Elvis (2022)

Baz Luhrmann: Elvis (AU/US 2022) starring Austin Butler.

Elvis / Elvis.
    AU/US © 2022 Warner Bros. Pictures. PC: Bazmark Films and The Jackal Group. P: Baz Luhrmann, Gail Berman, Catherine Martin, Patrick McCormick, Schuyler Weiss.
    D: Baz Luhrmann. SC: Baz Luhrmann, Sam Bromell, Craig Pearce, Jeremy Doner – story by Baz Luhrmann, Jeremy Doner. DP: Mandy Walker. PD: Catherine Martin, Karen Murphy. AD: Ian Gracie. Cost: Catherine Martin. SFX: Brian Cox. VFX: Lindsay Adams. S: Wayne Pashley. ED: Matt Villa, Jonathan Redmond. C from Wikipedia (a longer cast listing beyond the jump break):
    Austin Butler as Elvis Presley
    Tom Hanks as Col. Tom Parker, Elvis' manager
    Olivia DeJonge as Priscilla Presley (née Wagner), Elvis' wife
    Helen Thomson as Gladys Presley (née Smith), Elvis' mother
    Richard Roxburgh as Vernon Presley, Elvis' father
    Kelvin Harrison Jr. as B. B. King
    Xavier Samuel as Scotty Moore
    David Wenham as Hank Snow
    Kodi Smit-McPhee as Jimmie Rodgers Snow
    Luke Bracey as Jerry Schilling
    Dacre Montgomery as Steve Binder
Principal photography took place in Australia.
159 min
Festival premiere: 25 May 2022 Cannes Film Festival.
US premiere: 24 June 2022.
Finnish premiere: 29 June 2022, released by SF Studios Finland with Finnish / Swedish subtitles by Timo Porri / Saliven Gustavson.
Viewed at Finnkino Strand, Iso Kristiina, Lappeenranta, 10 July 2022.

TRACK SELECTIONS INCLUDE (MORE COMPLETE LISTS BEYOND THE JUMP BREAK):
Sung by Elvis Presley: “Suspicious Minds,” “Edge Of Reality,” “Cotton Candy Land,” “That’s All Right,” “An American Trilogy,” “Are You Lonesome Tonight?,” “Fever,” “Let’s Forget About the Stars,” “Love Me, Love The Life I Lead,” “Shake, Rattle And Roll,” “I’m Comin’ Home,” “Hound Dog,” “Blue Suede Shoes,” “Heartbreak Hotel,” “Can’t Help Falling in Love,” “A Little Less Conversation,” “Viva Las Vegas,” “Bossa Nova Baby,” “Here Comes Santa Claus,” “I Got a Feelin’ in My Body,” “Up Above My Head,” “Let Yourself Go,” “Guitar Man,” “Tiger Man,” “Any Day Now,” “Power of My Love,” “Polk Salad Annie,” “Burning Love,” “It’s Only Love,” “Unchained Melody,” “Without a Song,” “In the Ghetto,” “Men With Broken Hearts” and “Summer Kisses, Winter Tears.”
    Sung by Austin Butler: “I’ll Fly Away,” “That’s All Right,” “Baby, Let’s Play House,” “Blue Suede Shoes,” “Heartbreak Hotel,” “Working on the Building” (with Yola), “Hound Dog,” “Are You Lonesome Tonight?,” “Trouble,” “Crawfish,” “Here Comes Santa Claus,” “If I Can Dream,” “Suspicious Minds” and “Can’t Help Falling in Love.”
    First end credits song: "In the Ghetto (World Turns Remix)" – Elvis Presley & Nardo Wick
    Second end credits song: “The King And I” – Eminem and CeeLo Green
    Third end credits song: "Tupelo Shuffle" – Swae Lee & Diplo
    Fourth end credits song: "If I Can Dream" – Måneskin
I thank Asko Alanen for the soundtrack listings which were not easily available at the time of blogging.

AA: I did not expect this, but this is the best Elvis movie I have seen. It is also the finest achievement of the director Baz Luhrmann.

About Baz Luhrmann I have always had mixed feelings, but I have been positively surprised by his The Great Gatsby adaptation, and I also remember fondly his vivid and engrossing Romeo + Juliet.

Luhrmann has a passion for excess, and in Elvis Presley he has found an ideal subject. Excess is so inherent in the story of the legendary performer that Luhrmann does not need to emphasize it. Instead, he can focus on enriching and deepening the treatment in different ways.

The Elvis family story is central and emotionally appealing, a heartfelt foundation also for Presley's musical career.

Elvis as a performer brings together in a radical way the white traditions of country & western and the black roots of rhythm & blues. He is also capable of uniting sacred and profane musical traditions in a profound manner.

These themes are central in all Presley biopics, but Luhrmann integrates them in an original fashion. What is distinctive is the central role of Colonel Tom Parker, with whom Elvis signs a Faustian pact. A Faustian pact was a favourite theme in the American cinema of the 1940s, of which I have recently seen William Dieterle's The Devil and Daniel Webster and John Farrow's Alias Nick Beal. Tom Hanks's Mephisto incarnation can be compared with Walter Huston and Ray Milland in the above-mentioned movies.

Luhrmann integrates even the Faustian story with the family story. When Elvis's mother, his greatest love, dies, there is a transference of love to Colonel Parker, his new "mother". Tom Hanks interprets the role extravagantly which is how it is meant to be. Colonel Parker is a carnival hustler who happens to sign the world's greatest performer. Elvis is always at his best when he follows his own way, defying Parker's trite and conventional demands. But because of his docile side, he never breaks free, and this is the root of the tragedy of Elvis.

Actors almost inevitably fail when trying to interpret legendary performers, but Austin Butler belongs to the outstanding exceptions. He radiates charisma and excitement and excels even in performing many of the songs himself. The magic of Elvis was his unique connection with his audience. He loved to perform, and he was great until his very last performance, from which we see some touching documentary footage. Baz Luhrmann and Austin Butler convey this connection in a special way. The ecstasy of the female part of the audience is conveyed tenderly, without the usual and condescending clichés. We see the members of the audience as individuals, as does Elvis who wants the audience to be lit at the end of the show.

There are ups and downs in Elvis's life and career. The great turning-point is the 1968 comeback concert in which we witness the generation clash between Colonel Parker and Steve Binder. Elvis is devastated by the assassinations of Martin Luther King and Robert Kennedy in 1968. Elvis wants to be in touch with the times and express his support for the civil rights movement, immortalized in songs such as "If I Can Dream" (in homage to Martin Luther King and his "I Have A Dream" speech) and "In The Ghetto".

The queer dimension in the Elvis story is expressed matter-of-factly and with a greater sense of liberation than in earlier decades.

The soundtrack of the movie has been edited with devotion and imagination, avoiding clichés and conveying the versatility and the life force of the indefatigable performer. The selection of new talent helps build bridges across generations. It is a labour of love.

PS. This blog entry is in memory of Jouni Suomalainen who let me listen to his collected LP's of Elvis Presley in December 1984. Until the end he pursued another passion of his, street photography, exhibiting in his hometown Uppsala in Sweden where he recently died, but not of Covid.

PS2. My favourite Elvis tracks include "Mystery Train" (1955), "Reconsider Baby" (1960), "If We Never Meet Again" (1960) and "Trying To Get To You" (the 1968 comeback interpretation). None of them are in this movie. "Mystery Train" is also on my shortlist of all great music of all times.

BEYOND THE JUMP BREAK: LONGER OFFICIAL NOTES, CAST AND SOUNDTRACK LISTINGS:

BEYOND THE JUMP BREAK: LONGER OFFICIAL NOTES, CAST AND SOUNDTRACK LISTINGS:

Warner Bros. official: " Elvis is an epic, big-screen spectacle from Warner Bros. Pictures and visionary, Oscar-nominated filmmaker Baz Luhrmann that explores the life and music of Elvis Presley, starring Austin Butler and Oscar winner Tom Hanks."

"A thoroughly cinematic drama, Elvis’s (Butler) story is seen through the prism of his complicated relationship with his enigmatic manager, Colonel Tom Parker (Hanks). As told by Parker, the film delves into the complex dynamic between the two spanning over 20 years, from Presley’s rise to fame to his unprecedented stardom, against the backdrop of the evolving cultural landscape and loss of innocence in America. Central to that journey is one of the significant and influential people in Elvis’s life, Priscilla Presley (Olivia DeJonge). "

    Austin Butler as Elvis Presley
        Chaydon Jay as young Elvis Presley
    Tom Hanks as Col. Tom Parker, Elvis' manager
    Olivia DeJonge as Priscilla Presley (née Wagner), Elvis' wife
    Helen Thomson as Gladys Presley (née Smith), Elvis' mother
    Richard Roxburgh as Vernon Presley, Elvis' father
    Kelvin Harrison Jr. as B.B. King
    Xavier Samuel as Scotty Moore
    David Wenham as Hank Snow
    Kodi Smit-McPhee as Jimmie Rodgers Snow
    Luke Bracey as Jerry Schilling
    Dacre Montgomery as Steve Binder
    Leon Ford as Tom Diskin, a spokesperson for Col. Tom Parker
    Alton Mason as Little Richard
    Yola Quartey as Sister Rosetta Tharpe
    Gary Clark Jr. as Arthur Crudup
    Natasha Bassett as Dixie Locke
    Kate Mulvany as Marion Keisker
    Josh McConville as Sam Phillips
    Christopher Sommers as Horace Logan
    Nicholas Bell as Senator Jim Eastland
    Anthony LaPaglia as Bernard Lansky
    Christian Kisando as Smoky, Elvis' Shake Rag's childhood friend
    John Mukristayo as Jimmy, Elvis' Shake Rag's childhood friend
    Miles Burton as Bobby, Elvis' Shake Rag's childhood friend
    Gad Banza as Doc, Elvis' Shake Rag's childhood friend
    Adam Dunn as Bill Black
    Terepai Richmond as D. J. Fontana
    Patrick Shearer as Dewey Phillips
    Liz Blackett as Minnie Mae “Dodger” Presley (née Hood), Elvis’ grandmother
    Cle Morgan as Mahalia Jackson
    Shonka Dukureh as Willie Mae "Big Mama" Thornton

SOUNDTRACK LISTING: ELVIS (2022) SOUNDTRACK AT SOUNDTRACKI.COM
1. A Fool Such As I – Chris Isaak
2. How Do You Think I Feel – Kodi Smit-Mcphee
3. I’ll Fly Away – Albert E. Brumley
4. Black Snake Moan – Gary Clark Jr.
5. Come Together – Gary Clark Jr. and Junkie XL
6. Blue Suede Shoes – Austin Butler
7. Are You Lonesome Tonight – Elvis Presley
8. Let’s Forget About The Stars – Elvis Presley
9. Love Me, Love The Life I Lead – Elvis Presley
10. Shake, Rattle And Roll – Elvis Presley
11. Heartbreak Hotel – Austin Butler
12. Are You Lonesome Tonight – Austin Butler
13. Blue Suede Shoes – Elvis Presley
Elvis changed the songs for the Christmas special. The colonel is mad.
14. Tiger Man – Rufus Thomas
15. Heartbreak Hotel – Elvis Presley
16. Working On The Building – Elvis Presley
17. Can’t Help Falling in Love – Elvis Presley
18. A Little Less Conversations – Elvis Presley
19. Viva Las Vegas – Elvis Presley
Elvis becomes an actor.
20. Toxic – Britney Spears
21. ‘Rubberneckin’ – Paul Oakenfold Remix / Radio Edit – Elvis Presley
22. Bossa Nova Baby – Elvis Presley
23. Here Comes Santa Claus (Right Down Santa Claus Lane) – Elvis Presley
Elvis is spending too much. Christmas scene ad for Singer.
Elvis cries for the death of Martin Luther King. Kennedy is having a speech about it.
24. Take My Hand Precious Lord – Lenesha Randolph
25. Here Comes Santa Claus (Right Down Santa Claus Lane) – Tom Hanks
26. Jailhouse Rock – Elvis Presley
Instead of singing what the colonel prepared for the Christmas special, he sang this song.
27. Up Above My Head – Elvis Presley
28. Let Yourself Go – Elvis Presley
29. Guitar Man – Elvis Presley
Before the news of Bobby Kennedy having been shot.
30. Tiger Man – Elvis Presley
31. If I Can Dream – Austin Butler
32. Suspicious Minds – Austin Butler
33. Can’t Help Falling in Love – Austin Butler
34. Without A Song – Elvis Presley
35. Men With Broken Hearts – Elvis Presley

Elvis official OST album tracklist, original motion picture score.
Original release date: 24 June 2022
Label: RCA Records
Original music composed by various artists
1. Suspicious Minds (Vocal Intro) – Elvis Presley
2. Also Sprach Zarathustra/An American Trilogy – Elvis Presley
Elvis on the stage, at the concert
3. Vegas – Doja Cat
Elvis on the Beale street
4. The King and I – Eminem & CeeLo Green
Second end credits song
5. Tupelo Shuffle – Swae Lee & Diplo
Third end credits song
6. I Got A Feelin’ In My Body – Elvis Presley & Stuart Price
7. Craw-Fever – Elvis Presley
A girl comes to Elvis’s room.
8. Don’t Fly Away (PNAU Remix) – Elvis Presley & PNAU
9. Can’t Help Falling in Love – Kacey Musgraves
Elvis kisses Priscilla for the first time.
10. Product of the Ghetto – Nardo Wick
11. If I Can Dream – Måneskin
Fourth end credits song
12.Cotton Candy Land – Stevie Nicks & Chris Isaak
Before Martin Luther King is announced dead on the television.
13. Baby, Let’s Play House – Austin Butler
14. I’m Coming Home (Film Mix) – Elvis Presley
Elvis’ first album is released. Flashes of his successes and moving with the family to a new house.
15. Hound Dog – Shonka Dukureh
Elvis performing live on television
16. Tutti Frutti – Les Greene
17. Strange Things Are Happening Every Day – Yola
18. Hound Dog – Austin Butler
19. Let It All Hang Out – Denzel Curry
20. Trouble – Austin Butler
Elvis decides to go back to being the old Elvis on the stage.
21. I Got A Feelin’ In My Body – Lenesha Randolph
22. Edge of Reality (Tame Impala Remix) – Elvis Presley & Tame Impala
23. Summer Kisses/In My Body – Elvis Presley
24. ’68 Comeback Special (Medley) – Elvis Presley
Elvis on the stage for the Christmas special, after he decided to go back to old Elvis with his old team.
25. Sometimes I Feel Like A Motherless Child – Jazmine Sullivan
26. If I Can Dream (Stereo Mix) – Elvis Presley
The second day at the Christmas special, Elvis comes up with this new song, against the colonel’s wishes.
27. Any Day Now – Elvis Presley
Elvis is back in popularity after the Christmas special success.
28. Power of My Love – Elvis Presley & Jack White
29. Vegas Rehearsal/That’s All Right – Austin Butler & Elvis Presley
Tom hears and sees Elvis for the first time.
30. Suspicious Minds – Elvis Presley
The newspapers present Tom Parker’s treason to Elvis.
31. Polk Salad Annie (Film Mix) – Elvis Presley
Six weeks later on the scene of the international hotel, colonel Parker is trying to keep Elvis from touring worldwide.
32. Burning Love (Film Mix) – Elvis Presley
33. It’s Only Love – Elvis Presley
34. Suspicious Minds – Paravi
35. In the Ghetto (World Turns Remix) – Elvis Presley & Nardo Wick
Ending song / First end credits song
36. Unchained Melody (Live at Ann Arbor, MI) – Elvis Presley
Opening Elvis’ last concert

VARIETY'S GUIDE TO THE MOVIE'S OWN SOUNDTRACK

Here’s a guide to the most notable newly recorded tracks and how they’re used in the film — followed by a guide to which songs are Elvis originals and which are sung by Austin Butler or, sometimes, both. (Remember, there are “only” 36 songs on the soundtrack album, so not every one of these will be included on the companion record.)

Stevie Nicks: “Cotton Candy Land”
This may be the most off-the-wall pick in the whole film. Little recognizable even to most Elvis fans, the song was recorded by Presley with the Mello Menin 1962 for the soundtrack to the film “It Happened at the World’s Fair” and was never released as a single. Nicks’ cover appears early in the film (as does the original version) but isn’t prominently placed, or is just easy to miss amid the early kaleidoscope of imagery, so we’ll have to wait for the soundtrack to gage what the Fleetwood Mac legend is really doing with it. (Ruth Batchelor and Bob Roberts wrote the song.)

Chris Isaak: “A Fool Such as I”
County legend Hank Snow is a character who figures early in the film, not entirely flatteringly, as a sort of reluctant mentor to the pre-fame Elvis. It’s mentioned that Presley wants to cover some of his hits. The Snow tune reached No. 4 on the country chart in 1953, and so would have been part of his repertoire as he toured with Elvis, who did not get around to covering the number until well after he was a superstar, in 1958. Isaak presumably did the vocals for actor David Wenham, who plays Snow as a somewhat prudish character who is upset by Presley’s gyrations. (William Trader wrote the song.)

Swae Lee and Diplo: “Tupelo Shuffle”
Here’s where the interpolations begin, as Swae Lee and Diplo are credited as co-writers alongside Arthur “Big Boy” Crudup, the writer of “That’s All Right,” Presley’s first single in 1954. The interpolated song didn’t have much chart impact at the time, but it changed the world. If you’re wondering if Luhrmann is going to place a hip-song in the movie, as opposed to waiting for the end credits, the answer is yes — that’s the sound of rapping that you hear as Presley goes to hear Crudup, who’s played by Gary Clark Jr., in Memphis.

Gary Clark Jr.: “Black Snake Moan,” “That’s All Right”
The contemporary blues great, playing Crudup, as mentioned, is heard singing a couple of numbers, including the one that Presley covered and made his own.

Kodi Smit-McPhee: “How Do You Think I Feel?”
Smit-McPhee plays country singer Jimmie Rodgers Snow, the son of Hank Snow, who is seen as wanting to imitate Elvis’ more flamboyant style, unlike his distressed father. The Rodgers Snow version came out in ’54 (after Red Sovine had previosly ct it), and Elvis would go on to cover it in 1956. (Webb Pierce and Wayne Walker wrote the song.)

Shonka Dukureh: “Hound Dog”
R&B singer Big Mama Thornton was the first to record Jerry Leiber and Mike Stoller’s “Hound Dog” — in fact, it was written for her — before Presley had his fourth No. 1 pop single with it in 1956, further cementing him as rock’s preeminent star. As Thornton, Dukureh is seen belting the classic out in a Memphis club scene.

Doja Cat: “Vegas”
The interpolations continue, as this partly original song envelops “Hound Dog,” earning Leiber and Stoller a co-writing credit. And we do hear (but not see) Doja Cat sounding very 2021 over a mid-’50s montage.

Rufus Thomas: “Tiger Man”
The late Memphis R&B great is among the few to land a vintage track on the soundtrack album amid the new material.

Denzel Curry: “Let It All Hang Out”
Another turn for a contemporary rapper to barge into the mid-century action, with a song Curry co-wrote with Jamieson Shaw, who has worked with Luhrmann on several films before.

Les Greene: “Tutti Frutti”
You may remember Greene as the lead singer of the Key West band Patrick and the Swayzees, who competed on “American Idol” in 2018. In a club scene where Presley is transfixed by another up-and-comer on the seminal rock scene, Little Richard is portrayed on screen by Alton Mason but the voice is Greene’s. Little Richard recorded the track for Speciality in 1955 and had a nationwide hit with it by early ’56. Presley covered it for his first full album, “Elvis Presley,” in ’56.

Yola: “Working On The Building” (with Austin Butler), “Strange Things Happening Everyday”
Yes, Elvis runs into a lot of the early Black heroes of rock ‘n’ roll in this movie. To play the gospel-rock pioneer Sister Rosetta Tharpe, the Americana/soul upstart star Yola learned to play electric guitar solos in the style of the instrumentally influential Tharpe, although you don’t see as much of Yola’s newly adopted guitar shredding in the film as you hear of her wailing. If you’re wondering if Tharpe really did play her rocking gospel music in nightclubs as well as more sanctified settings, the answer is yes.

Ann Nesby: “Heartbreak Hotel”
The former Sounds of Blackness lead singer gets one of Presley’s most iconic numbers on the soundtrack. (Mae Boren Axton and Tommy Durden co-wrote and Elvis had a very rare songwriting credit on this, too.)

Alton Mason: “Sometimes I Feel Like A Motherless Child”
Mason is dubbed when he’s playing Little Richard, but get a chance to chance to contribute his own voice here.

Kacey Musgraves: “Can’t Help Falling In Love”
The focus in the early part of the film is on Presley as a galvanizing (and, to some adults, upsetting) rocker, not a balladeer. So in a mid-section scene where Elvis is falling for Priscilla, it’s country-pop star Musgraves’ fresh rendering we hear, mostly. Although there’s a snippet of the Presley original here, we hear more of him doing the track when he takes it to Las Vegas and vamps it up toward the end.
(Luigi Creatore, Hugo Peretti and George David Weiss were the co-writers of the oft-covered classic.)

Britney Spears: “Toxic”
Backstreet Boys: “Everybody (Backstreet’s Back)”
We didn’t catch these modern Swede-rock pop standards on a first viewing of the film, and they’re not on the soundtrack album, but apparently these are in there, per the film credits.

Elvis Presley/Paul Oakenfold remix: “Rubberneckin’”
Not a fresh treatment, if you’re wondering. Oakenfold got permission to remix the oldie in 2003, and it was a top 10 hit in the U.K. and other territories around the world, the U.S. not included. The original track was a B-side for Elvis in 1969, recorded for the film “Change of Habit.”

Tame Impala: “Edge Of Reality (Tame Impala Remix)”
Now here’s a fresh remix. “Edge of Reality” was recorded by Presley in 1968 for the film “Live a Little, Love a Little” and released as a single, though it didn’t fare well at the time, only reaching the “Bubbling Under” chart. Kevin Parker produced, of course, and Tame Impala gets sole performer credit, even though it’s billed as a remix, so we’ll have to wait for the official soundtrack to study more carefully whether Elvis is still in its building, as it were.

Lenesha Randolph: “Take My Hand. Precious Lord”
Randolph, who performs with her brother Robert Randolph’s band, provides the voice of Mahalia Jackson, who famously sang the Thomas Dorsey gospel classic at Martin Luther King Jr.’s funeral (it was his favorite song), an event portrayed as having a big impact on Presley in the film. Cle Morgan gets credit for portraying Jackson on screen, though. Jackson’s association with the song goes back way before that, to a 1956 recording. Elvis cut it the following year on his first Christmas album.

Lenesha Randolph and Shonka Dukureh: “I Got A Feelin’ In My Body”
Elvis cut this Dennis Linde song for one of his last albums, “Good Times,” in 1974. Interestingly, it’s the vocalists who portray Mahalia Jackson and Big Mama Thornton who sing it for the film, seemingly representing the melding of Presley’s sacred and not-so-sacred Black influences. Presley’s version is also featured.

Jazmine Sullivan: “Sometimes I Feel Like A Motherless Child”
Elvis did the traditional Black spiritual as part of a gospel medley for his late ’60s network comeback special. The soundtrack gives it an additional, contemporary spin, with D’Mile producing one of the most acclaimed R&B singers of our time.

Jack White: “Power Of My Love”
A perfect choice for White to make his own, with a bluesy riff and plenty of sensual power. Presley originally cut it for his “Elvis in Memphis” album in ’69, where he made good use of his renewed cred coming out of the comeback special. The song comes about at a point in the film when Presley is doing things his way, before falling back under the sway of Colonel Parker. (Written by Bernie Baum, Bill Giant and Florence Kaye.)

Paravi: “Suspicious Minds”
The young Indian-American singer from L.A. has already been a Spotify success but will definitely be put in the spotlight more as a result of being one of the less famous names to land a placement in the film’s soundtrack.

Nardo Wick: “Product Of The Ghetto”
An under-the-radar (to most) rapper who’s also getting a breakout moment here. Wick happens to be signed to the soundtrack label, RCA, and only has one album out, but he’s proven himself with the top 10 R&B/hip-hop and rap chart hit “Who Want Smoke?” Any allusions to Presley’s latter-day hit “In the Ghetto” may be strictly that, as the writer of that tune, Mac Davis, is not credited alongside Wick and Johnathan Scott. “In the Ghetto” does appear slightly earlier in the film, though.)

Elvis Presley and Pnau: “Don’t Fly Away”
This fresh mix is a retitled adaptation of Presley’s “Any Day Now,” originally cut by Chuck Jackson in 1962 and covered by many other artists before Elvis got to it in 1969. (Burt Bacharach, Bob Hilliard and now Mark James share writing credit.)

Eminem and CeeLo Green: “The King And I”
Just released a little more than a week before the film comes out, this song, which plays first over the end credits (lending it eligibility as a best song Oscar contender), has Marshall Mathers comparing himself at length to Elvis, with Dr. Dre producing. Leiber and Stoller get co-writing credit for the generous use of the rhythm of their “Jailhouse Rock.”

Måneskin: “If I Can Dream”
Already out for some weeks as a teaser single, this “Dream” turns the late-Elvis standard into more of a rock power ballad. (Written by Walter Brown.)

And what of Elvis’ originals and Austin’s newly produced vocal versions? Believe it or not, even after all those outside artists, there’s still room for boatloads of both.

Elvis Presley: “Suspicious Minds,” “Edge Of Reality,” “Cotton Candy Land,” “That’s All Right,” “Also Sprach Zarathustra” (actually an instrumental, of course), “An American Trilogy,” “Are You Lonesome Tonight?,” “Fever,” “Let’s Forget About the Stars,” “Love Me, Love The Life I Lead,” “Shake, Rattle And Roll,” “I’m Comin’ Home,” “Hound Dog,” “Blue Suede Shoes,” “Heartbreak Hotel,” “Can’t Help Falling in Love,” “A Little Less Conversation,” “Viva Las Vegas,” “Bossa Nova Baby,” “Here Comes Santa Claus,” “I Got a Feelin’ in My Body,” “Up Above My Head,” “Let Yourself Go,” “Guitar Man,” “Tiger Man,” “Any Day Now,” “Power of My Love,” “Polk Salad Annie,” “Burning Love,” “It’s Only Love,” “Unchained Melody,” “Without a Song,” “In the Ghetto,” “Men With Broken Hearts” and “Summer Kisses, Winter Tears.”

Austin Butler: “I’ll Fly Away,” “That’s All Right,” “Baby, Let’s Play House,” “Blue Suede Shoes,” “Heartbreak Hotel,” “Working on the Building” (with Yola), “Hound Dog,” “Are You Lonesome Tonight?,” “Trouble,” “Crawfish,” “Here Comes Santa Claus,” “If I Can Dream,” “Suspicious Minds” and “Can’t Help Falling in Love.”