Young Dreams
| King Creole | ||||
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| Soundtrack album by Elvis Presley | ||||
| Released | September 19, 1958 | |||
| Recorded | 1958 | |||
| Genre | ||||
| Length | 21:35 | |||
| Label | RCA Victor | |||
| Producer | Walter Scharf, Phil Khagan | |||
| Elvis Presley chronology | ||||
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| Singles from King Creole | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| AllMusic |   |
| MusicHound | |
| Rough Guides | |
King Creole is the sixth album by American singer and musician Elvis Presley, issued by RCA Victor, LPM 1884 in mono in September 1958, recorded in four days at Radio Recorders in Hollywood. It contains songs written and recorded expressly for the 1958 film of the same name starring Presley, and peaked at No. 2 on the Billboard Top Pop Albums chart. It followed the film's release by over ten weeks. It was certified Gold on July 15, 1999 by the Recording Industry Association of America.
The bulk of the songs originated from the stable of writers contracted to Hill and Range, the publishing company jointly owned by Presley and Colonel Tom Parker: Fred Wise, Ben Weisman, Claude Demetrius, Aaron Schroeder, Sid Tepper, and Roy C. Bennett. Conspicuous in their relatively limited contribution were Jerry Leiber and Mike Stoller, who had come to an impasse with the Colonel during the making of the previous movie, Jailhouse Rock (1957), in which they had practically dominated the musical proceedings. Furious over mere songwriters having such easy access to Presley without going through Parker's "proper channels," the Colonel closed off their avenue to his prize client, especially since the duo had also tried to influence Presley's film direction, pitching him an idea to do a gritty adaptation of Nelson Algren's recent novel, A Walk on the Wild Side (1956), with Elia Kazan directing, and Leiber and Stoller providing the music. The Colonel put the kibosh on such notions, although echoes of the concept remained in the film, and the pair still managed to place three songs on the soundtrack, including the title track and "Trouble", arguably the film's best songs. Presley's performance of "Trouble" in the film alludes to Muddy Waters and Bo Diddley; he would return to the song for his tremendously successful 1968 television comeback special.
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