]
Preminger decided to release the finished film prior to submitting it for a Code seal of approval.[3] He contended that his film would not entice any viewers to take drugs, since drug use was depicted as having severely negative consequences.[5] United Artists, which had invested $1 million in the film's production, opted to distribute the film, even though doing so could result in the company being fined $25,000 by the Motion Picture Association of America (MPAA).[3] The president of United Artists, Arthur Krim, expressed the company's hope that the PCA would make an exception to its usual rules and grant the film approval because of the film's “immense potential for public service.” The film received several advance bookings in November and early December 1955, before the PCA had made a decision on whether to grant a Code seal.[3]
However, in early December 1955, the PCA denied the film a Code seal, and the decision was upheld upon appeal to the MPAA. As a result, United Artists resigned from the MPAA that same month (although the company re-joined a few years later). The National Legion of Decency also showed disagreement with the PCA ruling by rating the film as a "B" meaning "morally objectionable in part for all", instead of a "C" meaning "condemned", which was the rating normally given to films that were denied a Code seal. Large theater circuits including Loews also refused to ban the film and instead showed it despite the lack of a Code seal. As a result of the controversy, the MPAA investigated and revised production codes, allowing later movies more freedom to deeply explore hitherto taboo subjects such as drug abuse, kidnapping, miscegenation, abortion, and prostitution.[3][5][17]
In the end, The Man With The Golden Arm finally received the Production Code seal number 17011 in June 1961, which permitted the film to be reissued and sold for television broadcast.[3]
Reception[edit]
This section needs expansion. You can help by adding to it. (November 2016)
The Man with the Golden Arm earned $4,100,000 at the North American box office and the critical reception was just as strong; Variety magazine stated: "Otto Preminger's The Man with the Golden Arm is a feature that focuses on addiction to narcotics. Clinical in its probing of the agonies, this is a gripping, fascinating film, expertly produced and directed and performed with marked conviction by Frank Sinatra as the drug slave."[18][19]
Differences from the novel[edit]
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After replacing novel author and original screenwriter Nelson Algren with Walter Newman, Preminger proceeded to change the plot and characters extensively from the original novel, which led to feelings of bitterness from Algren. When photographer and friend Art Shay asked Algren to pose below the film's marquee, he is reported to have said, "What does that movie have to do with me?"[9][20]
Even though the first draft of the novel did not even deal with drug addiction (it was only added later),[21] this became the singular focus of the film. In the novel, Frankie served in World War II and became addicted to morphine following treatment for a war injury. There is little mention of Frankie's film counterpart serving in the war, and he tells Molly that he started drugs "for kicks."
In Algren's novel, Frankie is a blond-haired man in his late 20s, and as a poor veteran he often wears a torn Army jacket and brogans. Played by Sinatra (who was nearly 40 years old at the time), the film's protagonist has dark hair and normally wears slacks and a dress shirt. In the film he is given a drum set and almost lands a job as a big band drummer, but in the novel he only has a practice pad, and his dream of being a drummer is only a fleeting aspiration.
The novel implies that Zosh's paralysis is a psychosomatic symptom of her mental illness, but in the film she is deliberately deceiving Frankie and is fully able to walk.
The novel's version of Violet ("Vi") is an attractive young woman and Sparrow's love interest. In the film, she is played by Doro Merande, who was in her 60s at the time. The movie combines the character of her spouse, "Old Husband" Koskozka, with that of the landlord, "Jailer" Schwabatski.
Frankie's employer, Schwiefka, is a relatively neutral character in the novel, but in the film he is a villain and Nifty Louie's partner.
In the novel, Frankie inadvertently kills Nifty Louie during a fight, while in the film, a walking Zosh pushes Louie to his death.
Algren's novel ends with a cornered and hopeless Frankie committing suicide, but in the film Zosh is the one who dies, while Sinatra's Frankie and Novak's Molly survive the end of the film together.
Preservation[edit]
The Academy Film Archive preserved The Man with the Golden Arm in 2005.[22]
Musical score and soundtrack[edit]
The Man with the Golden Arm
Soundtrack album by Elmer Bernstein
Released
Mid February 1956[23]
Recorded
September & December, 1955
Hollywood, CA
Genre
Film score
Length
45:22
Label
Decca
DL 8257
Elmer Bernstein chronology
The Eternal Sea
(1955) The Man with the Golden Arm
(1956) The Ten Commandments
(1956)
Professional ratings
Review scores
Source
Rating
Allmusic [24]
The film score was composed, arranged and conducted by Elmer Bernstein, and the soundtrack album was released on the Decca label in February 1956.[25] Allmusic's Bradley Torreano called it "one of the finest jazz soundtracks to come out of the '50s" and said that "on its own it still shines as an excellent example of how good film music can get. Bernstein's control over the smallest details of the music is what gives it the energy it contains; his blustery horns and deep percussion are only the front while some gorgeous orchestration happens almost unnoticed behind the music."[24]
The theme was recorded by many other musicians including Billy May & His Orchestra who had a #9 hit in the UK in May 1956; Jet Harris, who released it as a single in 1963,[26] Sweet, who covered the theme on their album Desolation Boulevard, and Barry Adamson, who released a version on his 1988 album Moss Side Story. A vocal version of the theme called "Delilah Jones", with lyrics by Sylvia Fine unrelated to the subject matter of the film, was released by the McGuire Sisters on Coral Records in 1956.[3][27]
A vocal version of Bernstein's composition "Molly" with lyrics by Fine, entitled "Molly-O", was also recorded by a number of artists, including The Gaylords, Dick Jacobs and his orchestra, and others.[3][28][29]
An alternate theme song, "The Man With the Golden Arm", was composed by Sammy Cahn and Jimmy Van Heusen, and recorded by Sinatra backed by Nelson Riddle's orchestra. However, the song was ultimately not used in the film and did not appear on the soundtrack album. Although Sinatra's recording appeared on some bootleg albums, it remained officially unreleased until 2002, when it was included in the box set Frank Sinatra in Hollywood 1940–1964. Sammy Davis Jr. also recorded a version of the Cahn/ Van Heusen theme, which was released on Decca in 1955.[3][30][31]
Track listing[edit]
All compositions by Elmer Bernstein
"Clark Street: (a) The Top; (b) Homecoming; (c) Antek's" - 4:58
"Zosh" - 4:28
"Frankie Machine" - 4:57
"The Fix" - 3:30
"Molly" - 4:53
"Breakup: (a) Flight; (b) Louie's; (c) Burlesque" - 3:42
"Sunday Morning" - 2:49
"Desperation" - 2:47
"Audition" - 2:42
"The Cure: (a) Withdraw; (b) Cold; (c) Morning" - 5:57
"Finale" - 4:13
Personnel[edit]
Orchestra conducted by Elmer Bernstein featuring:
Shorty Rogers - flugelhorn
Conte Candoli, Pete Candoli, Buddy Childers, Bob Fleming, Ray Linn, Cecil Read - trumpet
Albert Anderson, Harry Betts, Milt Bernhart, Jimmy Henderson, George Roberts, Frank Rosolino, Ray Sims - trombone
Joe Eger, Arthur Frantz, Dick Perissi- French horn
Martin Ruderman, Sylvia Ruderman - flute
Nick Fera, Mitchell Lurie - clarinet
Jerome Kasper, Bud Shank - alto saxophone
Bob Cooper, Bill Holman, Jack Montrose - tenor saxophone
Jimmy Giuffre - baritone saxophone
Arnold Koblenz - oboe
Fowler Friedlander, Jack Marsh - bassoon
Sam Rice - tuba
Israel Baker, Anatol Kaminsky - violin
Philip Goldberg, Milton Thomas - viola
Armand Kaproff – cello
Chauncey Haines - novachord
Pete Jolly, Lou Levy, Ray Turner - piano
Abe Luboff, Ralph Peña - bass
Shelly Manne - drums
Milt Holland, Lee Previn - percussion
Fred Steiner - orchestration
See also[edit]
List of American films of 1955
Notes[edit]
Jump up ^ Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987 p. 71
Jump up ^ 'The Top Box-Office Hits of 1956', Variety Weekly, January 2, 1957
^ Jump up to: a b c d e f g h i j k l m n "The Man With The Golden Arm". AFI.com. American Film Institute. 2015. Retrieved 2015-11-26.
Jump up ^ Synopsis by Hal Erickson. "Allmovie". Allmovie. Retrieved 2015-11-03.
^ Jump up to: a b c d Phillips, Gene D. (1998). Exiles in Hollywood: Major European Film Directors in America. Cranbury, New Jersey: Associated University Presses. p. 115. ISBN 0934223491.
Jump up ^ IMDB awards page
Jump up ^ Kehr, Dave (11 October 2005). "New DVD's". The New York Times. Retrieved 9 March 2018.
Jump up ^ Bogdanovich, Peter (1997). Who the Devil Made It: Conversations with Legendary Film Directors. New York: Alfred A. Knopf. ISBN 0-679-44706-7.
^ Jump up to: a b Jeff Huebner (19 November 1998). "Full Nelson". Chicago Reader. Retrieved 13 July 2011.
Jump up ^ Thompson, Lang. "The Man With The Golden Arm (1956)". TCM.com. Turner Classic Movies. Retrieved 2015-11-28.
Jump up ^ Fujiwara, Chris (2008). The World and Its Double: The Life and Work of Otto Preminger. New York City: Faber and Faber. pp. 184–187. ISBN 978-0-86547-995-1.
^ Jump up to: a b Fujiwara, p. 194.
Jump up ^ Fujiwara, p. 187.
Jump up ^ Cantarini, Martha Crawford; Spicer, Chrystopher J. (2010). Fall Girl: My Life as a Western Stunt Double. Jefferson, North Carolina: McFarland & Company. p. 70. ISBN 0-679-44706-7.
Jump up ^ "Variety Archives". Varietyultimate.com. Retrieved 2015-11-03.
Jump up ^ Fujiwara, pp. 193-194.
Jump up ^ Author Interviews (2011-12-30). "Remembering the Hayes Code". NPR. Retrieved 2015-11-03.
Jump up ^ Variety Staff (1954-12-31). "Review: 'The Man With The Golden Arm'". Variety.com. Retrieved 2015-11-03.
Jump up ^ Furek, Maxim W. (July/August 2007). “Heroin in the Cinema: The Glorification of the Junkie.” Counselor Magazine, The Magazine for Addiction Professionals.
Jump up ^ Rob Christopher (18 May 2009). "Interview: Filmmaker Michael Caplan". Chicagoist. Archived from the original on 19 October 2010. Retrieved 13 July 2011.
Jump up ^ Anderson, Alston; Southern, Terry (1955). "Nelson Algren, The Art of Fiction No. 11". The Paris Review (11). Retrieved 13 July 2011.
Jump up ^ "Preserved Projects". Academy Film Archive.
Jump up ^ "''Billboard'' Feb 25, 1956". Books.google.it. 1956-02-25. Retrieved 2015-11-03.
^ Jump up to: a b Torreano, Bradley. The Man with the Golden Arm [Original Motion Picture Soundtrack – Review] at AllMusic. Retrieved August 11, 2015.
Jump up ^ Edwards, D., Callahan, M., Eyries, P., Watts, R., & Neely, T. Decca Album Discography, Part 4: Main 12-inch 8000 Series (1949-1960) accessed August 11, 2015
Jump up ^ "Jet Harris - Main Title Theme (from The Man With The Golden Arm)". Discogs.com. Retrieved 2015-11-26.
Jump up ^ "The McGuire Sisters* - Picnic/ Delilah Jones". Discogs.com. Retrieved 2015-11-26.
Jump up ^ "Notated Music: Molly-O". Loc.gov. Library of Congress. Retrieved 2015-11-26.
Jump up ^ "Dick Jacobs and his Chorus and Orchestra - "Main Title" and "Molly-O"/ Butternut". Discogs.com. Retrieved 2015-11-26.
Jump up ^ Oliver, Myrna (1993-01-16). "Sammy Cahn, Oscar-Winning Lyricist, Dies". Los Angeles Times. Los Angeles, California. Retrieved 2015-11-26 – via Latimes.com.
Jump up ^ "Sammy Davis Jr. - The Man With The Golden Arm/ In a Persian Market". Discogs.com. Retrieved 2015-11-26.
External links[edit]
The Man with the Golden Arm on IMDb
The Man with the Golden Arm is available for free download at the Internet Archive
The Man with the Golden Arm at AllMovie
The Man with the Golden Arm at the TCM Movie Database
The Man with the Golden Arm at the American Film Institute Catalog
show
v
t
e
Films directed by Otto Preminger
Die große Liebe (1931)
Under Your Spell (1936)
Danger – Love at Work (1937)
Kidnapped (1938)
Margin for Error (1943)
In the Meantime, Darling (1944)
Laura (1944)
A Royal Scandal (1945)
Fallen Angel (1945)
Centennial Summer (1946)
Forever Amber (1947)
Daisy Kenyon (1947)
The Fan (1949)
Whirlpool (1949)
Where the Sidewalk Ends (1950)
The 13th Letter (1951)
Angel Face (1953)
The Moon Is Blue (1953) / Die Jungfrau auf dem Dach (1953)
River of No Return (1954)
Carmen Jones (1954)
The Man with the Golden Arm (1955)
The Court-Martial of Billy Mitchell (1955)
Saint Joan (1957)
Bonjour Tristesse (1958)
Porgy and Bess (1959)
Anatomy of a Murder (1959)
Exodus (1960)
Advise & Consent (1962)
The Cardinal (1963)
In Harm's Way (1965)
Bunny Lake Is Missing (1965)
Hurry Sundown (1967)
Skidoo (1968)
Tell Me That You Love Me, Junie Moon (1970)
Such Good Friends (1971)
Rosebud (1975)
The Human Factor (1979)
show
v
t
e
Shorty Rogers
Years given are for the recording(s), not first release, except where noted.
As
leader
or
co-leader
Modern Sounds (1951)
Popo (1951)
Shorty Rogers and His Giants (1953–54)
Cool and Crazy (1953)
Bud Shank – Shorty Rogers – Bill Perkins (1954–55)
Collaboration (1954)
Shorty Rogers Courts the Count (1954)
Martians Come Back! (1955)
Martians Stay Home (1955)
The Swinging Mr. Rogers (1955)
Way Up There (1955)
Portrait of Shorty (1957)
Shorty Rogers Plays Richard Rodgers (1957)
Wherever the Five Winds Blow (1957)
Afro-Cuban Influence (1958)
Chances Are It Swings (1958)
Gigi in Jazz (1958)
The Wizard of Oz and Other Harold Arlen Songs (1959)
The Swingin' Nutcracker (1960)
An Invisible Orchard (1961)
The Fourth Dimension in Sound (1961)
Bossa Nova (1962)
Jazz Waltz (1962)
Mavis Meets Shorty (with Mavis Rivers, 1962)
Gospel Mission (1963)
Yesterday, Today and Forever (and Bud Shank, 1963)
California Concert (with Bud Shank, 1985)
With
Stan
Kenton
Innovations in Modern Music (1950)
Stan Kenton Presents (1950)
Popular Favorites by Stan Kenton (1950–53)
The Kenton Era (1950–51)
The Innovations Orchestra (1950–51)
With
Pete
Rugolo
Introducing Pete Rugolo (1954)
Adventures in Rhythm (1954)
Rugolomania (1954–55)
New Sounds by Pete Rugolo (1954–55)
Sideman
with
others
Collaboration West (Teddy Charles, 1952–53)
Evolution (Teddy Charles,1953–55)
Jimmy Giuffre (Jimmy Giuffre, 1954–55)
The Jimmy Giuffre Clarinet (Jimmy Giuffre, 1956)
Soundtracks
The Man with the Golden Arm (with Elmer Bernstein, 1955)
Shorty Rogers Meets Tarzan (from Tarzan, the Ape Man, 1959)
Baby the Rain Must Fall (film released 1965)
Stagecoach (collaboration with Jerry Goldsmith, film released 1966)
Heart Beat (1979)
Arranger
Christmas Album (Herb Alpert, released 1968)
Chet Baker & Strings (1953–54)
You're the Reason I'm Living (for Bobby Darin, 1962–63)
Bobby Darin Sings The Shadow of Your Smile (for Bobby Darin, released 1966)
Ode to Billie Joe (for Bobbie Gentry, released 1967)
Local Gentry (for Bobbie Gentry, released 1968)
The Delta Sweete (for Bobbie Gentry, released 1968)
Reza (for Terry Gibbs, 1966)
Lena Like Latin (for Lena Horne, 1963)
In Love Again! (for Peggy Lee, 1963)
Pass Me By (for Peggy Lee, 1965)
The West Coast Sound (for Shelly Manne, 1953–55)
My Son the Jazz Drummer! (for Shelly Manne, 1962)
Portrait of Carmen (for Carmen McRae, 1967)
The Sound of Silence (for Carmen McRae, 1967–68)
The Wichita Train Whistle Sings (for Michael Nesmith, 1968)
Big Swing Face, 1967)
Buddy & Soul (for Buddy Rich, 1969)
A Spoonful of Jazz (for Bud Shank, 1967)
Comin' Home Baby! (for Mel Tormé, 1962)
Arranger
for
The
Monkees
The Monkees Present (1966–69)
"Daydream Believer"/"Goin' Down" (released 1967)
"D. W. Washburn" (released 1968)
The Birds, The Bees & The Monkees (1967–68)
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Elvis Presley (album)
From Wikipedia, the free encyclopedia
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Elvis Presley
Studio album by Elvis Presley
Released
March 23, 1956
Recorded
July 1954 to January 1956
Genre
Rock and roll
rockabilly
rhythm and blues
country[1]
Length
28:03
Label
RCA Victor
Producer
Sam Phillips (Sun recordings)
Steve Sholes (RCA recordings)
Elvis Presley chronology
Elvis Presley
(1956) Elvis
(1956)
Singles from Elvis Presley
"I Got a Woman"
Released: 1956
"I'll Never Let You Go (Little Darlin')"
Released: August 1956
"Tryin' to Get to You"
Released: August 1956
"Blue Suede Shoes"
Released: September 8, 1956
"Blue Moon"
Released: 1956
"Money Honey"
Released: 1956
Professional ratings
Review scores
Source
Rating
AllMusic [1]
MusicHound [2]
The Rolling Stone Album Guide [3]
Rough Guides [4]
Sputnikmusic 5/5[5]
Elvis Presley (released in the UK as Elvis Presley Rock n' Roll[6]) is the debut studio album by American singer and musician Elvis Presley. It was released on RCA Victor, catalogue number LPM-1254, in March 1956. The recording sessions took place on January 10 and January 11 at the RCA Victor recording studios in Nashville, Tennessee, and on January 30 and January 31 at the RCA Victor studios in New York. Additional material originated from sessions at Sun Studio in Memphis, Tennessee, on July 5, August 19 and September 10 of 1954, and on July 11, 1955.[7]
The album spent ten weeks at number 1 on the Billboard Top Pop Albums chart in 1956, the first rock and roll album ever to make it to the top of the charts,[8] and the first million-selling album of that genre.[9] In 2003, it was ranked number 56 on Rolling Stone magazine's list of the 500 greatest albums of all time.[10] Elvis Presley was also one of three Presley albums to receive accolades in the reference book 1001 Albums You Must Hear Before You Die, the others being Elvis Is Back! and From Elvis in Memphis.[11] It was certified Gold on November 1, 1966 and Platinum on August 8, 2011 by the Recording Industry Association of America.[12]
The original 1956 UK release called Rock n' Roll on HMV Catalogue Number: CLP 1093 has some different tracks.
Contents
[hide]
1 Background
2 Content
3 Artwork
4 Reissues
5 Track listing
6 Personnel
7 Charts
7.1 Weekly charts
7.2 Singles
8 Certifications
9 See also
10 Notes
11 References
12 External links
Background[edit]
By the second half of 1955, singles on Sun Records by Presley began making the national country and western singles chart, "Baby Let's Play House" and "I Forgot to Remember to Forget" going to number 5 and number 1 respectively.[13] Colonel Tom Parker, the new manager of Presley, had extensive dealings with RCA through his previous client, singer Eddy Arnold, especially with the head of the Country and Western and Rhythm and blues division, Steve Sholes.[14] At the urging of Parker, on November 21, 1955, Sholes bought Presley's contract from Sam Phillips, the head of Sun Records and Studio, for the unprecedented sum of $35,000 (approximately $318,500 in 2017 dollars).[15] Presley and rock and roll were still untested properties for the major labels in the music business, but this album, along with the number 1 single "Heartbreak Hotel", proved the selling power of both: it was the first RCA Victor pop album to earn more than $1,000,000,[9] and in 1966 it had sold over one million units.[9][16]
Content[edit]
Presley made appearances in four consecutive weeks on the Dorsey Brothers television program Stage Show in early 1956, on January 28, February 4, February 11, and February 18.[17] RCA wanted an album in the stores fast to capitalize both on the nationwide TV exposure and the success of his first hit single on the pop charts with "Heartbreak Hotel", swiftly climbing to the top after its release on January 27. At the same time, there had only been two series of Presley recording sessions for RCA Victor by the end of the Dorsey stint, after which Presley and his band were back on the road. Those two sessions yielded an additional eleven tracks, almost enough to fill an entire LP, although some tracks had singles potential. In the 1950s, general practice dictated tracks having greater commercial potential to be released as singles, with tracks of lesser appeal placed on albums; as such, RCA Victor neither took all eleven tracks and simply made an album, nor placed the already released and briskly-selling "Heartbreak Hotel" on it. The rights to the Sun Studio tapes had transferred to RCA Victor with the sale of his contract, so five previously unreleased Sun songs, "I Love You Because", "Just Because", "Tryin' to Get to You", "I'll Never Let You Go (Little Darlin')", and "Blue Moon" were added to seven of the RCA Victor sessions tracks to bring the running time of the album up to an acceptable length.[9] Phillips produced the sessions at Sun, and no producer was officially listed for the RCA Victor sessions, leading to the belief that Presley himself produced them.[18]
As the Sun tracks were mostly country-styled, Elvis and RCA Victor leavened the selections with covers of recent rhythm and blues songs. Two of these, "Money Honey" by Jesse Stone, known to Elvis from a version by Clyde McPhatter, and Ray Charles' 1955 hit "I Got a Woman", had been in Presley's live act for a year.[19] A third was the frenetic announcement to the world of the existence of Little Richard in 1955, "Tutti Frutti". A rockabilly number that was believed to be a potential hit and could hold its own with the R&B material, "Blue Suede Shoes", was not initially released as a single from a promise by Sholes to Sam Phillips to protect the career of another Sun artist, Carl Perkins, the author of the song.[20] Instead, it was diverted into being the opening track on the album.
On August 31, 1956, RCA Victor took the unusual step of releasing the entire album as singles, which undoubtedly kept the new single released simultaneously, "Shake, Rattle and Roll" backed with "Lawdy Miss Clawdy," from reaching the charts. However, "Blue Suede Shoes", released in single form as a part of this experiment by RCA Victor, kept the promise to Phillips and Perkins by waiting over eight months since the song's release on Sun, and made it to number 20 on the singles chart.
Artwork[edit]
The cover is ranked number 40 on Rolling Stone's list of the 100 greatest album covers, published in 1991.[21] The photograph was taken at the Fort Homer Hesterly Armory in Tampa, Florida, on July 31, 1955.[22] Initially it was thought that Popsie Randolph took the image featured on the front cover, due to the fact that the album only credited one photographer. However, in August, 2002, Joseph A. Tunzi documented that the actual photographer was William V. "Red" Robertson of Robertson & Fresch. The Popsie credit attributed to the album only applied to a series of photos featured on the back cover, taken in New York City in early December, 1955, shortly after Presley had signed with RCA Victor. Tunzi was quoted in the Tampa Tribune as saying, "Forget about Popsie. Popsie did not take that photo." [23]
The graphic and photo were also used on an EP and a double-EP comprising songs from this album, also released in March 1956.[24]
The design was echoed by The Clash for the front of their 1979 album London Calling; that cover is number 39 on the Rolling Stone list of 100 greatest album covers noted previously. Other acts of cover homage include F-Punk by Big Audio Dynamite in 1995, and Reintarnation in 2006 by k.d. lang and Chumbawamba's controversial single "Tony Blair".
Reissues[edit]
RCA first issued the original 12 track album in reprocessed (fake) stereo on compact disc in 1984. This issue was quickly withdrawn and the album was reissued in original monophonic sound. In 1999, RCA reissued the album with an altered running order, adding on six bonus tracks from three non-album singles, including the chart-toppers "Heartbreak Hotel" and "I Want You, I Need You, I Love You." In 2005, the album was reissued again, remastered using DSD technology with the six bonus tracks appended in standard fashion. A two-disc set was released on the Follow That Dream collectors label on August 15, 2006, with bonus tracks and numerous alternate takes.
Track listing[edit]
Side one
No.
Title
Writer(s)
Recording date
Length
1. "Blue Suede Shoes" Carl Perkins January 30, 1956 2:00
2. "I'm Counting on You" Don Robertson January 11, 1956 2:25
3. "I Got a Woman"
Ray Charles
Renald Richard
January 10, 1956 2:25
4. "One Sided Love Affair" Bill Campbell January 30, 1956 2:11
5. "I Love You Because" Leon Payne July 5, 1954 2:43
6. "Just Because"
Bob Shelton
Joe Shelton
Sydney Robin
September 10, 1954 2:34
Side two
No.
Title
Writer(s)
Recording date
Length
1. "Tutti Frutti"
Dorothy LaBostrie
Richard Wayne Penniman
January 31, 1956 1:59
2. "Tryin' to Get to You"
Rose Marie McCoy
Charles Singleton
July 11, 1955 2:31
3. "I'm Gonna Sit Right Down and Cry (Over You)"
Howard Biggs
Joe Thomas
January 31, 1956 2:01
4. "I'll Never Let You Go (Little Darlin')" Jimmy Wakely September 10, 1954 2:24
5. "Blue Moon"
Richard Rodgers
Lorenz Hart
August 19, 1954 2:40
6. "Money Honey" Jesse Stone January 10, 1956 2:36
[show]UK edition - side one
No.
Title
Length
1. "Blue Suede Shoes"
2. "I Got a Woman"
3. "I'm Counting on You"
4. "I'm Left, You're Right, She's Gone"
5. "That's All Right"
6. "Money Honey"
[show]UK edition - side two
No.
Title
Length
1. "Mystery Train"
2. "I'm Gonna Sit Right Down and Cry (Over You)"
3. "Trying to Get to You"
4. "One Sided Love Affair"
5. "Lawdy, Miss Clawdy"
6. "Shake, Rattle and Roll"
[show]1999 edition
No.
Title
Writer(s)
Length
1. "Heartbreak Hotel"
Mae Axton
Tommy Durden
Elvis Presley
2:08
2. "I Was the One"
Aaron Schroeder
Claude Demetrius
Hal Blair
Bill Peppers
2:34
3. "Blue Suede Shoes" Perkins 1:58
4. "I'm Counting on You" Robertson 2:24
5. "I Got a Woman"
Charles
Richard
2:23
6. "One-sided Love Affair" Campbell 2:09
7. "I Love You Because" Payne 2:42
8. "Just Because"
B. Shelton
J. Shelton
Robin
2:32
9. "Tutti Frutti"
LaBostrie
Penniman
1:58
10. "Tryin' to Get to You"
McCoy
Singleton
2:31
11. "I'm Gonna Sit Right Down and Cry (Over You)"
Biggs
Thomas
2:01
12. "I'll Never Let You Go (Little Darlin')" Wakely 2:24
13. "Blue Moon"
Rodgers
Lorenz Hart
2:31
14. "Money Honey" Stone 2:34
15. "Lawdy Miss Clawdy" Lloyd Price 2:08
16. "Shake, Rattle and Roll" Charles Calhoun 2:37
17. "My Baby Left Me" Arthur Crudup 2:12
18. "I Want You, I Need You, I Love You"
Lou Kosloff
George Mysels
2:40
[show]2006 FTD edition (Disc one)
No.
Title
Length
1. "Blue Suede Shoes" 2:01
2. "I'm Counting on You" 2:24
3. "I Got a Woman" 2:25
4. "One Sided Love Affair" 2:11
5. "I Love You Because" 2:40
6. "Just Because" 2:33
7. "Tutti Frutti" 1:59
8. "Trying to Get to You" 2:33
9. "I'm Gonna Sit Right Down and Cry (Over You)" 2:04
10. "I'll Never Let You Go (Little Darlin')" 2:25
11. "Blue Moon" 2:43
12. "Money Honey" 2:36
13. "Heartbreak Hotel" 2:09
14. "I Was the One" 2:33
15. "Lawdy, Miss Clawdy" 2:10
16. "Shake, Rattle and Roll" 2:27
17. "My Baby Left Me" 2:13
18. "I Want You, I Need You, I Love You" 2:44
19. "I Got a Woman" (Incomplete unknown take number) 1:32
20. "I Got a Woman" (Unknown take number) 2:26
21. "Heartbreak Hotel" (Incomplete take 4) 1:07
22. "Heartbreak Hotel" (Take 5) 2:17
23. "Heartbreak Hotel" (Take 6) 2:16
24. "Money Honey" (Fragments) 0:08
25. "Money Honey" (Take 6) 0:24
26. "Money Honey" (Incomplete take 10) 1:27
27. "I'm Counting on You" (Take 1) 2:20
28. "I'm Counting on You" (Take 13) 2:33
29. "I'm Counting on You" (Incomplete take 14) 2:19
30. "I Was the One" (Take 1) 0:13
31. "I Was the One" (Take 2 – false start) 0:11
32. "I Was the One" (Take 2) 2:32
33. "I Was the One" (Take 3 – false start) 0:12
34. "I Was the One" (Take 3- incomplete) 0:56
35. "I Was the One" (Take 7a – not master) 2:41
36. "I Was the One" (Incomplete unknown take) 1:31
[show]2006 FTD edition (Disc two)
No.
Title
Length
1. "I'm Counting on You" (Take 1) 0:37
2. "I'm Counting on You" (Incomplete take 2) 1:35
3. "Lawdy, Miss Clawdy" (Take 1) 2:40
4. "Lawdy, Miss Clawdy" (Take 3) 2:21
5. "Lawdy, Miss Clawdy" (Take 4) 2:17
6. "Lawdy, Miss Clawdy" (Take 5) 2:20
7. "Lawdy, Miss Clawdy" (Take 6) 2:19
8. "Lawdy, Miss Clawdy" (Take 7) 1:52
9. "Lawdy, Miss Clawdy" (Take 8) 0:59
10. "Lawdy, Miss Clawdy" (Take 9) 2:16
11. "Lawdy, Miss Clawdy" (Take 10) 2:27
12. "Lawdy, Miss Clawdy" (Take 11) 0:13
13. "Lawdy, Miss Clawdy" (Take 12) 2:20
14. "Shake Rattle and Roll" (Take 1) 0:38
15. "Shake Rattle and Roll" (Take 2) 2:34
16. "Shake Rattle and Roll" (Take 3) 0:19
17. "Shake Rattle and Roll" (Take 5) 0:47
18. "Shake Rattle and Roll" (Take 6) 0:34
19. "Shake Rattle and Roll" (Take 7) 2:41
20. "Shake Rattle and Roll" (Take 8) 2:34
21. "Shake Rattle and Roll" (Take 9) 0:20
22. "Shake Rattle and Roll" (Take 10) 0:12
23. "Shake Rattle and Roll" (Take 11) 0:14
24. "Shake Rattle and Roll" (Take 12) 1:41
25. "Shake Rattle and Roll" (Take 12 – undubbed, unedited master) 2:36
26. "I Want You, I Need You, I Love You" 0:07
27. "I Want You, I Need You, I Love You" (Take 3) 3:05
28. "I Want You, I Need You, I Love You" (Take 4) 2:56
29. "I Want You, I Need You, I Love You" (Take 5 – fragment) 0:14
30. "I Want You, I Need You, I Love You" (Take 13) 2:57
31. "I Want You, I Need You, I Love You" (Take 14 – incomplete) 1:50
32. "I Want You, I Need You, I Love You" (Take 15) 2:55
33. "I Want You, I Need You, I Love You" (Take 16) 2:54
34. "I Want You, I Need You, I Love You" (Take 17) 2:49
35. "Don Davis Interviews Elvis Presley" 3:53
[show]2011 Legacy edition (Disc one)
No.
Title
Length
1. "Blue Suede Shoes" 1:58
2. "I'm Counting on You" 2:24
3. "I Got A Woman" 2:23
4. "One Sided Love Affair" 2:09
5. "I Love You Because" 2:42
6. "Just Because" 2:32
7. "Tutti Frutti" 1:59
8. "Tryin' to Get to You" 2:33
9. "I'm Gonna Sit Right Down and Cry (Over You)" 2:05
10. "I'll Never Let You Go (Lil' Darlin')" 2:25
11. "Blue Moon" 2:43
12. "Money Honey" 2:36
13. "Heartbreak Hotel" 2:08
14. "I Was The One" 2:34
15. "My Baby Left Me" 2:12
16. "Lawdy Miss Clawdy" 2:08
17. "Shake, Rattle and Roll" 2:37
[show]2011 Legacy edition (Disc two)
No.
Title
Writer(s)
Length
1. "Rip It Up"
Robert Blackwell
John Marascalco
1:50
2. "Love Me"
Jerry Leiber
Mike Stoller
2:41
3. "When My Blue Moon Turns to Gold Again"
Gene Sullivan
Wiley Walker
2:18
4. "Long Tall Sally"
Blackwell
Enotris Johnson
Richard Penniman
1:51
5. "First in Line"
Aaron Schroeder
Ben Weisman
3:21
6. "Paralyzed"
Otis Blackwell
Presley
2:18
7. "So Glad You're Mine" Arthur Crudup 2:18
8. "Old Shep" Red Foley 4:10
9. "Ready Teddy"
Blackwell
Marascalco
1:55
10. "Anyplace is Paradise" Joe Thomas 2:26
11. "How's the World Treating You?"
Chet Atkins
Boudleaux Bryant
2:23
12. "How Do You Think I Feel"
Webb Pierce
Walker
2:10
13. "I Want You, I Need You, I Love You"
Lou Kosloff
George Mysels
2:40
14. "Hound Dog"
Leiber
Stoller
2:16
15. "Don't Be Cruel"
Blackwell
Presley
2:30
16. "Anyway You Want Me (That's How I Will Be)"
Cliff Owens
Schroeder
2:13
17. "Too Much"
Lee Rosenberg
Bernard Weinman
2:31
18. "Playing for Keeps" Stan Kesler 2:50
19. "Love Me Tender"
Vera Matson
Presley
2:41
Personnel[edit]
Elvis Presley – vocals, acoustic guitar, piano (on "Tryin' To Get to You")
Scotty Moore – electric guitar
Chet Atkins – acoustic guitar on "I'm Counting on You" and "Money Honey"
Floyd Cramer – piano on January 10–11
Shorty Long – piano on January 30–31
Bill Black – bass
D. J. Fontana – drums except "I Love You Because," "Just Because," "Tryin' to Get to You," "I'll Never Let You Go (Little Darlin')," and "Blue Moon"
Johnny Bernero – drums (on "Tryin' to Get to You")
Gordon Stoker – backing vocals
Ben Speer – backing vocals
Brock Speer – backing vocals
Doug Poindexter - percussion/guitar on "Just Because"
Charts[edit]
Weekly charts[edit]
Year
Chart
Position
1956 Billboard Pop Albums 1
UK Albums Chart[6] 1
Singles[edit]
Year
Single
Chart
Position
1956 "Blue Suede Shoes" Billboard Pop Singles 20
"Money Honey" 76
"Blue Moon" 55
Certifications[edit]
Region
Certification
Certified units/Sales
United States (RIAA)[25]
Platinum 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
See also[edit]
Classic Albums
Notes[edit]
^ Jump up to: a b AllMusic review
Jump up ^ Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 892. ISBN 1-57859-061-2. CS1 maint: Extra text: authors list (link)
Jump up ^ "Elvis Presley: Album Guide". rollingstone.com. Archived from the original on September 18, 2013. Retrieved June 20, 2015.
Jump up ^ Simpson, Paul (2004). The Rough Guide to Elvis. London: Rough Guides. pp. 109–10. ISBN 1-84353-417-7.
Jump up ^ Sputnikmusic review
^ Jump up to: a b "Chart Stats – Elvis Presley – Elvis Presley Rock n' Roll". chartstats.com. Retrieved 8 May 2011.
Jump up ^ "Keith Flynn's Elvis Presley Pages". RIAA. 2013. Retrieved May 17, 2013.
Jump up ^ Billboard, v. 108, Nr. 21, p. 106, May 25, 1996, retrieved on September 13, 2012
^ Jump up to: a b c d Victor, Adam (2008). The Elvis Encyclopedia. Gerald Duckworth & Co Ltd. p. 136. ISBN 978-0-7156-3816-3.
Jump up ^ Rolling Stone | News
Jump up ^ "1001 Albums You Must Hear Before You Die". RIAA. Retrieved May 17, 2013. Note: Enter search for "Presley, Elvis"
Jump up ^ "Searchable datebase". RIAA. 2013. Retrieved May 17, 2013. Note: Enter search for "Presley, Elvis" and go to pages 1 and 36
Jump up ^ Sources:
Burke, Ken; Griffin, Dan (2006). The Blue Moon Boys - The Story of Elvis Presley's Band. Chicago Review Press. p. 47. ISBN 1-55652-614-8.
Whitburn, Joel (2004). The Billboard Book Of Top 40 Country Hits: 1944-2006, Second edition. Record Research. p. 272.
Jump up ^ Nash, Alanna. The Colonel. New York: Simon and Schuster, 2003; ISBN 0-7432-1301-7; pp. 107–111.
Jump up ^ "Consumer Price Index Inflation Calculator". United States Bureau of Labor Statistics, (Nov. 1955-July 2017).
Jump up ^ "Searchable Database". RIAA. Archived from the original on 2015-09-04.
Jump up ^ Jorgensen, Ernst. Elvis Presley, A Life In Music. New York: St. Martin's Press, 1998; ISBN 0-312-18572-3, p. 41
Jump up ^ Jorgensen, Ernst. Elvis Presley, A Life In Music. New York: St. Martin's Press, 1998; ISBN 0-312-18572-3, pp. 35 and 38
Jump up ^ Guralnick, Peter. The King of Rock 'n' Roll: The Complete 50s Masters, 1992, insert booklet, p. 20.
Jump up ^ Guralnick, Peter. The King of Rock 'n' Roll: The Complete 50s Masters, 1992, insert booklet, p. 24.
Jump up ^ [1]
Jump up ^ "Armory shook up history of Tampa" – The Tampa Tribune, Dec. 11, 2011 Archived 2012-10-21 at the Wayback Machine.
Jump up ^ Tampa Tribune, Steven M. Weaver, August 16, 2002, Greg Williams, Forever Elvis In Tampa
Jump up ^ Elvis 1956 Discography[permanent dead link]. sergeant.com.au. Retrieved on 2008-01-02.
Jump up ^ "American album certifications – Elvis Presley – Elvis Presley". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
References[edit]
Jorgenson, Ernst (1998). Elvis Presley: A Life In Music – The Complete Recording Sessions. New York: St. Martin's Press. ISBN 0-312-18572-3
Elvis Presley Special Edition FTD CD In depth review : http://www.elvisinfonet.com/ftdreview_ElvisPresleyDeluxe.html
Elvis Presley Special Edition FTD CD Information: http://shop.elvis.com.au/prod1462.htm
External links[edit]
Elvis Presley at Discogs (list of releases)
LPM-1254 Elvis Presley Guide part of The Elvis Presley Record Research Database
Preceded by
The King and I by Original Soundtrack UK Albums Chart number-one album
10 November 1956 – 17 November 1956 Succeeded by
The King and I by Original Soundtrack
Preceded by
Belafonte by Harry Belafonte Billboard 200 number-one album
5 May - 7 July 1956 Succeeded by
My Fair Lady by Original Broadway Cast
[show]
v
t
e
Elvis Presley
Albums discography
Singles discography
Filmography
Studio albums
Elvis Presley
Elvis
Peace in the Valley (EP)
Elvis' Christmas Album
For LP Fans Only
A Date with Elvis
Elvis Is Back!
His Hand in Mine
Something for Everybody
Pot Luck
Elvis for Everyone!
How Great Thou Art
From Elvis in Memphis
From Memphis to Vegas / From Vegas to Memphis
Elvis Country (I'm 10,000 Years Old)
Love Letters from Elvis
Elvis sings The Wonderful World of Christmas
Elvis Now
He Touched Me
Elvis
Raised on Rock / For Ol' Times Sake
Good Times
Promised Land
Today
From Elvis Presley Boulevard, Memphis, Tennessee
Moody Blue
Live albums
On Stage
As Recorded at Madison Square Garden
Aloha from Hawaii Via Satellite
Elvis Recorded Live on Stage in Memphis
Having Fun with Elvis on Stage
Elvis in Concert
An Afternoon in the Garden
Soundtrack albums
and EPs
Love Me Tender (EP)
Loving You
Jailhouse Rock (EP)
King Creole
G.I. Blues
Flaming Star (EP)
Blue Hawaii
Follow That Dream (EP)
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Elvis_Presley_(album)&oldid=841509473"
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