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Songs about luck

When Elvis’s recording of Good Luck Charm was released as a single in late February 1962, it seemed destined to be just another triumph in Presley’s unending reign over the record charts. The platter was Elvis’s 22nd regular single release for RCA Victor. History, however, now reveals that Good Luck Charm was not just another record release in Presley’s career, but rather a pivotal one. Rather than a link in his perpetual chart success, the record foreshadowed a down turn in Elvis’s recording career. 1 on the charts, but Presley would have just one more chart-topper in his career, and that wouldn’t come until over seven years later. Good Luck Charm was written by the songwriting team of Aaron Schroeder and Wally Gold. Working with several different co-writers, Schroeder penned 16 songs for Elvis, including the hit singles A Big Hunk o’ Love, I Got Stung, Stuck on You, and It’s Now or Never. Gold collaborated with Schroeder on the latter song. However, after Good Luck Charm, neither Schroeder nor Gold would write another song for Elvis. Elvis recorded Good Luck Charm on the evening of October 15, 1961, at RCA’s Studio B in Nashville. Guitarist Hank Garland, who had regularly worked Presley’s recording sessions since 1958, had suffered brain damage in a recent auto accident and was replaced for this session by Jerry Kennedy. Other musicians present were Scotty Moore on guitar, Bob Moore on bass, Floyd Cramer on piano, D.

3 when it was released in August 1963. Gordon Stoker of the Jordanaires sang a duet with Elvis on the chorus of Good Luck Charm. Stoker stated in a 2010 email message. He wanted me on his mike. He’d be standing there looking me in the face, trying to break me up. He would make a face, goose me, just anything. He was a special person to work with.

Gordon Stoker also sang duets with Elvis on All Shook Up, I Gotta Know, and Easy Come, Easy Go. After Elvis recorded a ballad for the flip side that same evening, the session had achieved its goal. Anything That’s Part of You’—and together they’d made as strong a single as the label could wish for. It can be chalked up as a certain money-making slice. Good Luck Charm’ on RCA Victor proved a smash across the country. Dealers report this disk shapes up as one of his biggest—indicating that the chanter has lost none of his sales appeal, despite earlier reports to the contrary. 1 spot, displacing Elvis’s future leading lady Shelley Fabares and her recording of Johnny Angel. 1, before being ousted from the top spot by The Shirelles’s Soldier Boy. Early in its chart run, however, Good Luck Charm became involved in legal wranglings that would have future consequences for Elvis.

Good Luck Charm,’ latest Elvis Presley release on the RCA Victor label. Aaron Schroeder, who wrote the song with Wally Gold, says it’s owned by his Arch Music firm, while attorney Lewis A. Dreyer says it belongs in Presley’s Gladys Music firm. Good Luck Charm,’ which was recorded by Presley about five months ago, a notice of copyright was filed by Gladys Music. But, in the meantime, Victor has been shipping the disk with the Gladys credit on the label. The bottom line was that Schroeder, who in the past had complied with Colonel Parker’s requirement that composers sign over the publishing rights to their songs recorded by Presley to the singer’s publishing company, was no longer willing to do so. Schroeder, who composed hundreds of songs, many recorded by other top artists— including Roy Orbison, Duane Eddy, Sammy Davis Jr. The dispute over Good Luck Charm reached the courts in May 1962.

By that time, Presley’s Gladys Music had filed a second infringement suit against Schroeder and Gold and Arch Music over an answer record to Good Luck Charm, titled, Don’t Want to Be Another Good Luck Charm, released by Judy and Jo. Schroeder’s Arch Music had licensed the answer song’s recordings rights to Capitol Records, against which Gladys Music also filed a lawsuit. Regardless of which side won in court, the dispute over the publishing rights to Good Luck Charm resulted in Aaron Schroeder never again writing a song for Elvis Presley to record. Soon thereafter other composers, including Leiber and Stoller, Pomus and Shuman, and Otis Blackwell, all past providers of hit tunes for Elvis, either stopped or only infrequently provided songs to Presley. The consequence for Presley was that the recording material available to him deteriorated in quality through most of the 1960s. For the most part, RCA found itself issuing as Presley singles inferior movie soundtrack songs, past LP cuts, and rejected tunes from past recording sessions. The result was that Elvis tumbled in the charts.

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