The original title of this movie was called The Hard Way.

As the session log (below) clearly shows, the running title of this movie at this time was Treat Me Nice instead of Jailhouse Rock. The title of the movie was changed to Jailhouse Rock by May 7 1957.

All songs were recorded in binaural.

It appears that all session tapes recorded by MGM at their Sound Stage, were discarded once the masters were chosen, and the only session tapes existing today are the tapes recorded by Thorne Nogar at Radio Recorders.

For the Follow That Dream 2-book and 3-CD set The Making Of Jailhouse Rock, the complete sessions are presented in mono for the first time, mixed to mono from the original binaural tapes. There are however, speed issues with the original binaural tapes, that have not been fixed for this release, but were fixed when issued previously, in binaural, on FTD's original two Jailhouse Rock CD sets. This means that some of the session is running as much as 2.4% faster than it should on The Making Of Jailhouse Rock. There is also an audible hum or buzz heard throughout the May 3 recordings on The Making Of Jailhouse Rock, not heard (as much) on previous releases.

Take 5 of 'Jailhouse Rock' was also considered as master along with (spliced) Take 6, as it is on a tape reel of other RCA masters. On the tape legend there is ** next to 'Jailhouse Rock' (2001-6) and 'Treat Me Nice' (2008-10) - This indicates spliced takes.

Take 5 of 'Jailhouse Rock' runs 2% too fast on Essential Elvis.

Despite what is incorrectly listed on the cover of the Memory release The Jailhouse Rock Sessions - the correct tracklisting is as follows:-

1 Young And Beautiful (solo version, 2005-03)
2 Young And Beautiful (2004-22, master) - listed as Take 9
3 Young And Beautiful (splice of 2004-18/12) about 3% too fast - listed as Take 10
4 Young And Beautiful (movie end version, splice of 2004-08/12/18/22) - listed as Take 12
5 Jailhouse Rock (2001-05)
6 Jailhouse Rock (splice of 2001-06/2002-02, master with long fade)
7 Jailhouse Rock (2001-05) about 2% too fast - listed as 'Unknown Take'
8 I Want To Be Free (prison TV version, splice of 2009-10/12/13) - listed as Take 10
9 (You're So Square) Baby I Don't Care (2013-16 + vocal overdub 2021-06, master) - listed as Take 14
10 Don't Leave Me Now (original master from 23/2/57, H2WB 0414-29) - listed as Take 6
11 Don't Leave Me Now (hit record version, 2017-18) 2-3% too fast - listed as Take 7
12 Don't Leave Me Now (hit record version, 2017-21) 2-3% too fast - listed as Take 8
13 Don't Leave Me Now (hit record version, 2017-21) 2-3% too fast - listed as Take 9
14 Don't Leave Me Now (Elvis & piano version, 2016-02) - listed as 'alternate master take unknown'
15 Treat Me Nice (splice of 2008-10/13, movie version master) - listed as Take 10
16 Treat Me Nice (stereo version, splice of 2008-10/13 + guitar overdubs)
17 Young And Beautiful (2004-22, master)
18 Jailhouse Rock (splice of 2001-06/2002-02, master)
19 I Want To Be Free (Take 11, master)
20 (You're So Square) Baby I Don't Care (2013-16 + vocal overdub 2021-06, master) - listed as Take 16
21 Don't Leave Me Now (2022-12, master)
22 Treat Me Nice (RCA remake from 5/9/57, H2PB 5523-15)
23 / 24 / 25 Elvis Sails

The RCA spliced alternate master of 'Young And Beautiful' is spliced as follows:
0:00-1:01 Take 18 (count-in for 2004-18 - "you're so young and beautiful" to "forever young... and beautiful")
1:02-2:09 Take 12 ("to me..." to end of Take 12)

The spliced MGM movie end version of 'Young And Beautiful' is spliced as follows:
0:00-0:23 Take 12 (count-in for 2004-12 - "you're so young and beautiful")
0:24-0:31 Take 8 ("and I love you so")
0:32-0:46 Take 12 ("your lips so rare" to "shame the stars that glow")
0:47-1:13 Take 18 ("So fill" to "forever young...and beautiful")
1:14-1:44 Take 12 ("to me..." to "oh take this")
1:45-1:46 Take 22 ("heart")
1:47-2:09 Take 12 ("I offer.... to")
2:10-2:19 Take 8 ("me...")

All timings in the 'Musical Breakdown' below are taken from the DVD release of the movie.

In March of 2007, Sony decided to go through all of Elvis' masters. They retransferred everything and remastered all tracks including repairing as many clicks, pops, bad edits and dropouts as they could. They have used these newly mastered recordings on their new releases since 2007 including budget soundtracks, Legacy releases, the 30 disc Complete Elvis Presley Masters collection and the Franklin Mint package.

Thanks to Ryan Komitor for providing the splice information for 'Young And Beautiful'.

Thanks to David English for extensive research on these sessions.

Notes from a review of Jailhouse Rock Volume 1 (FTD) by Piers Beagley (Elvis Information Network)

Jailhouse Rock (CD1, track 1) - the original - Elvis' described this sensational song as the hardest he had ever had to record. It is a demanding vocal line as well as being full-on for the band! The final release was take 6 and pick-up take 2 on the end.

(Track 7) Take 5 - This version has been edited to sound like a 45rpm single release. Previously featured on Silver Screen Stereo (in binaural audio) it had the count-in and did not fade out as it does here. It is however a dynamite sound and an outstanding alternate take. Here, Scotty Moore plays a different guitar break and Bill Black's bass wanders off at points while Elvis doesn't quite punch out the words as on the classic single. However you can hear why Elvis found it such a hard song to sing. The master was next.

Treat Me Nice (first movie version) (CD1, track 28) - first movie master (Take 19) - This fascinating earliest arrangement was never used. Here Elvis is creating a back-beat slapping his guitar (as on 'All Shook Up') and a very different 1-2 rhythm is used. Even though they achieved a master after 19 takes something doesn't sound quite right. The handclaps don't fit and Scotty Moore's guitar sounds "Too damn complicated." Other earlier takes of this session were released on the brilliant Flashback FTD. In binaural listen to the left channel alone to hear Elvis' vocal plus the slapback beat from his guitar percussion.
Elvis would complete the movie versions a few days later (May 3) but would change the arrangement yet again for the single release in the following September (September 5).

Young And Beautiful
Elvis worked through 22 takes of this song before he was happy. The arrangements varied along the way and as a florita club version was also recorded, it is one of the highlights of the six songs.

(CD1, track 2) - the original - The original EP version was Take 22 by which time the intro to the song had again been simplified. Almost a-capella to being with, but then with the Jordanaires "doo doo" backing vocals starting at one minute in and tending to overpower the beauty of the song.
In fact two alternate masters were also created from earlier takes with a lighter, more suitable feel.

(track 12) alternate master 1 (Take 18 / 21 splice) - At a similar tempo and with smoother backing vocals (the "Doo, Doos" edited out), this version is a real favourite. Listen out for Elvis' classic gasp for air at 00:17.
On CD2 you can investigate how the splice was created since Take 18 falls apart soon after Hugh Jarrett's bass-line starts.

(track 13) alternate master 2 (Take 19) - This is interesting for being chosen as an alternate master yet Elvis gets the lyrics wrong, singing "and kiss me tenderly" @ 01:47 when the lyrics should be "and never set me free". Here the Jordanaires backing comes in at 01:10 which creates a different sounding second part to the song.

(track 15) jail version (Take 3) - Elvis sings a 'Jailhouse' version solo with minimal acoustic guitar. Sounding delicate and insecure to match the movie's plots this is a delight. This was previously in the 50s box-set but sounds better in this context and also features the count-in.

(track 17) florita club version (Take 7) - Scotty Moore's guitar pushes this to a different "country" sounding number. With Dudley Brooks on piano the arrangement becomes very cool. A classic version.

(track 25) end title version - (Takes 8/12/18/22 splice) - This demonstrates what new delights can be created from clever splicing. Starting at a slower tempo than the record release there is a gentler feel to the song, and with the Jordanaires simpler arrangement coming in much later, this is a fabulous version. Possibly the best version of this classic song - A real highlight.

Young & Beautiful (record version - session)
One of the loveliest Elvis soundtrack songs, hearing this session in full has to be a treat.

Take 1 - Unreleased and what a delight. Starts with Elvis singing the song to himself before a near complete take. Delicate and delightful, nearly a-capella, it is surprising this hasn't been released previously. Already close to perfect Elvis falters at the end, "I'm sorry. Take it again before the Jordanaires get out of the mood".

Take 3 - With a very slow intro tempo and simple backing vocals this is a superb version, even if Elvis over emphasises some lyrics. A very nice new addition.

Takes 4,5 - These have been released before but in mono on the Today Tomorrow And Forever box-set. Elvis jokes about "Old Fuddly-Duddly" Dudley Brook on piano. Elvis sounds a little mannered in his vocals by the end of Take 5 but it is still a beauty. Elvis seems to play with the song and the band knows it's not a master.

Take 6 - Close to the master, and previously on Flashback, Elvis knows he can do better, stating at the end, "I can beat that!"

Take 7 is a nice distraction with Elvis joking "Your lips so rare, your curly hair!" as the take fails.

Take 8 at the start is smooth-as-silk and by now the familiar final band arrangement has been added. The beginning of this take being used in the MGM end title splice.

Take 9 is fun for the studio banter "I thought there was something happening back there?" Elvis asks after he deliberately messes up the lyrics causing everyone to laugh. Sensational fun.

Both Takes 11 and 12 are very smooth. It is hard to believe that Elvis pushed for so much perfection. "It's awfully good" says engineer Thorne Nogar. Elvis even notes, "Let's just make one more and play the last two and decide between them." They would continue for another ten takes before he was finally happy!

Take 13 starts with more rehearsing between Elvis and Hugh Jarrett as they decide to add the new bass-line "doo, doo, doo, doo" to the song's arrangement.

Takes 14, 15,16,17 and 18 never make it as complete versions. Elvis jokes, "Shit man, no! Get Pat Boone in here quick!" Hugh Jarrett 's new bass-line throws Elvis off course.

Take 19 is at last near the final master and selected as an RCA alternate master featured on DISC 1 in mono. Elvis' vocal still seems a little forced at 01:37 "Take my heart" and even more so in binaural.

Even at Take 21 Elvis breaks up with very genuine laughter causing the whole studio to collapse. It's a gem. Elvis laughs, "He was trying so hard" and it's a great moment of Studio eavesdropping. A classic new addition.

Take 22 is the final master and at last the mix of Elvis and the bass-line works creating a lovely arrangement. So good to have this in binaural.

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