TCBCast Bonus - Elvis Novelty Songs Vol. 3

As we await the epic holiday two-parter for this year's Christmas episode, Santa may have just slipped a little something into your stocking a little early! Over at the TCBCast Jukebox, Gurdip and Justin settle in next to the tree to unwrap more Elvis-themed novelty songs that have come out both within Elvis's lifetime and beyond, this time with more of a holiday twist than usual. Tacky Elvis impressions, maudlin and overwrought post-1977 tearjerkers and - weirdly - a couple genuinely catchy ones; this list of Elvis novelty songs runs the gamut! Originally released as a bonus on the TCBCast Patreon in 2023, this episode marks the first time the guys revisited the topic of Elvis novelty songs since 2020. And never fear - there's still one more lighter episode on the slate yet to come just before the big Christmas drop!  

Ryan Droste & Bec Wyles took a brief aside from their upcoming main episode to bring their impressions of and insights on the first official teaser trailer for EPiC: Elvis Presley in Concert from Neon & Universal, which has been confirmed for a February 27,. 2026 release date with a one-week IMAX exclusive engagement prior starting Feb. 20. Link to the teaser: https://www.youtube.com/watch?v=xsD6nCbQDcA

This week, Bec decided that it's been a while since she's gotten to talk about '70s concert material, so we're discussing the legendary August 19, 1974, show in which Elvis abandoned his usual setlist and completely changed directions. Opening with "Big Boss Man" instead of "See See Rider", filling out the show with tons of newer and more contemporary material like "Good Time Charlie's Got the Blues", "Promised Land" and "It's Midnight" and forgoing most of his iconic hits in favor of more unique and intimate performances just for his Vegas audiences.  We sit down with the soundboard recording and try to reckon with how Elvis chose to make such a bold move, whether fans and audiences appreciated it, and why he abandoned it so quickly to fall back into the comfortable professional grooves that would carry him to the end of his life. And before all that, Bec also fills us in her trip to see Priscilla Presley's recent live talk in Sydney. For Song of the Week, somehow without coordinating it at all, each host picked one of the only two songs written for Elvis by Stanley Gelber, the lawyer-turned-pro songwriter who submitted a handful of demos to Hill & Range in the 1960s, landing an Elvis cut with Bec's pick of "My Desert Serenade" from the Harum Scarum soundtrack. Then Justin rings in the holiday season with Gelber's other song, "On A Snowy Christmas Night," a holiday track that had coincidentally been submitted not long after Harum Scarum (roughly around when Elvis did "If Every Day Was Like Christmas") but somehow wound up in the demo pile later in 1971 for Elvis to record - despite Hill & Range no longer having the rights!  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

In this episode's Song of the Week, Justin stumbled into the dark story involving Tommy Dilbeck, the country songwriter behind Eddy Arnold's signature hit "I'll Hold You In My Heart," which Elvis transformed into a bluesy jam at the American Sound 1969 sessions that worked so well it landed on the acclaimed "From Elvis in Memphis." But is the song merely one of romantic longing, or, given what we now know, a hint at a more subtly obsessive message that no one had previously picked up before?  Content warning: potentially upsetting descriptions of domestic violence drawn from period news reports between about 03:30-04:45. Then John pulls double-duty, spotlighting two significant home recordings from 1966, "Hide Thou Me" and "Show Me Thy Way, O Lord," during a period in which Elvis was seeking material for his upcoming gospel project - what would become the "How Great Thou Art" album - and returning to the work of one of his favorite gospel groups, The Statesmen Quartet, to consider songs for potential inclusion. John also gives a quick primer on who the Statesmen were, and how they influenced Elvis's choice of gospel material. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

They say Elvis was the King of Rock and Roll, so Gurdip and Justin are joined by John Heath (EAP Society, Atomic Wax) to put forth their picks for the most underrated rockers that Elvis Presley ever recorded: from overlooked singles to forgotten album cuts, 50s to the 70s, in the studio and live, there may just be one in here that you've underrated, too! Although Gurdip has to bow out after this meaty and outrageously fun episode, as a very special Thanksgiving/holiday kickoff treat, a slightly shorter Episode 386 featuring "I'll Hold You In My Heart," "Hide Thou Me" and "Shy Me Thy Ways, O Lord" as Songs of the Week will be dropping into your podcast feed ASAP.  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

John Michael Heath joins Justin this week as guest host as they discuss some of their favorite alternate versions of Elvis songs as they appeared in the original movies he starred in, frequently with added instrumentation, backing vocals, or often completely different performances altogether than what was commercially released on record. For Song of the Week, John looks back at "Pieces of My Life," the introspective Troy Seals-penned song off the "Today" album that landed as the B-side of "Bringin' It Back" as a single, and that Elvis only performed live once in Asheville, North Carolina. The song Justin intended to pick for song of the week, however, ended up having an extra twist to it that he wasn't expecting that needs a bit more digging - wait to hear that next episode! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Released in 1978 on the Pickwick label, at first glance the budget album "Mahalo from Elvis" could have seemed like any number of other slapdash repackaging of old recordings in the wake of Elvis's death. However "Mahalo" not only represented the first official release of the five post-show songs from "Aloha from Hawaii" filmed for inclusion in the continental US broadcast, but had originally been compiled by RCA's Joan Deary for release in late 1973.  As an album that could have potentially been part of the lifetime canon of Elvis's album releases, has "Mahalo" been overlooked? Eventually certified Gold by the RIAA, many later-generation fans - including Justin - had it in their vinyl collection early on as a formative part of their Elvis musical experience. Bec and Justin decided to revisit the record and see how it holds up. For Song of the Week, Bec takes the baton from Olivia pick last week, highlighting another Don Robertson-penned number, the stunning "There's Always Me" from 1961. Justin, on the other hand, tries really hard not to let the potential for innuendo get out of hand as he digs into what sets Elvis's version of the country weeper "It Ain't No Big Thing (But It's Growing)" apart from numerous others before and after his.  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

This week, Justin and Olivia wrap their discussion on the 2005 Broadway musical "All Shook Up" as they take a closer examination of the second act of the show as it flounders in its half-hearted attempts to make social commentary while still surprising with the inclusion of Elvis deep cuts like "Power of My Love," "I Don't Want To" and "There's Always Me" in its narrative. From there, the duo hit their Songs of the Week. Tying in with the musical's lead character Chad, a roving roustabout himself, Justin tackles the brief history behind the title theme to Elvis's 1964 film "Roustabout." Then Olivia goes on a wonderful deep dive into the symbolism and storied history of "La Paloma" as its Spanish composer Sebastián Iradier comes into contact with Cuban music, brings it back to Europe and writes a song that goes on to explode in popularity around the world, becoming a standard in Mexico and also somewhat associated with Hawaii, being brought to the islands by Europeans - leading to its further adaptation as "No More" for Elvis in "Blue Hawaii" and "Aloha from Hawaii." If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Olivia & Justin look back at a unique event in Elvis's posthumous legacy from 20 years ago - the EPE-endorsed 2005 Broadway show that utilized Elvis's music to tell the story of Chad, a 1950s motorcycling roustabout who travels from town to town bringing rock and roll and romance to small town America, Natalie, the mechanic who falls in love with him, and the numerous other characters brought to life in this show penned by writer Joe DiPietro. Crammed to bursting with more Elvis hits than you can shake a stick at, "All Shook Up" received middling reviews on Broadway at a time not particularly generous to jukebox musicals, yet has since become a standard for smaller theatre companies and schools to license... but how does the story really stack up, either to other musicals, or to Elvis's own musical films? Is Elvis's legacy represented well? Is his music used effectively? We sat down with a filmed version of the original Broadway production, the script and soundtrack album to try to figure it all out. We ran a bit long on Song of the Week so this is being split across two parts, breaking right in the middle of the discussion where the intermission would be in the musical itself.  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Justin and Bec decided that since it's been a while since we've covered MGM's "Kissin' Cousins" on TCBCast (and since Bec hadn't seen it since she was a kid) that they'd tackle the very limited number of recordings remaining from the September 1963 instrumental and October 1963 vocal overdub sessions for the film soundtrack while also giving Bec a chance to give her thoughts on the movie. Where she landed may just surprise you! Naturally, the pair discuss some lyrics and songs cut from the movie and album, bonus songs on the album that are carried over from the May 1963 sessions, as well as a few demos that have surfaced which were submitted for potential inclusion. For Song of the Week, Justin keeps to the theme of the Smokey Mountains of Tennessee and gives a very brief overview of the history of "On Top of Old Smokey" leading up to Elvis singing it in character in the film "Follow That Dream." Bec, on the other hand, has revelation as she realizes what "Queenie Wahine's Papaya" is actually about - and shares the fun research she did on fruit innuendo.  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.