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.

Both the RCA and MGM spliced masters of 'Treat Me Nice' (movie version) are a splice of 2008 takes 10 and 13. The RCA master has slight echo added whereas the MGM master has dry vocals.

The RCA master is spliced as follows:
0:00-1:47 Take 10 (count-in for 2008-10 - "1, 2, 3, 4" no drum beats to "take my advice....")
1:47-2:06 Take 13 ("treat me nice" to end of Take 13)

The MGM master is spliced as follows:
0:00-1:50 Take 10 (count-in for 2008-10 - "1, 2, 3, 4" drum beats to "take my advice....")
1:50-2:09 Take 13 ("treat me nice" to end of Take 13 - split second difference in splice)

The 'movie (jail) version' of 'I Want To Be Free' is a splice of 2009 takes 10, 12 and 13 and is spliced as follows:
0:00-0:05 Take 10
0:06-0:46 Take 13 ("there's no joy" to "way up in a tree")
0:47-1:58 Take 12 ("I want to be free" to "like a bird in a tree")
1:59-2:07 Take 13 ("want to...be...free")

The MGM spliced master of 'Treat Me Nice' (movie version) runs 1.7% too fast on Essential Elvis.

The MGM spliced master can be found on disc 28 of Sony's Complete Elvis Presley Masters collection, where it is incorrectly listed as being first released in 1990 on The Great Performances.

The original Record Version of 'I Want To Be Free' that appeared on the 1957 EP of Jailhouse Rock was spliced from 2010 Take 11 and 2012 Take 5 (bass ending), but since the release of the 50s Box just the complete Take 11 has been used as the master. FTD's deluxe volume 1 of Jailhouse Rock uses the original splice, and is the first official CD release of the original master, although the original spliced master did appear on CD briefly in 1989 on the U.S. pressing of A Date With Elvis where it had been taken from an old hissy tape source. FTD's deluxe Jailhouse Rock Volume 2 also uses the original splice, but is listed as being just the complete Take 11 in the "In & Outtakes" section of the booklet.

Take 4 of 'I Want To Be Free' (prison TV version) runs 2% too fast on Today, Tomorrow And Forever.

There is a slight difference in the chat and count-in between takes 7 and 8 of 'I Want To Be Free' (2010) on the Follow That Dream 2-book and 3-CD set The Making Of Jailhouse Rock, as opposed to the release of these two takes in binaural on FTD's previous release.

Production number 2014 is Jerry Leiber's vocal overdub of the rhythm track of '(You're So Square) Baby I Don't Care' (2013-16), meant as a vocal guide for Elvis.

RCA received two complete takes of 'Don't Leave Me Now' (hit record version), takes 18 & 21, but originally chose to release neither. The better Take 18 can be identified by a high piano note at the end.

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

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 'I Want To Be Free'.

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)

Treat Me Nice
(CD1, track 8) alternate RCA master (Take 10 / 13 splice) - This was the spliced version originally considered for release. With a very different arrangement and at a faster tempo, along with jazzy piano, this also has a great feel. However this sounds a little more basic rock 'n' roll than the slower released version but a bit spoilt with over-complicated backing vocals. This would have made a great album version had they thought of alternate releases in those days.
Previously one of the key tracks on The Great Performances, the audio quality is vastly improved here. This RCA master had slight echo added over the entire track unlike the clean movie master.

(track 21) final movie master with overdubs (Take 10 / 13 different splice) - This version is a different splice of the same two takes but this time in stereo, with an interesting guitar overdub (perhaps to make it sound smoother?) and more drums beats added to the intro.

(track 22) movie master (Take 10 / 13) - This is the same spliced version as above but this time in mono and with no overdubs. The different edit to the RCA splice can be spotted around 1.35 where the handclaps are louder after "You know I'll be your slave." The mono & audio compression gives the sound and Elvis' vocal more punch.

Treat Me Nice (second movie version - session)
Only three of these 13 takes & false starts have been previously released and we even get six brand new complete takes so listening to this session is a treat.

Takes 1 and 2 nicely set the scene with the different Jordanaires arrangement and Elvis creating a cool backbeat on his guitar. While Elvis' vocal is a little unsure and Scotty Moore's guitar solo nice and messy there is a delight in spending time eavesdropping on this classic session.

Take 1 soon breaks down with Elvis annoyed at himself, "Hold it. Hold it! Get it right, damn." While the very enjoyable complete Take 2 - fabulous guitar work from Scotty Moore very evident from the Binaural mix - has Elvis querying at the end, "What the hell is this?"

On Take 4 Elvis has added the handclaps to the start of the arrangement and there is some interesting Studio discussion.

By Take 5 the song is developing towards the master with a similar arrangement and feel. At the end you can tell Elvis sounds pleased with the progress.

On the complete Take 6 Elvis has started work changing the end of the song. A good version let down by Elvis' unsteady vocal this version has the fascinating abrupt minor-chord ending that wouldn't be used again.

By Take 7 Dudley Brooks has added the tinkling piano arrangement to previous basic piano boogie-riff.

On Take 8 the new "bom, bom, bom" bassline has been added from Jordanaires' Hugh Jarrett but they sound unsure with their new arrangement.

While Take 9 comes to nothing there is some nice studio banter with Elvis sounding in great humour and joking, "Are you in the union?"

Take 10 has a new level of assurance about it and although the timing take fails slightly towards the end you can understand why this was partly used for the final splice.
The end includes some great discussion between Elvis and bass-man Hugh Jarrett, "Right on key like you done it then, that sounds good. I mean try and stay on key, Hugh!" (laughing ) "I mean Big Jim Waits stays on key!"

Take 11 suddenly features a new guitar arrangement from Scotty Moore. Sounding "too damn complicated" at times it would be featured less in the final take. The Hugh Jarrett bass-line is faded down on this mix while DJ Fontana's drums have an added punch. A fascinating new addition and it sounds great.

Take 13 - This was used for the second half of the spiced master and the "bom bom" bassline is back more in evidence again.

I Want To Be Free
The 1957 original record release was a splice of Take 11 and a 'second pickup' Take 5's drum ending. However since the 50s box-set BMG has been using the complete Take 11 as the master.

(CD1, track 3) the original - This FTD release is the first official CD release of the true original.

(track 11) alternate RCA master (Take 11) - While this basically is the same take as the record master this version has extra echo added across the whole track. The master has a much dryer studio-sound with no echo. Elvis notes at the start, "That was a good opening, men" - and this version includes the count-in.

(track 16) jail version - An interesting early "rough" version as required by the movie's script. The feel is very different starting with the drum anvil snaps of DJ Fontana and with a full band arrangement and backing vocals. Elvis provides a faltering vocal and unsure ending.

I Want To Be Free (prison TV version - session)
Take 1 - Starts with Elvis singing the line "Day-O" from 'The Banana Boat Song', Harry Belefonte's number 5 chart hit at the time. In good humour Elvis says, "Let's go before the damn Jordanaires get out of the mood!" but the take never gets past the first intro.

Take 4 - After a few false starts this faltering first complete take was featured on the Today, Tomorrow And Forever box-set. Elvis is very unsure of his timing, although as a "prison" version this would make sense!

Take 6 - Previously unreleased, is a treat. Elvis sings very sweetly at the start, while at 2.08 it seems Elvis has walked over towards the Jordanaires in the studio, since the audio placement changes. Then the Jordanaires completely go off-key at the end causing much merriment with everyone laughing, "Ok..., right to the end!" Now wonder Elvis jokes "Got the key right?" at the start of the next take!

Take 11 - Previously released on FTD's Flashback is a gem. Elvis vocal is very smooth compared to earlier takes and has a delightful understated quality. The ending is better for using the quiet Jordanaires fade, compared to the final drum-roll ending.

Takes 12 and 13 were used for the spliced master and both feature new louder brush-work from drummer DJ Fontana which possibly doesn't suit the song's gentle lyric quite as well. Take 13 features the even louder drum-roll ending.

(You're So Square) Baby I Don't Care
(CD1, track 29) first vocal overdub (Take 1) - Recorded on the same day as the backing track when Bill Black stormed out, this first version has a very different vocal. I love Elvis' comment at the start, "Just gonna be wasting tape.. it's too late in the day for all this shi.."
On this take Elvis sings "I wonder why I love you baby" instead of the correct "I don't know why I love you baby" and vocal is pretty rough. You can again hear his chair squeak but the long drawn out "Care, care, care" ending is a classic. Previously released on Close Up but sounding sensational here, Elvis' exclamation at the end "Phew - pow, pow, pow" makes the perfect ending to this fantastic disc.

Don't Leave Me Now
An interesting song as RCA decided to go with the "movie version" rather than the expected "hit record" version. There is also a variety of arrangements that make it one of Elvis' most interesting fifties soundtrack songs.
Elvis had tried recording 'Don't Leave Me Now' three months before during the Loving You album sessions. Then they had tried 29 takes before deciding on an unsatisfactory master. Now Elvis would reintroduce the song for Jailhouse Rock. Once again Elvis would try over twenty takes to get a satisfactory 'hit record' version and twelve to complete the 'movie version.
With a total of over sixty takes in total! this has to be the Elvis song that he worked at the most in his whole career.

(CD1, track 27) unused first version (Take 2) - A very slow tempo version, presumably recorded for use early in the movie. Without the piano intro, this version features some cool country guitar breaks from Scotty Moore giving it a very C&W feel. This is very different to the other Movie piano versions. Elvis drifts off-key at times and you can hear his chair squeak and overall it sounds very rough. However as they stopped at this second take they must have got what they were looking for! Sounding like a poor rehearsal, this is actually another highlight.

(track 9) alternate RCA master 'hit record' version (Take 18) - The audio quality of this is lovely and clear compared to the EP version.
With no piano intro this has a lovely cool swing to it nicely driven by Bill Black's double bass. Elvis uses lots of playful vocal infection here - listen to his moans on "What good is dreaming" @ 0:52 and cool "Elvis" mannerisms. The ending has a lovely cool and jazzy ending. The classic version.

(track 10) alternate RCA master 'hit record' version (Take 21) - Another attempt with the similar arrangement. This time Elvis possibly over-emphasises his vocal mannerisms - check out "come to these arms......" @ 1:20 but it still retains the cool feel. Elvis must have decided that he couldn't improve as this was the last attempt, but earlier Take 18 is the better version.

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