There's Always Me
Words & Music by Don Robertson
Don Robertson: I had received a phone call from one of Elvis' assistants (don't remember who) who told me that Elvis had said he wanted to meet with me and I was invited to go over to Radio Recorders in Hollywood where he was doing some sessions When I got to Radio Recorders I was directed down a main hall toward the control room of the studio where he was working. A door was open to the studio and as I walked past I could see Elvis standing in front of a microphone. He was wearing a sea captain's hat and was looking very dapper. I continued to the control booth and was directed to a little lounge off to the side with a view of the studio. In a few minutes Elvis took a break and came in to the lounge and we shook hands and introduced ourselves. We talked for 15 or 20 minutes, trading brief autobiographies.
I remember one phrase verbatim when he was talking about Sun Records and the secretary/assistant to Sam Phillips. Elvis said to me, 'if it hadn't been for her I'd still be driving a truck'. When he went back to work, the first thing he did was to walk up to his vocal mike and, looking at me with a mischievous smile on his face, sing a naughty version of the first few lines of There's Always Me.
During another break, Elvis invited me to come to his house after the session, along with the Jordanaires and some of the musicians. That evening, at his house, he played me his recorded version of There's Always Me - it was the first time I had heard it. There were lots of people in the room. He was rather secretive about his new unreleased recordings so we listened on headphones.
Just before the recording reached the end, he said to me: 'Listen to this ending'. He was very proud of his semi-operatic delivery of the title line at the end, as well he should have been.
To my surprise, he knew all about my having originated Floyd Cramer's piano style and announced to the room that I was the one that had invented Floyd Cramer's 'slip-note' style. It makes me sad to think about it, because I never really told Elvis how good he made me feel. Nor did I ever tell him how much I appreciated his fine renditions of my songs. I guess I assumed he knew how good he was. But I wish now that I had put it into words. It taught me a lesson. Now, whenever an artist does an outstanding rendition of one of my songs I make sure I thank the artist [and, if possible, everyone else who worked on the record]. I don't believe that any of them, no matter how rich or famous, are immune to expressions of appreciation from the writer.
February 25, 1961 - Elvis appears in Memphis at a luncheon in his honor, and numerous recent awards Elvis has received are shown to the press and others attending. A press conference follows'. Elvis Presley Day' is proclaimed by Tennessee Governor Buford Ellington. Every year after this, Elvis donates money to a list of Memphis-area charities, eventually reaching fifty or more, usually around Christmas time. Within a few years, to show their appreciation the city gives him a massive plaque listing fifty charities
|Something For Everybody LP 1961|
Then, Elvis performs two shows at Ellis Auditorium .
On March 8, 1961, Elvis addresses the Tennessee State Legislature, Nashville, Tennessee and accepts the title of 'Honorary Colonel'.
March 12, 1961 RCA Studio B - Nashville, Tennessee
I'm Coming Home M2WW 0567-07
Gently M2WW 0568-05
In Your Arms M2WW 0569-02
Give Me The Right M2WW 0570-04
I Feel So Bad M2WW 0571-02
It's A Sin M2WW 0572-04
I Want You With Me M2WW 0573-02
There's Always Me M2WW 0574-10
March 13, 1961 RCA Studio B - Nashville, Tennessee
Elvis Presley and Blue Hawaii
|Blue Hawaii LP 1961|
On March 14, 1961, Elvis and assorted friends, assistants, and bodyguards flew to Los Angeles so he could begin production on his next film, Blue Hawaii. Upon his arrival, he spent a few fun-filled days with friends Juliet Prowse, Joan Blackman, and Pat Fackethal, a real-life stewardess selected to play a bit part as a stewardess in the film. Afterward, he buckled down to record the songs that would comprise the soundtrack. Elvis recorded the tunes for the modestly budgeted musical comedy in Hollywood as opposed to Nashville, where much of his non soundtrack music was produced.
Blue Hawaii became Elvis' biggest-selling movie soundtrack.
It topped the Billboard albums chart two months after its October 1961 release. It was the No. 1 album in the country for 20 weeks, which set a record for a rock performer or group that lasted until 1977 when Fleetwood Mac's Rumors broke it. Blue Hawaii remained on the albums chart for 79 weeks and was awarded double platinum status by the RIAA in March 1992.
March 21, 1961 Radio Recorders - Hollywood, California
March 22, 1961 Radio Recorders - Hollywood, California
Blue Hawaii M2PB 2984-07
Ito Eats M2PB 2992-09
Hawaiian Wedding Song M2PB 3015-02
Island Of Love M2PB 3000-13
Steppin' Out Of Line M2PB 3038-17
Steppin' Out Of Line (Movie Version) WPA5 2549-SP
Almost Always True M2PB 2985-08
1961: Elvis at the Coco Palms Resort
March 23, 1961 Radio Recorders - Hollywood, California
Aloha Oe (Composite) M2PB 2986-SP
Can't Help Falling In Love (Movie Version) WPA5 2550-23
Can't Help Falling In Love M2PB 2988-29
Beach Boy Blues M2PB 2995-02
Beach Boy Blues (Movie Version) WPA5 2585-03
Rock A Hula Baby M2PB 2989-05
March 28, 1961 Paramount Scoring Stage - Hollywood, California
Moonlight Swim M2PB 2990
There's Always Me
When the evening shadows fall,
And you're wond'ring who to call
For a little company
There's always me
Or if your great romance should end,
And you're lonesome for a friend
Darling, you need never be
There's always me
I don't seem to mind somehow
Playing second fiddle now
Someday you'll want me, dear,
and when that day is here,
Within my arms you'll come to know
Other loves may come and go
But my love for you will be eternally
Look around and you will see
There's always me.
Recorded: 1961/03/12, first released on Something For Everybody