Elvis On CDRCA/BMG/Sony CDs

Elvis Presley
Elvis movies


Elvis movies - Sony/BMG 82876 85752 2 - USA 2006

Release: 2006 Sony/BMG 82876 85752-2   EU  12
Release: 2006 Sony/BMG 82876 85752 2   USA 12
Release: 2006 Sony/BMG 82876 87257 2 Wal*Mart USA 17
Release: 2006 Sony/BMG 82876 85752 2   India 18
Release: 2006 Sony/BMG 82876 85752 2   Thailand 17
Release: 2007 Sony/BMG 88697 05223 2   Russia 18
Release: 2020 Sony Music 19439757272 Gold Series Australia 12


Published in the Elvis theme CD series. See all releases here.


To simply state that Elvis Presley was part of the movie business is to downplay his commercial clout. Even "movie star" doesn't quite do it. He was more like an industry unto himself, with each new picture often generating a bestselling soundtrack album and a couple of radio-friendly singles that would climb to the upper reaches of the pop charts. In the course of 13 years, he made 31 films, releasing at least two a year from 1961 to 1969. Eleven of his movie soundtracks made it into the Top Ten. Blue Hawaii, his biggest soundtrack hit, lodged a remarkable 179 weeks on the Billboard album chart, with 20 of them at #1. Similarly, G.I. Blues spent 111 weeks on the Billboard album chart, ten at # 1.

Although Elvis garnered some serious notice as an actor for such early roles as halfbreed Pacer Burton in the western Flaming Star or as trouble-magnet Danny Fisher in the New Orleans-set King Creole, audiences - and the studio bosses - preferred to see him in frothier flicks like Blue Hawaii, Girls! Girls! Girls! and Viva Las Vegas, which set an earlysixties benchmark for on-screen sexual chemistry thanks to the inspired pairing of Elvis and Ann-Margret, fresh from her Bye Bye Birdie triumph. Not thit Elvis had any trouble attracting lovely young co-stars: he played opposite Ursula Andress, Tuesday Weld, Nancy Sinatra, Juliet Prowse, Barbara Eden, Shelly Fabares and Mary Tyler Moore (playing an undercover nun, of all things), just to name a few of the pop icons he crooned to and courted on film — and sometimes, as rumor has it, off-screen too.

More than three decades after his final flick was released - Change Of Habit, which aimed to be more socially aware than, say, Speedway - the Elvis Presley filmography seems more kitsch than classic, a sublime guilty pleasure, though there are moments, like the brilliantly executed title-song number from Jailhouse Rock, that remain more exhilarating than a thousand MTV videos. The music, however, has lost none of its charm, exuberance or swing.

Artists like Bruce Springsteen have found tremendous inspiration in these tunes: in fact, Bruce has taken "Follow That Dream," slowed it down, rearranged some lyrics and turned it into a stirring live-show anthem. Elvis's music did that to people, and still does. lt got them into movie theatres and record stores, to turn up the radio or pull their chairs closer to their television sets.

This album is like one of those maps to the stars' homes that you can still find on some corners in Los Angeles: it's a guide to an era when Elvis was following his dream in Hollywood.  (from the liner notes)