1. LOVE LETTERS
2. COME WHAT MAY
Side A: Love Letters
Recording: May 26, 1966, RCA Studio B in Nashville, Tennessee
Author: Victor Young & Edward Heyman
Side B: Come What May
Recording: May 28, 1966, RCA Studio B in Nashville, Tennessee
Author: Franklin Tableporter
Publication Date: June 8, 1966
First single published by Elvis with new songs not intended for a soundtrack after two years. At the end of May of that year 1966, Elvis entered the RCA recording studio in Nashville to record new songs for a future gospel album, as well as other songs that would be released in single format or as bonuses. soundtrack tracks. Little by little it seems that Elvis is recovering the illusion of recording songs that had nothing to do with his career in Hollywood. Precisely, this single includes two songs from those recording sessions destined for the future How Great Thou Art (1966) although they would not be included on the LP; Love Letters, reached position No. 19 on the Billboard Hot 100 and a remarkable sixth position on the British charts. The master was taken from take number nine.
Come What May, B-side, would not chart. The master came from cut eight.
Elvis was supported for these new recording sessions by musicians such as Scotty Moore, Chip Young and Harold Bradley (the latter is not entirely sure); Bob Moore (May 25-27) and Henry Strzelecki (May 28) on bass, Charlie McCoy (May 25-27) on guitar, bass and harmonica; Murrey “Buddy” Harman and DJ Fontana on drums, Floyd Cramer on piano, Henry Slaughter (The Imperials, May 25-27) and David Briggs (May 26) on piano and organ, Peter Drake on steel guitar, Homer “Boots” Randolph on saxophone, Rufus Long and Ray Stevens on trumpets; and in the vocal part The Jordanaires, The Imperials: Armond Morales, Jake Hess, Gary McSpadden and Sherrill Nielsen (from May 25 to 27) and Millie Kirkham, June Page and Dolores Edgin.
Information provided by Club Elvis Spain http://www.clubelvis.org
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